Abstract
The problematic axis of the course « Hollywood-Europe-Hollywood » is based upon the reciprocal interaction between European cinema policy & Hollywood film industry. In as much as it insists on the backward & forward motion of the influence from one model to the other, this thesis underlines the interpenetration of the two. It is premised upon the assumption of the existence of a dichotomy between Europe & Hollywood determined by a set of definition criteria. The categorisation of the Western cinema is artificially established within the theoretical framework for the sake of comparative analysis. The postulate of two distinct – albeit interdependent – systems is backed up with the empirical observation of their dissimilarity that justifies this conceptual division. A host of conventional rules of differentiation are laid down with a prospect to create generic & stylistic unities that enable a specific approach.
