프랑스의 소비에트 영화 수용 양상에 관한 연구(1945-1955)

다국어 초록 (Multilingual Abstract)

The new expression by Eisenstein, Kuleshov, Pudovkin etc. through the camera has attracted French enthusiasm and acclaim for Soviet cinema.
However, in France, Soviet movies have long been subject to national censorship, and Soviet movies were mainly distributed to limited groups within non-commercial and informal places. Especially in the midst of the so-called
Cold War of the mid-20th century, Soviet films were sometimes rejected as victims of tensions and conflicts between the two countries but were then sometimes welcomed as a catalyst for alleviating those tensions and promoting
friendship and cooperation.
This article examines how Soviet movies were embraced in France during the early Cold War. For this purpose, we will briefly review French cinema status since the birth of the film in 1895, and then examine the introduction of early
Soviet cinema and discuss French cinema censorship. Furthermore, we will examine why the Cannes Film Festival was created and delve into the political and diplomatic dynamics behind the film festival, which was born out of
non-political ideas. This study will also examine the acceptance of the Soviet film offensive in France (1947) before the Cold War heated up and on the basis of postwar anti-Americanism. Finally, we will examine the process and
significance of the Film Week program in both France and Soviet countries during the peaceful coexistence policy that the Soviets developed after the death of Stalin. Throughout this article, we will try to find out what role the 7th Art ,
which was born in the late 19th century, played in the forefront of the Cold War and explored international politics, diplomacy, and ideological conflicts of the time.

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