Suchergebnisse

International audience ; The enlargement of the Romanian communist party between 1945 and 1948 by recruiting members without political activity or communist conviction creates a climate of general suspicion regarding potential enemies infiltrating the party. Besides the campaign of "verification" of the members launched by the Control Commission, the soviet film festival organized in many Romanian cities from August to December 1950 aimed to encourage the vigilance of the faithful members and the denunciation of "bad elements".This article focused on the organization of the film festival, the purposes, the guidelines, the resources (technical and human) set up by the central authorities (director of the Committee for Cinema, director of Sovromfilm) and the way the local authorities (directors of cinema theaters, work unions, presidents of the local structures of the party, etc) respond to the directives which come from above.

International audience ; The presence of French films in Romania after the Second World War was mainly the result of the trading activities of private companies (distribution companies, rental houses, etc.). Unlike during the pre-war period, the French diplomatic machine intervened then more often in favor of a movie or a company. It played the intermediary between the various actors, both public and private, as well as between French and Rumanian partners. The main objective of the French diplomacy was to maintain the cultural presence in Romania, but it came up against the strong resistance and the hostility of the Rumanian authorities supported by the Soviets who, in the context of the Cold War and of the ideological blocks, set up obstacles for the import of western movies. This article analyzes the actions and the strategies of French diplomats to protect French movies on Romanian screens and captures some of the Romanian reactions through the import policy or the censorship rules. ; La présence cinématographique française en Roumanie après la Seconde Guerre mondiale repose principalement sur les actions marchandes de sociétés privées (maisons de location, sociétés de distributions, etc.), mais à la différence de la période d'avant-guerre, la machine diplomatique française se met marche pour soutenir par des interventions ponctuelles un film, une société, en faisant l'interface entre les différents partenaires publics et privés, français et roumains. L'objectif principal des Français est de maintenir la présence culturelle en Roumanie, mais il se heurte à la forte résistance et hostilité des autorités roumaines épaulées par les Soviétiques qui, dans le contexte de Guerre froide et de formation des blocs idéologiques, érigent des barrières à l'importation des films occidentaux. Cet article analyse les actions et les stratégies entreprises par la diplomatie française pour préserver le film français sur les écrans roumains et saisit les réactions roumaines à travers la politique des importations ou les règles de censure.

International audience ; The presence of French films in Romania after the Second World War was mainly the result of the trading activities of private companies (distribution companies, rental houses, etc.). Unlike during the pre-war period, the French diplomatic machine intervened then more often in favor of a movie or a company. It played the intermediary between the various actors, both public and private, as well as between French and Rumanian partners. The main objective of the French diplomacy was to maintain the cultural presence in Romania, but it came up against the strong resistance and the hostility of the Rumanian authorities supported by the Soviets who, in the context of the Cold War and of the ideological blocks, set up obstacles for the import of western movies. This article analyzes the actions and the strategies of French diplomats to protect French movies on Romanian screens and captures some of the Romanian reactions through the import policy or the censorship rules. ; La présence cinématographique française en Roumanie après la Seconde Guerre mondiale repose principalement sur les actions marchandes de sociétés privées (maisons de location, sociétés de distributions, etc.), mais à la différence de la période d'avant-guerre, la machine diplomatique française se met marche pour soutenir par des interventions ponctuelles un film, une société, en faisant l'interface entre les différents partenaires publics et privés, français et roumains. L'objectif principal des Français est de maintenir la présence culturelle en Roumanie, mais il se heurte à la forte résistance et hostilité des autorités roumaines épaulées par les Soviétiques qui, dans le contexte de Guerre froide et de formation des blocs idéologiques, érigent des barrières à l'importation des films occidentaux. Cet article analyse les actions et les stratégies entreprises par la diplomatie française pour préserver le film français sur les écrans roumains et saisit les réactions roumaines à travers la politique des importations ou les règles ...

