Cette thèse propose de porter une réflexion génétique sur les corpus d’archives cinématographiques à travers la notion centrale de processus d’écriture filmique. L’utilité de ce concept est de servir de cadre permettant d’observer les différentes interactions entre les différentes écritures filmiques selon les étapes de la fabrication d’un film, cela dans la perspective de montrer le lien qui existe entre les « choix » de l’auteur et les conditions de productions du film. L’entreprise marque sa filiation avec la génétique littéraire dont les concepts et méthodes ont été adaptés, transformés au contact des spécificités des genèses cinématographiques. A travers la notion de scripteur filmique, la pluralité de l’instance « auteur » est mise en évidence tout comme la notion d’avant-texte qui est dépendante du stade de la genèse que l’on choisit d’étudier. [etc.] / This thesis proposes to broach on a genetic reasoning about the film archives corpus via the central notion of filmic writing process. The usefulness of this concept is to provide a framework for observing the different interactions between the different film writingsaccording to the steps of making a film, in order to show the link between " the author’s “choices " and the conditions of production of the film. This undertaking marks its affiliation with the literature genetics whose concepts and methods have been adapted and transformed in contact with the specificities of the genesis of film. Through the notion of “film writer”, the plurality of the instance "author" is highlighted as the notion of pre-text that is dependent on the stage of genesis that one chooses to study. [etc.]

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

As a medium of modernity, film has always been entwined with the energy regime sustaining it. This thesis is interested in the interrelation between film and oil, and approached as a piece of petro-fiction, Henri-Georges Clouzot’s film The Wages of Fear (1953) is subject to a close, ecocritical analysis. A selection of four additional oil-films are used as points of comparison. By looking at a variety of representational and aesthetic aspects, the study explores how the film visualises the Anthropocene and negotiates the oil culture in which it exists. By reading the film in terms of oil, this thesis finds that the film in various ways expresses an entanglement with oil culture, while also criticising the same dependency. From the five oil films that have been analysed, catastrophe is an inherent motif, and part of the attraction of oil as subject matter, mirrored in broader culture of exuberance. In contrast to the other films, The Wages of Fear plays less into spectacle but opens to a critical examination of the various exploitations involved at the hands of the oil industry.

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