tag:blogger.com,1999:blog-34384437157276149992024-03-05T11:46:58.781-08:00Sens interditsArt contemporain, cinéma, BD, Luxembourg...JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.comBlogger253125tag:blogger.com,1999:blog-3438443715727614999.post-34221837341398422732021-06-07T12:38:00.003-07:002021-06-07T12:54:09.134-07:00Michael Cimino, God Bless America<p class="MsoNormal"><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzBm5K14pnHFze0X1fT0QNKVkExf0_SO7JsXL48dVJRaZEkV1rHLQrI22ijL-zuMkjGz_AVlWYklx9c8UrLQYCDEbMae5ivGy4ySKazbbm9vvypgftALyZ88XAdTAVIMQ1NHzvfJcXqbs/s1280/maxresdefault.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzBm5K14pnHFze0X1fT0QNKVkExf0_SO7JsXL48dVJRaZEkV1rHLQrI22ijL-zuMkjGz_AVlWYklx9c8UrLQYCDEbMae5ivGy4ySKazbbm9vvypgftALyZ88XAdTAVIMQ1NHzvfJcXqbs/s320/maxresdefault.jpg" width="320" /></a></span></div><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: arial;">Jean-Baptiste
Thoret, spécialiste des mauvais genres au cinéma, et accessoirement habitué de
la Cinémathèque de Luxembourg, signe pour Arte un film profond et élégant sur
Michael Cimino, cinéaste maudit du Nouvel Hollywood.</span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"> </span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;">Outre de majestueuses images, typiquement ciminesques, des grands espaces américains traversés
en voiture par les deux comparses, le documentaire vaut surtout pour les analyses
subtiles produites par JB Thoret sur chacun des (rares) films du réalisateur ainsi que par les
éclairages apportés par deux cinéastes admirateurs du travail de Cimino. </span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"> </span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;">Tandis que
Quentin Tarantino s’attache à expliquer ce que Cimino a apporté au cinéma
américain, Oliver Stone dévoile la face sombre d’un créateur incapable du
moindre compromis avec le nouveau système hollywoodien qui se met en place à la
fin des années 70.</span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"> </span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;">En résulte un
sentiment confus et douloureux devant un génie dont on ne saisit pas s’il était
en avance ou en retard sur son époque, auteur d'une œuvre qui a largement été réévaluée
depuis, mais qui n’a pas pu dévoiler toute l’étendue de sa vision.</span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"> </span></p><p class="MsoNormal"><span style="font-family: arial;">
<span style="font-size: 12pt;">Si, comme moi, vous connaissez mal ce réalisateur, et que vous souhaitez
découvrir ce qu’il a voulu exprimer avec la séquence de la roulette russe dans <i>The Deer Hunter</i>, en quoi <i>La Porte du Paradis</i> en dit
plus sur la guerre du Viêtnam que <i>Voyage au bout de l’Enfer</i>, ou</span> pourquoi <i>L’Année du Dragon</i> est un des meilleurs films des années 80, je ne peux que vous
encourager à visionner ce documentaire.</span></p><p class="MsoNormal"><span style="font-family: arial;"> </span></p><p class="MsoNormal"><span style="font-family: arial;"><span><span class="style-scope yt-formatted-string" dir="auto">Documentaire de Jean-Baptiste Thoret (France, 2019, 52mn) </span></span></span></p><p class="MsoNormal"><span style="font-family: arial;"><span><span class="style-scope yt-formatted-string" dir="auto">Disponible jusqu'au 30/07/2021</span> <br /></span></span></p><p class="MsoNormal"><span style="font-family: arial;"> </span></p><p class="MsoNormal"><span style="font-family: arial;">Sur Arte TV : <br /></span></p><span style="font-family: arial;">
</span><p><style><span style="font-family: arial;">@font-face
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{page:WordSection1;}</span></style><span style="font-family: arial;"><span style="font-size: 12pt;"> </span></span><a href="https://www.arte.tv/fr/videos/092129-000-A/michael-cimino-god-bless-america/">https://www.arte.tv/fr/videos/092129-000-A/michael-cimino-god-bless-america/</a></p><p class="MsoNormal"><span style="font-family: arial;">Sur YouTube : <br /></span></p><span style="font-family: arial;">
</span><style><span style="font-family: arial;">@font-face
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{page:WordSection1;}</span></style><span style="font-family: arial;"><span style="font-size: 12pt;"> </span></span><p><a href="https://www.youtube.com/watch?v=3uwMofja4C8">https://www.youtube.com/watch?v=3uwMofja4C8</a></p><p><br /></p><p><br /></p>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-71205806608493789922018-04-22T12:26:00.001-07:002018-04-22T12:26:09.052-07:00Tu m', un condensé d'art moderne
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<i style="mso-bidi-font-style: normal;"><span style="mso-ansi-language: FR-LU;">Tu m’</span></i><span style="mso-ansi-language: FR-LU;"> s’inscrit dans la lignée des peintures
ultimes, annonçant la fin de la peinture.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">La date de production du tableau, 1918, n’est pas neutre. Ce type de