International audience ; The presence of French films in Romania after the Second World War was mainly the result of the trading activities of private companies (distribution companies, rental houses, etc.). Unlike during the pre-war period, the French diplomatic machine intervened then more often in favor of a movie or a company. It played the intermediary between the various actors, both public and private, as well as between French and Rumanian partners. The main objective of the French diplomacy was to maintain the cultural presence in Romania, but it came up against the strong resistance and the hostility of the Rumanian authorities supported by the Soviets who, in the context of the Cold War and of the ideological blocks, set up obstacles for the import of western movies. This article analyzes the actions and the strategies of French diplomats to protect French movies on Romanian screens and captures some of the Romanian reactions through the import policy or the censorship rules. ; La présence cinématographique française en Roumanie après la Seconde Guerre mondiale repose principalement sur les actions marchandes de sociétés privées (maisons de location, sociétés de distributions, etc.), mais à la différence de la période d'avant-guerre, la machine diplomatique française se met marche pour soutenir par des interventions ponctuelles un film, une société, en faisant l'interface entre les différents partenaires publics et privés, français et roumains. L'objectif principal des Français est de maintenir la présence culturelle en Roumanie, mais il se heurte à la forte résistance et hostilité des autorités roumaines épaulées par les Soviétiques qui, dans le contexte de Guerre froide et de formation des blocs idéologiques, érigent des barrières à l'importation des films occidentaux. Cet article analyse les actions et les stratégies entreprises par la diplomatie française pour préserver le film français sur les écrans roumains et saisit les réactions roumaines à travers la politique des importations ou les règles de censure.

International audience ; The presence of French films in Romania after the Second World War was mainly the result of the trading activities of private companies (distribution companies, rental houses, etc.). Unlike during the pre-war period, the French diplomatic machine intervened then more often in favor of a movie or a company. It played the intermediary between the various actors, both public and private, as well as between French and Rumanian partners. The main objective of the French diplomacy was to maintain the cultural presence in Romania, but it came up against the strong resistance and the hostility of the Rumanian authorities supported by the Soviets who, in the context of the Cold War and of the ideological blocks, set up obstacles for the import of western movies. This article analyzes the actions and the strategies of French diplomats to protect French movies on Romanian screens and captures some of the Romanian reactions through the import policy or the censorship rules. ; La présence cinématographique française en Roumanie après la Seconde Guerre mondiale repose principalement sur les actions marchandes de sociétés privées (maisons de location, sociétés de distributions, etc.), mais à la différence de la période d'avant-guerre, la machine diplomatique française se met marche pour soutenir par des interventions ponctuelles un film, une société, en faisant l'interface entre les différents partenaires publics et privés, français et roumains. L'objectif principal des Français est de maintenir la présence culturelle en Roumanie, mais il se heurte à la forte résistance et hostilité des autorités roumaines épaulées par les Soviétiques qui, dans le contexte de Guerre froide et de formation des blocs idéologiques, érigent des barrières à l'importation des films occidentaux. Cet article analyse les actions et les stratégies entreprises par la diplomatie française pour préserver le film français sur les écrans roumains et saisit les réactions roumaines à travers la politique des importations ou les règles de censure.

International audience ; Since communists came to power in Romania, cinema became an important propagandatool. The government invested largely, in addition to the production field, in the development ofdistribution and exploitation of movies. Whereas the rural area represented the major target, theforeign exportation was the last domain that concern the government. Nevertheless, in the bipolarcontext of cold war, the new Romanian cinema policy promoted by the communists created theconditions for a larger participation, through cinema, at the ideological fight between East and West.This article analyses the resources, the strategies, the networks and the policies ofRomanian political and cultural authorities to distribute, to promote and to make known theRomanian cinema in France at the beginning of the 50s. The main actors of this process are theRomanian legation in Paris and the local relay, the France-Roumanie Association, who showRomanian movies pictures and documentaries during the cultural events they organize. In spite ofthe weak logistical and technical support from Romania and the obstruction of French censorshiptowards the eastern bloc movies, the Romanian films benefit from the tribune that has beenoffered to them by the cultural French press, like "Les lettres fraçaises" and "L'écran français".Thus, the circulation of Romanian films takes place in the reduced place of communist circles,participating therefore to the cultural confrontation of the cold war.

