xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This dissertation examines the relationship between British and American conceptualizations of the Anglophone Caribbean and the way that Anglophone Caribbean fiction writers and filmmakers tend to represent the region. Central to my project is the process of reexportation, whereby Caribbean artists attain success at home by first achieving renown abroad. I argue that the primary implication of reexportation is that British and American conceptualizations of the Anglophone Caribbean have had a determining effect upon attempts by Anglophone Caribbean fiction writers and filmmakers to represent the region. Chapter I introduces the dissertation. Chapter II, "The 'Double Audience' of Samuel Selvon and The Lonely Londoners ," concerns Trinidadian author Samuel Selvon, who--along with George Lamming, Derek Walcott, and V. S. Naipaul--is cited as being among the most important and influential of the West Indian authors who began publishing in the 1950s. Although I consider all of Selvon's ten novels in that chapter, my main concern is The Lonely Londoners (1956), Selvon's best known and perhaps most pivotal and misread novel. Chapter III, "Contrapuntally Re-reading Perry Henzell's The Harder They Come, " features a reevaluation of the Jamaican filmmaker's 1972 motion picture, which in many complex ways remains the Caribbean film. Chapter IV, " Pressure and the Caribbean," focuses on Trinidadian filmmaker Horace Ove's Pressure (1975), which I deliberately treat as a Caribbean film although it is still best known as Britain's first feature-length dramatic movie with a "black" director. Vital secondary texts include selected works by Edward Said, Mikhail Bahktin, and Richard Dyer, as well as Kenneth Ramchand, Keith Warner, and D. Elliott Parris. The three existing book-length analyses of Selvon's fiction are the main voices with which the Selvon chapter is in discourse. David Bordwell's work in cinematic narrative theory and Marcia Landy's contribution to the study of British genres are essential to the frameworks through which I read the cinematic primary texts. / Adviser: Gordon Sayre

Le cinéma est un art qui repose sur des moyens techniques de capture et de reproduction du mouvement et du son. Il s’impose après la littérature, la peinture et la photographie par sa virtuosité nouvelle à créer des artifices à l’image du monde. Une fois défait de l’objectif mimétique, il conquiert sa légitimité artistique par l’écart discursif esthétique ou critique. Il ne reproduit plus seulement les images en mouvement de la nature, des hommes et des sociétés, il les met en scène et les met en tension. Le discours universitaire a investigué et continue d’interroger les traces du monde qu’il propose, la spécificité de ses images, ses techniques et sa grammaire, la conception de l’art et de l’artiste qu’il offre. En histoire du cinéma, la littérature consacrée aux cinématographies nationales et aux monographies de réalisateurs est importante tandis que la sémiologie, l’analyse de films et la philosophie du cinéma ont construit les concepts opératoires nécessaires à la considération transversale des œuvres par-delà les frontières nationales et génériques. Les travaux de recherche consacrés à la réalisatrice martiniquaise Euzhan Palcy s’inscrivent dans cette tradition. En effet, l’analyse a à cœur de rendre compte de son travail et de la placer dans l’histoire du cinéma et de l’art. / Cinema is an art based on technical devices to capture and reproduce motion and sound. It surpasses literature, painting and photography by its virtuosity in creating new reality-like images of the world. Once rid of its mimetic purpose, cinema conquered its artistic legitimacy by making full use of its technical specificities to develop discursive, aesthetic and/or critical perspectives. It no longer simply displays moving images of nature, people and society, it stages them and builds narrative tension. The academic discourse has investigated and continues to examine the traces of the world it offers, the specificity of its images, techniques and grammar, the conception of art and the understanding of the artist it suggests. In film history, the literature on national cinematography and monographs about directors is important while semiotics, film analysis and the philosophy of cinema gave rise to the operational concepts needed to consider works across national liens and genres.The research devoted to Martinican director Euzhan Palcy fits into this tradition. The analysis aims to account for her body of works and places her in the history of cinema and the arts.