peinture se situe généralement dans un contexte d’après-guerre. Les artistes
ressentent alors un décalage d’intensité entre un épanouissement des
possibilités d’expression de la peinture, inévitable après plusieurs siècles de
développement pictural, et la tragédie humaine des apocalypses guerrières, que
la peinture n’a pu éviter, et qu’elle peine ensuite à représenter.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">Néanmoins, on hésite à appréhender ces toiles comme un hommage ou comme
une condamnation de la peinture. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="mso-ansi-language: FR-LU;">Tu m’</span></i><span style="mso-ansi-language: FR-LU;"> n’échappe pas à cette règle.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">Le titre de l’œuvre illustre ce paradoxe typiquement dadaïste, pouvant annoncer
un « Tu m’emmerdes », un « Tu m’ennuies », ou être entendu
comme « Tu aimes ».<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">Duchamp annonce lui-même que l’œuvre représente un condensé des motifs
dadaïstes (1). Ainsi, l’on reconnait à travers un véritable théâtre d’ombres
portées les readymades de la Roue de bicyclette et du Porte chapeau de
même qu’une anamorphose de tire-bouchon, bien que ce dernier soit resté à
l’état de projet.<o:p></o:p></span></div>
<!--EndFragment--><br /><br />
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<div class="MsoNormal" style="text-align: justify;">
A travers ce readymade imaginaire, peut-être Duchamp veut-il illustrer la
thèse dadaïste de la supériorité de l’idée de l’œuvre d’art sur sa propre réalisation
matérielle, qui inspirera plus tard l’art conceptuel.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Duchamp évoque également son oeuvre <i>Stoppages
Etalon</i> (2), dans le coin inférieur gauche du tableau.<o:p></o:p></div>
<!--EndFragment--></div>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<div class="MsoNormal" style="text-align: justify;">
Une succession de losanges colorés, suggérant des échantillons de peinture,
s’abîment dans une fissure creusée au centre de la toile. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Les losanges s’inscrivent dans un lointain point de fuite typique du
système de perspective de la Renaissance. En mettant en scène leur chute dans
une crevasse, Duchamp signifie la fin de la peinture classique, voire de toute
la peinture.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Un goupillon (évoquant le readymade <i>Porte-bouteilles</i>)
s’insère dans la fissure, évoquant le clou réaliste de Braque dans <i>Broc et violon (1910)</i> et contribuant ici
aussi au grand œuvre de l’art moderne de dénonciation de l’illusion
représentative de la peinture classique.<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSPX3XnsF1oZKvj0peFqSvpio1PklgCY-UGBWooWuSBWakmZg8qAKEyLO5lPc6Wb-qtagyYIHuW-ND49Skfjtvowj_08fuzGXfCtjnQUHurukTj0zpq7Wbz-MutB28qz_iDIqqyoUYhqg/s1600/Capture+d%25E2%2580%2599e%25CC%2581cran+2018-04-22+a%25CC%2580+21.07.57.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="484" data-original-width="898" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSPX3XnsF1oZKvj0peFqSvpio1PklgCY-UGBWooWuSBWakmZg8qAKEyLO5lPc6Wb-qtagyYIHuW-ND49Skfjtvowj_08fuzGXfCtjnQUHurukTj0zpq7Wbz-MutB28qz_iDIqqyoUYhqg/s400/Capture+d%25E2%2580%2599e%25CC%2581cran+2018-04-22+a%25CC%2580+21.07.57.png" width="400" /></a></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
Le motif de la fissure dans la toile, ouvrant la voie vers de nouveaux
espaces, sera repris par de multiples artistes contemporains (Fontana, Niki de
St Phalle…).</div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
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tenue par 3 véritables épingles à nourrice.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">Cette incorporation d’objets réels dans la peinture évoque également le
cubisme synthétique.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">Le cubisme en général est d’ailleurs cité à travers la multitude des
points de vue illustrés dans <i style="mso-bidi-font-style: normal;">Tu m’</i>.<o:p></o:p></span></div>
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Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
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<!--EndFragment--></div>
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<span style="mso-ansi-language: FR-LU;">Sous la fissure peinte, on retrouve une main pointant un index et
soigneusement exécutée (on pense à Magritte) par un peintre d'enseignes que
Duchamp avait embauché, préfigurant la délégation de l’exécution de leurs
