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This study examined Hindi film representations of people of Indian origin residing outside India, Hollywood film representations of people of Indian ethnicity in America, as well as self-representation in Indian-American films. The researcher used the quantitative methodology of content analysis to examine representations in Hindi and Hollywood films and the qualitative methodology of textual analysis to examine self-representation in Indian-American films. The sample for the content analysis included Hindi films released between 1995 and 2005 and Hollywood films released between 1984 and 2005. The sample for the textual analysis consisted of 10 Indian-American films that were examined as transmissions of culture within their social and historical contexts as well as through available news sources. This study found that the majority of Hindi film depictions of people of Indian origin residing abroad and the majority Hollywood film depictions of people of Indian ethnicity in America had migrated from India. The results also revealed that Hindi films stereotyped, Othered, and marginalized Indians residing outside India and Hollywood films stereotyped, Othered, and marginalized people of Indian ethnicity in America. It also found that Hindi and Hollywood films rarely depicted second-generation Indian Americans. Indian-American films produced mostly by Indian immigrants primarily focused on Indian immigrants and sometimes adhered to Hindi film stereotypes when depicting second-generation Indian Americans. Indian-American films produced mostly by second-generation Indian Americans primarily focused on second-generation Indian Americans. The majority of characters in Hindi, Hollywood, and both immigrant and second-generation Indian-American films were male. Because of the limited representation of Indian Americans in the four activities of communication: surveillance, correlation, transmission of culture, and entertainment (Lasswell, 1948; Wright, 1959), as well as in communications literature, this study of Indian-American representation is an important contribution not only to journalism literature but to the field of journalism itself. It has brought to the forefront a significant but underrepresented group, highlighted this group’s diversity and cultural nuances, revealed how the portrayals of such nuances led to the subversion of stereotypes, and emphasized how through the act of self-representation, the transmission of culture takes place through the entertainment medium of film. / text

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La modernité cinématographique désigne une remise en cause de la représentation classique au moment de la Seconde Guerre mondiale qui se manifeste par un retour au documentaire. Celui-ci se traduit de deux manières : au sein du cinéma hollywoodien, comme en témoignent la fin du Dictateur de Charlie Chaplin et le début de Citizen Kane d’Orson Welles; et dans l’Europe de l’après-guerre avec le néo-réalisme italien. Dans ce contexte, la critique cinématographique définit l’essai comme une des finalités du cinéma moderne alliant ontologie et langage comme en témoignent les textes d’Alexandre Astruc, André Bazin ou Jacques Rivette. Au milieu des années 1950, le cinéma moderne propose une épure de ces formes cinématographiques avec, d’une part, Nuit et Brouillard d’Alain Resnais, film emblématique de « l’école française du court métrage » et, d’autre part, Voyage en Italie de Roberto Rossellini, affirmation d’un « néo-réalisme plus pur », selon les termes de son auteur. En 1963, deux films français sont à la fois les héritiers du cinéma classique américain et le point de départ d’une réflexion plus approfondie sur l’essai cinématographique, il s’agit de La Jetée de Chris Marker et du Mépris de Jean-Luc Godard. C’est à travers l’étude comparée du parcours de ces deux cinéastes que nous nous proposons de définir l’essai cinématographique comme une forme liée à l’histoire d’un art à un moment particulier. C’est ainsi que l’essai qui connaît ses premières grandes réussites dans les années 1960 se développera dans les années 1990 autour du centenaire du cinéma. De nouveaux enjeux associés à la modernité cinématographique se dessinent alors entre le Nord et le Sud, l’Est et l’Ouest, dans ce passage d’un siècle à l’autre du cinéma. / In the field of cinematic studies, modernity refers to the attempts to challenge classical modes of representations at the time of the Second World War, which take the form of a return to the documentary. This process takes two expressions: one runs through Hollywood productions, for instance the opening scene of Chaplin’s Great Dictator and the conclusion of Orson Welles’ Citizen Kane; the other is apparent in post-war Europe with Italian neorealism. In this context, film criticism defines the essay as one of the objects of modern cinema, joining ontology to language, as described in the works of Alexandre Astruc, André Bazin or Jacques Rivette. In the middle of the 1950s, modern cinema offers striking examples of these cinematographic forms with, on the one hand Alain Resnais’ Night and Fog, a film which is typical of “the French school of short films”, and on the other hand Roberto Rossellini’s Journey to Italy, which its author has described as the expression of “a refine form of neorealism”. In 1963, two French films are at once heirs to the tradition of classic American cinema and the start of a deeper reflection on the cinematographic essay, Chris Marker’s The Jetty and Jean-Luc Godard’s Contempt. By comparing the evolution of both these directors we will attempt to define the cinematographic essay as form closely linked to a certain moment in the history of cinema. Thus the essay, after producing its first major works in the 1960s will develop during the 1990s around the time of the hundredth anniversary of cinema. New stakes arise at that time to define cinematographic modernity between North and South, East and West, as cinema enters a new century.

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