International audience ; Since communists came to power in Romania, cinema became an important propagandatool. The government invested largely, in addition to the production field, in the development ofdistribution and exploitation of movies. Whereas the rural area represented the major target, theforeign exportation was the last domain that concern the government. Nevertheless, in the bipolarcontext of cold war, the new Romanian cinema policy promoted by the communists created theconditions for a larger participation, through cinema, at the ideological fight between East and West.This article analyses the resources, the strategies, the networks and the policies ofRomanian political and cultural authorities to distribute, to promote and to make known theRomanian cinema in France at the beginning of the 50s. The main actors of this process are theRomanian legation in Paris and the local relay, the France-Roumanie Association, who showRomanian movies pictures and documentaries during the cultural events they organize. In spite ofthe weak logistical and technical support from Romania and the obstruction of French censorshiptowards the eastern bloc movies, the Romanian films benefit from the tribune that has beenoffered to them by the cultural French press, like "Les lettres fraçaises" and "L'écran français".Thus, the circulation of Romanian films takes place in the reduced place of communist circles,participating therefore to the cultural confrontation of the cold war.

International audience ; L'objet d'analyse de cette étude est la production des films traitant l'antiquité et réalisés en Roumanie pendant le régime communiste. Il s'agit plus précisément de trois fi lms : Les Daces (1965, Sergiu Nicolaescu), La Colonne (1968, Mircea Drăgan) et Burebista (1980, Gheorghe Vitanidis). Leur production témoigne des conditions politiques, idéologiques et économiques qui ont marqué le processus de reconstitution historique. Cet article tente de retracer le cheminement décisionnel dans la production de ces fi lms, les objectifs des cinéastes et des autres professionnels du cinéma, le rôle du pouvoir politique dans leur évolution de 1960 jusqu'en 1970.

International audience ; L'objet d'analyse de cette étude est la production des films traitant l'antiquité et réalisés en Roumanie pendant le régime communiste. Il s'agit plus précisément de trois fi lms : Les Daces (1965, Sergiu Nicolaescu), La Colonne (1968, Mircea Drăgan) et Burebista (1980, Gheorghe Vitanidis). Leur production témoigne des conditions politiques, idéologiques et économiques qui ont marqué le processus de reconstitution historique. Cet article tente de retracer le cheminement décisionnel dans la production de ces fi lms, les objectifs des cinéastes et des autres professionnels du cinéma, le rôle du pouvoir politique dans leur évolution de 1960 jusqu'en 1970.

International audience ; L'objet d'analyse de cette étude est la production des films traitant l'antiquité et réalisés en Roumanie pendant le régime communiste. Il s'agit plus précisément de trois fi lms : Les Daces (1965, Sergiu Nicolaescu), La Colonne (1968, Mircea Drăgan) et Burebista (1980, Gheorghe Vitanidis). Leur production témoigne des conditions politiques, idéologiques et économiques qui ont marqué le processus de reconstitution historique. Cet article tente de retracer le cheminement décisionnel dans la production de ces fi lms, les objectifs des cinéastes et des autres professionnels du cinéma, le rôle du pouvoir politique dans leur évolution de 1960 jusqu'en 1970.

The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction. ; Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période ...

International audience ; L'industrie cinématographique est un domaine fortement centralisé, très proche du pouvoir politique, tant par le rôle qui lui est désigné, que par son emplacement physique (les principaux établissements décisionnels demeurent dans la capitale ; le Studio « Bucureşti », les maisons de production, la direction de la cinématographie dans le cadre du ministère résident dans le siège du journal officiel Scînteia). L'immixtion des idéologues dans les questions artistiques comporte des degrés différents d'intensité, mais le parti fait sentir sa présence de manière ininterrompue jusqu'à la fin du régime. Nous tenterons d'analyser la logique du pouvoir politique, ses attentes en rapport avec le cinéma et les mesures administratives ou coercitives mobilisées pour attendre son but.

The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction. ; Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période ...

The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction. ; Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période ...

International audience ; Les politiques culturelles et en particulier cinématographiques du début de la septième décennie se caractérisent par deux sinon trois tendances placées souvent en compétition tout au long des années 1960 : orientation idéologique versus logique marketing et artistique. L'évolution des instances décisionnelles et administratives est souvent le résultat des luttes portées entre les adeptes de ces courants