travaux par les artistes contemporains (Wahrol, Koons…).<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.blogger.com/blogger.g?blogID=3438443715727614999" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3438443715727614999" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3438443715727614999" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3438443715727614999" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3438443715727614999" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3438443715727614999" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3438443715727614999" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=3438443715727614999" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitWFVSAaDG6PuQtZupZQHhAj-736w47fLFc9nBy5bZWvf6TCTDe9j1cZBlNJi_rUqnLEevUt8GJxFvgeBJSLueC4GQcH92IdHlqotbV3iPFKCmK9ijz9TFvBVbCATF_RHDcwyvchhKygQ/s1600/Capture+d%25E2%2580%2599e%25CC%2581cran+2018-04-22+a%25CC%2580+21.08.28.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="357" data-original-width="454" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitWFVSAaDG6PuQtZupZQHhAj-736w47fLFc9nBy5bZWvf6TCTDe9j1cZBlNJi_rUqnLEevUt8GJxFvgeBJSLueC4GQcH92IdHlqotbV3iPFKCmK9ijz9TFvBVbCATF_RHDcwyvchhKygQ/s320/Capture+d%25E2%2580%2599e%25CC%2581cran+2018-04-22+a%25CC%2580+21.08.28.png" width="320" /></a></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">L’index pointe le regard vers la délicate et complexe structure à la
droite du tableau, savante composition de paradoxes de perspectives (3).<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="mso-ansi-language: FR-LU;">Tu m’</span></i><span style="mso-ansi-language: FR-LU;"> se révèle ainsi un condensé de l’œuvre de Duchamp,
mais aussi de l’art moderne en général.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">Elle illustre le paradoxe habituel des peintures ultimes. En effet, une
peinture capable de mettre en scène sa propre fin illustre paradoxalement la
puissance de ce medium.<o:p></o:p></span></div>
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<!--EndFragment--></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: FR-LU;">Cela est particulièrement vrai pour <i style="mso-bidi-font-style: normal;">Tu
m’</i> qui, tout en prétendant mettre un point final à la peinture, livre un
hommage à l’art moderne et annonce de multiples développements à venir dans
l’art contemporain.</span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="color: #333333; font-family: "Georgia",serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Georgia; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Georgia;"><span style="mso-list: Ignore;">(1)<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="FR" style="background: white; color: #333333; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">« C'est un genre d'inventaire de tous mes
précédents travaux, plutôt qu'une peinture en soi. Je ne l'ai jamais aimé parce
que c'est trop décoratif; résumer ses travaux dans une peinture n'est pas une
activité très plaisante.»</span><span lang="FR" style="color: #333333; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br />
</span><span lang="EN-US" style="background: white; color: #333333; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Marcel
Duchamp cité par Schwarz, “The Complete works of Marcel Duchamp“ p.658</span><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p></o:p></span></div>
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Etalons</i> : <a href="http://www.ciren.org/ciren/productions/INVITRO/linea/references/duchamp.html">http://www.ciren.org/ciren/productions/INVITRO/linea/references/duchamp.html</a><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="color: #333333; font-family: "Georgia",serif; font-size: 10.0pt; mso-ansi-language: FR-LU; mso-bidi-font-family: Georgia; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: Georgia;"><span style="mso-list: Ignore;">(3)<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="mso-ansi-language: FR-LU; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Analyse complète de la structure : <a href="http://lartcommeonlaime.forumactif.org/t187-duchamp-analyse-de-tu-m-partie-2">http://lartcommeonlaime.forumactif.org/t187-duchamp-analyse-de-tu-m-partie-2</a><o:p></o:p></span></div>
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JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-81974539238099602632014-05-13T14:11:00.002-07:002014-05-13T14:11:43.098-07:00Wake up ! - Despierta<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/TKxZ2QmXgmg" width="560"></iframe>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-64473304646080232562014-05-13T13:56:00.000-07:002014-05-13T13:56:44.684-07:00Lars Von Trier a-t-il ou non le génie du mal?<div style="text-align: justify;">
Sur France Inter, une bonne émission de radio sur Lars Von Trier, cinéaste moraliste, dans <b><i>Pendant les travaux, le cinéma reste ouvert</i></b>, animé notamment par Jean-Baptiste Thoret que l'on a vu plusieurs fois à la Cinémathèque de Luxembourg.</div>
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<br /></div>
