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                <term xml:lang="en">Portugueese--France</term>
                <term xml:lang="en">Spanish--France</term>
                <term xml:lang="en">Italians--France</term>
                <term xml:lang="en">Cinema</term>
                <term xml:lang="en">Representations</term>
                <term xml:lang="en">Cultural history</term>
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                <term xml:lang="fr">Portugais--France</term>
                <term xml:lang="fr">Espagnols--France</term>
                <term xml:lang="fr">Italiens--France</term>
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              <p>The Italian, Spanish and Portuguese migrants were the subject of many French audiovisual performances from 1945 to 1974, conditioned by the evolution of the diplomatic relations maintained by France with the countries of origin of these populations, by the media structures in place in France and by the adjustments of the French immigration policy. After a study of types, formats and authors of these television and cinematographic representations in the first part, the second and third parts of this thesis retrace their evolutions. From the aftermath of the Liberation until 1962, Italian, Spanish or Portuguese migrants from the screens are divided between working class’ figures and born artists. The images of Spaniards evolve then according to the changes of the attitude of France toward Franco's Spain, those of Italians develop in favor of the co-production film agreements between France and Italy, while those of Portuguese remain marginal. In 1962, when television became more important, these representations crystallized and became politicized. Stereotypical figures of Italian, Spanish and Portuguese migrants assert themselves. The French government seeks to use television to evoke these favored migrations, while political exiles, Spanish and Portuguese in particular, especially artists, are more and more filmed, as the struggles and supports to immigrants.</p>
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              <p>Les migrants italiens, espagnols et portugais ont fait l’objet de nombreuses représentations audiovisuelles françaises de 1945 à 1974, conditionnées par l’évolution des rapports diplomatiques entretenus par la France avec les pays d’origine de ces populations, par les structures médiatiques en place dans l’Hexagone et par les ajustements de la politique française d’immigration. Après une étude des genres, des formats et des auteurs de ces représentations télévisuelles et cinématographiques en première partie, les deuxième et troisième parties de cette thèse retracent leurs évolutions. Depuis les lendemains de la Libération jusqu’en 1962, les migrants italiens, espagnols ou portugais des écrans se partagent entre figures du peuple et artistes nés. Les images d’Espagnols évoluent alors en fonction des changements de l’attitude de la France à l’égard de l’Espagne franquiste, celles d’Italiens se développent à la faveur des accords cinématographiques de coproduction entre la France et l’Italie, tandis que celles de Portugais restent marginales. En 1962, quand la télévision gagne en importance, ces représentations se cristallisent et se politisent. Des figures stéréotypées de migrants italiens, espagnols et portugais s’affirment. Le gouvernement cherche à utiliser la télévision pour évoquer ces migrations favorisées, tandis que les exilés politiques, espagnols et portugais surtout, notamment des artistes, sont de plus en plus filmés, comme les luttes et soutiens aux immigrés se développant alors.</p>
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