Auteurist approaches developed in the 1950s studied films as a means of personal expression, valuing those directors who could bring an individual quality to their films as 'auteurs' . More recent theories of subjectivity and textuality have displaced the centrality of the director as author of meanings in the film texts, but have had difficulty in explaining the continued importance accorded to directors in interviews and writing about their films. The interaction of directorial intention, film industry, and the use of other media to communicate the director's ideas to audiences is an area of continued theoretical concern. It is the aim of this work firstly to examine how Francesco Rosi has managed to constitute himself as an 'auteur' within the institutional structures of the Italian film industry, and the constraints which these impose. Between 1958 and today Rosi has made fifteen films, the majority of which to a greater or lesser extent engage with the reality of contemporary Italy. He works within the mainstream of the Italian film industry. His work can, however, be located within that narrow band of 1- 2% of films produced each season which can be designated 'art' or 'quality' cinema, as opposed to more or less formulaic genre products. This study aims to show that the institutional structures of the Italian film - and latterly media - industries have a primary influence both on the particular narrative patterns Rosi has at his disposal, and on the particular types of films which Rosi as director is financed to make. Secondly, I examine elements of Rosi's films which mark him out as an 'auteur'. Through close textual analysis, I identify recurring visual, rhetorical and narrative choices which can be shown to signal the presence of the 'auteur', Rosi, in the film texts, and to constitute his style.

Cette thèse, qui croise l'oeuvre de Jean Cocteau avec la culture italienne, a un double but. D’une part, il s’agit de retracer les éléments qui ont contribué à donner vie à la partie italienne de l'imaginaire du poète, au cours de ses séjours dans la Péninsule. D’autre part, elle vise à faire connaître le point de vue italien sur sa présence dans le pays, en particulier pour ce qui concerne ses films et sa réflexion critique. Elle s'articule en trois parties. Dans la première, il s'agit de détecter comment l'imaginaire italien de Cocteau est né, ainsi que de retracer l'historique des relations qu'il a entretenues avec l’Italie. Dans la deuxième partie, elle aborde le domaine cinématographique dans sa spécificité, également sousun double aspect. D'une part, à travers l'analyse des commentaires que Cocteau a écrits après sa découverte des films italiens, pour pouvoir dégager sa conception de ce cinéma sous une forme générale, et comprendre son intérêt pour certains de ses protagonistes en particulier. D'autre part, elle retrace et analyse la place que la presse spécialisée italienne a accordé à son oeuvre dans l’univers cinématographique du Bel Paese. Enfin, la troisième partie examine les liens concrets que Cocteau a noués avec trois cinéastes italiens : Roberto Rossellini pour l’adaptation cinématographique de La Voix humaine; Luciano Emmer, pour la rédaction et la lecture des commentaires français de Venise et ses amants et de La Légende de Sainte Ursule; enfin Michelangelo Antonioni pour la réalisation de son Mystère d'Oberwald, adaptation de la pièce de théâtre L'Aigle à deux têtes. / This thesis which confronts Jean Cocteau's work with Italian culture has a double aim. On the one hand, it aims at exploring the elements which contributed to giving life to the Italian side of the poet's imagination during his various stays in Italy. On the other hand, it aims at giving a better understanding of the Italian point of view about his presence in the country, especially concerning his films and his critical thoughts. The thesis hinges on three parts. The first one deals with the ways in which Cocteau's Italian imagination originated and puts in a historical perspective the different stages in the relationshipswith the country. The second part is about Cocteau's cinema proper, in a twofold aspect as well .The first one analyzes the commentaries Cocteau wrote after his discovery of Italian films. This allows us to give a better view of the way he conceived this form of cinema in general, and understand his interest for some of its protagonists in particular. The second aspect analyzes the place the Italian press granted to his work in the film production of the « Bel Paese ». The third part looks into the bonds of friendship Cocteau built up with three Italian directors : Roberto Rossellini for the screen adaptation of La Voix humaine ; Luciano Emmer for the French written commentaries and their reading of Venise et ses amants and of La Légende de Sainte Ursule ; and last Michelangelo Antonioni for the direction of Le Mystère d'Oberwald, an adaptation of the play L'Aigle à deux têtes.

This thesis aims to introduce Moravia's Roman Tales as inspiration for several 1950's and 1960's Italian films. Individual chapters focus on literary and historical context, characteristics of film and literature relationship, an analysis of selected stories and an analysis of films with respect to their linking with their literary basis. Based on the analysis of the selected short stories and films, the concluding part summarizes how individual elements (environment, characters, plot) are worked with, whether the choice of the cast manifested itself, how were the film means, which literature can not take advantage of, used, and to which extent do the films preserve the intention of the original text. A subjective review of the films touched upon is a part of the final part as well. General trends connected with the devolopment of Italian cinematography of the 1950's and 1960's are also mentioned. The appendices briefly introduce work and lives of Alberto Moravia and the directors and scriptwriters of the given films.

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