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La morale (le triomphe du Mal contre l'idéalisme), les grand thèmes (l'Europe d'après-guerre traumatisée par le nazisme, l'entrée d'un personnage dans un nouveau monde) du cinéaste, ses terreurs (la matérialisation mène toujours à la catastrophe) et ses provocations sont évoqués à travers ses principaux films : <b><i>Element of Crime, Epidemic, Europa, Dogville, Melancholia, Antichrist, Nymphomaniac...</i></b></div>
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A écouter en podcast <a href="http://www.franceinter.fr/emission-pendant-les-travaux-le-cinema-reste-ouvert-lars-von-trier-a-t-il-ou-non-le-genie-du-mal">ici</a>.</div>
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JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-34908663436598318512014-02-15T02:59:00.001-08:002014-02-15T02:59:41.670-08:00PARKING - Alexandre Perez<iframe allowfullscreen="" frameborder="0" height="635" src="http://fr.mobilefilmfestival.com/embed/video/id/52cabe0384f8f7e0a60005f2" width="600"></iframe><br />
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http://fr.mobilefilmfestival.com/laureats<br />
<br />JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-13368518664416514762013-09-04T12:24:00.000-07:002013-09-04T12:24:34.286-07:00Tout le langage du cinéma : La Musique (Leçon 7)<div style="text-align: justify;">
<b>Mélodies, chansons & émotions : les musiques du cinéma</b><br />
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span><span style="font-family: inherit;">par</span><span style="font-family: inherit;"> </span><b style="font-family: inherit;">Gilles MOUËLLIC </b><span style="font-family: inherit;">(professeur d’études cinématographiques et musique, Université Rennes 2).</span></div>
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<span class="Apple-style-span" style="color: #222222; line-height: 18px;">Cinémathèque du Luxembourg</span><span class="Apple-style-span" style="font-family: inherit;"><br /><span class="Apple-style-span" style="color: #222222; font-size: 13px; line-height: 18px;"></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><br /></span><span class="Apple-style-span" style="font-family: inherit;">29 avril 2013</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span><span class="Apple-style-span" style="font-family: inherit;">Cette conférence s'inscrit dans le cycle </span><a href="http://www.vdl.lu/vdl_multimedia/Culture+et+Loisirs/Cin%C3%A9math%C3%A8que/FLYER+Archiv/2012_2013_Travelling_MacGuffin_FLYER.pdf">"Du Travelling au MacGuffin : Tout le langage du cinéma en 10 leçons"</a><span class="Apple-style-span" style="font-family: inherit;"> de l'</span><a href="http://www.blogger.com/posts.g?blogID=3438443715727614999&searchType=ALL&txtKeywords&label=Universit%C3%A9+Populaire+du+Cin%C3%A9ma" style="color: #2288bb; text-decoration: none;">Université Populaire du Cinéma</a><span class="Apple-style-span" style="font-family: inherit;">.</span></div>
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Cet article est un compte-rendu de la 7ème leçon du cycle consacré au langage du cinéma.<br />
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J'ai ajouté quelques paragraphes et extraits issus de recherches personnelles.<br />
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<b>1. Du muet au parlant</b><br />
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L'histoire de la musique de film est aussi ancienne que le cinéma lui-même.</div>
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Dès les premières séances des Frères Lumière, les films sont accompagnés d'une musique au piano.</div>
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Initialement, la présence de cette musique a des raisons plutôt prosaïques telles que rassurer les spectateurs qui a peur du noir ou couvrir le bruit du projecteur de cinéma.</div>
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De plus, la musique a l'avantage de donner une temporalité aux films muets.</div>
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Rapidement, les spectateurs se plaignent de cette musique conçue comme un simple appoint.</div>
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En effet, les pianistes jouaient les partitions qu'ils maîtrisaient sans tenir compte de l'action projetée.</div>
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La nécessité de lier la musique et l'image fait donc très vite son apparition.</div>
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Dès les années 1905-1910, les producteurs de films adjoignent dans les bobines distribuées aux salles de cinéma des propositions de partition pour accompagner les films.</div>
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Dans son <a href="http://www.bifi.fr/public/ap/article.php?id=289">Guide musical Gaumon</a>t, le directeur musical du <b>Gaumont Palace,</b> Paul Fosse, consigne avec précision toutes les musiques à interpréter par l'orchestre suivant l'action des films.</div>
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Le cinéma est un art technique et la technologie s'intéresse rapidement à la problématique de la synchronisation entre image et son.<br />
