ABSTRACT
In her discussion of French cinema, Susan Hayward (1993:6-7) identifies a number of ‘modalities’ that ‘re-present the cinema’. She distinguishes ‘critical discourses’, ‘historical’ and ‘state’ discourses. Both the critical discourses (ranging ‘from film criticism to film theory’) and the historical discourses are in the business of ‘identifying the nature of the national cinema’ and ‘in privileging a certain type of cinema’. In this final chapter, I want to examine these critical and historical discourses and the institutional networks that support them.
