{"id":9510,"date":"2026-05-27T09:15:03","date_gmt":"2026-05-27T07:15:03","guid":{"rendered":"https:\/\/u-paris.fr\/cerilac\/?p=9510"},"modified":"2026-05-27T09:15:03","modified_gmt":"2026-05-27T07:15:03","slug":"la-serie-b-a-hollywood-histoire-et-esthetique-1931-1956","status":"publish","type":"post","link":"https:\/\/u-paris.fr\/cerilac\/la-serie-b-a-hollywood-histoire-et-esthetique-1931-1956\/","title":{"rendered":"La s\u00e9rie B \u00e0 Hollywood – Histoire et esth\u00e9tique, 1931-1956"},"content":{"rendered":"

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\u00a9 \u00e9d. Presses Universitaires de Rennes<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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De 1931 \u00e0 1956, une production abondante s\u2019\u00e9panouit dans les marges d\u2019Hollywood\u2000: c\u2019est la \u00a0\u00ab\u2000s\u00e9rie B\u2000\u00bb, un corpus de films \u00e0 petit\u00a0budget tourn\u00e9s par les studios am\u00e9ricains dans le but d\u2019affronter la\u00a0Grande D\u00e9pression. Malgr\u00e9 son r\u00f4le \u00e9conomique de premier plan et\u00a0sa popularit\u00e9 aupr\u00e8s du public \u00e9tasunien, elle demeure peu \u00e9tudi\u00e9e\u00a0dans les \u00e9tudes cin\u00e9matographiques fran\u00e7aises et anglo-saxonnes qui se\u00a0concentrent sur les longs m\u00e9trages de rang A.<\/p>\n

L\u2019ouvrage r\u00e9pare cet oubli\u00a0en examinant \u00e0 nouveaux frais la r\u00e9ception critique de la s\u00e9rie\u2000B et les\u00a0cat\u00e9gories esth\u00e9tiques auxquelles elle a donn\u00e9 naissance, et notamment\u00a0l\u2019id\u00e9e que ces films constituent \u00e0 Hollywood un terrain privil\u00e9gi\u00e9\u00a0d\u2019exp\u00e9rimentations. Il propose une \u00e9tude approfondie de l\u2019\u00e9conomie,\u00a0de l\u2019histoire et des styles du B movie classique. Ce faisant, il met en\u00a0\u00e9vidence sa dimension contre-culturelle de mani\u00e8re \u00e0 comprendre\u00a0pourquoi cette production a tant fascin\u00e9 des g\u00e9n\u00e9rations enti\u00e8res de\u00a0cin\u00e9philes et pourquoi elle constitue, encore aujourd\u2019hui, un terreau\u00a0de promesses esth\u00e9tiques et politiques pour le cin\u00e9ma am\u00e9ricain.<\/p>\n

L’auteur<\/strong><\/em><\/p>\n

Mathias Kusnierz<\/strong> est agr\u00e9g\u00e9 de lettres modernes, docteur en \u00e9tudes cin\u00e9matographiques de l\u2019universit\u00e9 Paris Cit\u00e9 et chercheur associ\u00e9 au CERILAC.\u00a0Ses recherches, qui m\u00ealent esth\u00e9tique et histoire, portent sur les fonctions\u00a0id\u00e9ologiques et culturelles du cin\u00e9ma hollywoodien classique et contemporain,\u00a0sur les nouvelles technologies de production d\u2019images et sur la critique de cin\u00e9ma. Il enseigne par ailleurs le cin\u00e9ma et la litt\u00e9rature en classes pr\u00e9paratoires aux grandes \u00e9coles.<\/em><\/p>\n

Mathias Kusnierz a re\u00e7u le Prix de Th\u00e8se 2014<\/strong> de l’Institut des Am\u00e9riques.<\/p>\n

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