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Beaucoup de tâtonnements seront nécessaires jusqu'au premier film parlant, <b>Le Chanteur de Jazz</b> en 1927, combinant projecteur et gramophone.<br />
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Le film, s'il ne contient en réalité que 2 mn de paroles, représente une métaphore de la transition du cinéma vers le parlant.<br />
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Tout d'abord, le film semble impressionner par sa propre audace.<br />
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Au tout début de la séquence, lorsque le chanteur converse à sa mère, il s'accompagne d'une main au piano, comme si la parole ne pouvait se suffire à elle-même.<br />
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Ensuite, les personnages incarnent des figures symboliques face à l'évolution du cinéma.<br />
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La mère est séduite par le son et la parole, tandis que le père, juif orthodoxe qui avait déjà chassé son fils du foyer familial pour avoir chanté dans un bar, interrompt de nouveau le chanteur par un "Stop" catégorique (0:51).<br />
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Symboliquement, le film bascule alors de nouveau vers le muet.<br />
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Le succès du <b>Chanteur de Jazz</b> enclenche la diffusion de cette révolution technologique dans le monde.<br />
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Toutes les salles cherchent à s'équipent du matériel permettant la diffusion du son, ce qui génère de nouveaux défis économiques et techniques pour l'industrie du cinéma : équipement des salles, non-universalité du parlant (traduction des dialogues), gestion du bruit du projecteur, sous-performance des micros...<br />
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<b>2. Le parlant</b><br />
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La Comédie Musicale devient l'emblème de ce nouvel âge d'or du cinéma et coïncide avec les désirs d'une Amérique qui cherche à surnager en pleine Grande Crise.<br />
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C'est notamment la grande époque de Fred Astaire (cf l'extrait ci-dessous du numéro de claquettes avec Ginger Rogers dans <b>Top Hat</b> (1935)).<br />
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Dans <b>Top Hat</b>, Astaire fait référence aux maîtres noirs du <i>Tap dance</i>.<br />
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Les claquettes sont intimement liées à l'histoire de l'Amérique et au jazz.<br />
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Ainsi, les prémices des claquettes viennent des techniques de communication employées par les esclaves importés en Amérique pour communiquer entre eux.<br />
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Le mélange de la gigue irlandaise et de la danse africaine donne naissance au <i>Tap dance</i> moderne.<br />
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Ce dernier se développe particulièrement dans les années 1920 avec l'apparition du jazz dont la musique s'accorde au rythme des claquettes.<br />
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Astaire a assisté aux performances des premiers maîtres du <i>Tap dance</i> tels que les frères Nicholas ou Bill Robinson, auquel il rendra hommage dans <b>Swingtime</b>.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUyLpQhfJMYVwyXZsEdKpYHJ9KIrrzcZEXLdw_WgCyuKfVOERS1WpohzRJp3fRDCuqLBg95BGhdS-_xnZv3H_iN3tgFHjWb5WYYi0ArzNwU_boTaWNYhnvqHrml-YTzohCi0FReiep3fw/s1600/fred-astaire-bojangles-swing-time.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUyLpQhfJMYVwyXZsEdKpYHJ9KIrrzcZEXLdw_WgCyuKfVOERS1WpohzRJp3fRDCuqLBg95BGhdS-_xnZv3H_iN3tgFHjWb5WYYi0ArzNwU_boTaWNYhnvqHrml-YTzohCi0FReiep3fw/s320/fred-astaire-bojangles-swing-time.jpg" width="264" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fred Astaire évoquant Bill Robinson // Swingtime<br />
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<tr><td class="tr-caption" style="text-align: center;">Bill Robinson // The Big Broadcast of 1936<br />
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Le jazz est une création des noirs américains et il est surprenant de ne pas les retrouver dans les Comédies musicales de l'époque.<br />
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C'est que l'Amérique est encore très ségrégationniste.<br />
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Même à l'époque du <i>Cotton Club,</i> les Noirs font le spectacle mais ne sont pas autorisés à y assister en tant que spectateur.<br />
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Au sud des Etats-Unis, on ne souhaite pas voir de Noirs à l'écran : les films sont remontés pour éliminer toute scène susceptible de les mettre en scène.<br />
