Americanization as a controversial subject in the francophone world, granted, is not new. Jean-Luc Godard was obsessed with the subject treating it heavily in his films in the 1960s. The film ‘Two or Three Things I Know About Her,’ for example, revolves around criticism of the American capitalist invasion and its effect on the speed and color of life. More directly, ‘Made in the U.S.A.,’ an early imitation of the American conspiritorial thriller that took off most notably after Watergate, creatively blurs the boundaries between the two societies showing an Americanized world in France where car horns, planes and gun shots interrupt actors; money, blood and politics are equated; American corporate labels and consumerist images are rife, relative to the period; and the death of liberty and the left are represented side by side with the hunting and killing of communists. For Godard this was a combat against an imperialism waged by foreign corporations intending to spread their advertisements everywhere in the public space, denegrate ideas and access to them, box people up in cars on big highways, and separate the political from the everyday.