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C'est pourquoi même lorsque les films sont tournés dans le Nord, les Noirs occupent des fonctions mais n'incarnent pas de rôles réels ce qui permet de les retirer facilement de l'écran.<br />
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Ci-dessous un numéro impressionnant des Nicholas Brothers dans <b>Stormy Weather </b>(1943), un des premiers films mettant en scène des musiciens et danseurs afro-américains dans leur propre rôle.</div>
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<b>3. Symphonisme hollywoodien et musique impressionniste : des musiques pour l'image</b><br />
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<i>Le symphonisme hollywoodien</i><br />
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De nombreux compositeurs européens, notamment germaniques, ont rejoint l'Amérique, motivés par la menace nazie ou le développement de leurs carrières.<br />
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Ces artistes importent leurs goûts pour l'opéra européen postromantique qui donnera naissance au symphonisme hollywoodien.<br />
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Ce courant musical majeur du cinéma se caractérise par le synchronisme de la musique avec les images et par une volonté de mettre en valeur les sentiments représentés à l'écran.<br />
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Parmi eux, des compositeurs comme Max Steiner, élève de Brahms et de Malher, qui illustrera de sa musique des classiques tels que <b>King Kong </b>(1933), <b>Casablanca</b> (1942) ou <b>Gone with the Wind</b> (1939).<br />
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Le leitmotiv wagnerien est un motif structurant du symphonisme hollywoodien.</div>
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Il consiste en un thème musical récurrent correspondant à un lieu, un personnage ou une action particulière, qui donne une dimension dramatique au film.</div>
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Par exemple, Casablanca met en scène plusieurs leitmotiv, dont le plus évident est le thème "As Time Goes By" (interprété par Sinatra) pour illustrer l'amour entre Rick (Bogart) et Isla (Bergman).</div>
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Cette musique apparaîtra à chaque rencontre des personnages (ou disparaitra dans les moments de tension), pour souligner leurs émotions.<br />
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Le leitmotiv wagnerien est abondamment utilisé dans <b>Star Wars</b> pour accompagner les principaux personnages ou les éléments narratifs récurrents (la Marche impériale, la Force, le Côté Obscur...).<br />
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Comme son nom l'indique, le leitmotiv wagnérien a été inventé par Wagner pour sa <b>Tétralogie de l'Anneau du Nibelung</b> qui révolutionna l'opéra pour en faire un "art total", préfigurant le cinéma.</div>
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<i>Persistence du symphonisme hollywoodien</i></div>
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Certains codes du symphonisme hollywoodien classique seront recyclés dans le cinéma contemporain des années 70 à nos jours, dans un courant musical que l'on peut qualifier de néo-hollywoodisme, dont le leader est John Williams (grand fan de Steiner), compositeur entre autres des musiques de la série <b>Star Wars </b>(qualifiés également de<i> Space Opera</i>) ou des <b>Dents de la Mer</b>.</div>
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Autres représentants majeurs de ce courant : Jerry Goldsmith (<b>The Omen, Planet of the Apes, Basic Instinct</b>...), Franz Waxman (<b>The Bride of Frankenstein, Rebecca, Rear Window</b>), Maurice Jarre (<b>Laurence d'Arabie, Docteur Jivago, Witness, Ghost</b>)...</div>
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On peut rattacher à ce courant le lyrisme épique introduit par la musique du <b>Seigneur des Anneaux</b> par Howard Shore.</div>
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La bande son toute wagnérienne d'<b>Inception </b>de Hans Zimmer fait bien sûr partie de la bande.<br />
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<i>L'impressionisme musical</i><br />
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Tous les réalisateurs n'aiment pas la musique considérée comme trop dirigiste au risque d'écraser l'image.<br />
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Certains l'excluent et ne font usage que du son, comme Renoir dans <b>la Chienne</b> ou Fritz Lang dans<b> M Le Maudit</b>.<br />
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Dans le <b>Scarface</b> original de Hawks, la première séquence du meurtre du Gros louis est soulignée par un simple sifflotement du gangster, avant et pendant l'exécution.<br />
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L'absence de musique signifie ici une volonté du réalisateur de ne pas surjouer l'effet dramatique par la musique mais aussi de montrer l'absence d'émotion du tueur, la gratuité d'un crime qui ne peut être figurée par une quelconque mélodie.<br />
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C'est l'insensibilité du mal qui est restitué par ce sifflement.<br />
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Idem dans <b>M Le Maudit</b> qui siffle à l'approche de ses victimes avant chacun de ses meurtres, comme pour signifier la pulsion de mort et de mal qui le submerge.<br />
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Pour autant, si la musique en tant que telle n'est pas employée, la bande-son dans toute sa profondeur est utilisée pour créer une continuité narrative, comme expliqué dans l'analyse de séquence ci-dessous:<br />
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<i>Renouvellement</i><br />
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Dans les années 40 et 50, le classicisme hollywoodien est quelque peu bousculé par l'irruption du jazz.<br />
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Le symphonisme reste néanmoins très présents dans les films les plus <i>mainstream</i>.<br />
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<a href="http://sensinterdits.blogspot.com/2011/02/bernard-herrmann.html">Bernard Herrmann</a> renouvelle le genre avec son travail sur les oeuvres d'Hitchcock.<br />
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En témoigne la noirceur de la musique accompagnant l'ouverture de <b>Citizen Kane</b>, son premier film hollywoodien, qui fait se succéder et s'imbriquer plusieurs thèmes illustrant le conflit entre l'enfance et l'âge adulte.<br />
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Hermann s'inspire de Debussy et de Ravel pour une musique impressionniste aux timbres très français.<br />
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La musique de film est également marquée, à la fin des années 40, par sa commercialisation auprès du grand public avec l'irruption des 33 tours.</div>
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<b>4. La musique dans le cinéma français contemporain : vers un symphonisme intimiste ou l'art du compromis</b><br />
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Initialement, en France, on utilisait assez peu la musique classique hollywoodienne pour accompagner les films, car cette musicalité est associée à l'Allemagne, puissance ennemie.</div>
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On privilégiait plutôt une musique présentant moins d'ampleur, plus sensible au timbre des instruments.</div>
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<span class="Apple-style-span" style="font-family: inherit;">Contrairement au style hollywoodien démonstratif, cette musique cherche à rendre</span><span style="color: #231e20;"> « sensible le rythme interne de l’image sans pour cela s’efforcer d’en traduire le contenu sentimental </span><span style="color: #231e20;">».</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Pourtant, comme l'explique </span>Cécile Carayol dans son essai <b>Une musique pour l'image</b> (Presses Universitaires de Rennes, Note 1), <span class="Apple-style-span" style="font-family: inherit;">depuis la fin des années 1990, le cinéma français semble succomber au symphonisme hollywoodien à travers un retour à la tradition des mélodrames </span><span style="font-family: inherit;">américains des années 30 à 50 (</span><span style="font-family: inherit;"><b>Angel, Huit femmes</b></span><span style="font-family: inherit;">) ou l'assimilation des codes musicaux du néo-hollywoodisme (</span><span style="font-family: inherit;"><b>Les Rivières Pourpres, Nid de Guêpes</b></span><span style="font-family: inherit;">…). </span><br />
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<span style="font-family: inherit;">Mais le plus original procède d'une tentative du cinéma d'auteur français contemporain d'opérer une synthèse entre le néo-hollywoodisme et la tradition de musique intimiste française dans ce que l'on peut nommer un symphonisme intimiste.</span><br />
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<i><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;"><span class="Apple-style-span" style="font-style: normal;">Je ne saurai mieux expliquer que Michel Chion :</span> "Dans le cas présent, « symphonisme » retient des caractéristiques hollywoodiennes son utilisation d’un orchestre
symphonique, une écriture harmonique postromantique et une musique qui développe une empathie émotionnelle avec l’action, tandis qu’« intimiste » s’inscrit
davantage dans l’héritage de la musique du cinéma français avec une orchestration
qui privilégie la « transparence » des timbres, un lyrisme peu expansif et des interventions musicales ponctuelles qui se détachent d’un synchronisme trop descriptif.
« Intimiste » évoque également une concision et une forme d’épure qui se manifestent par l’intégration du minimalisme</span><span style="font-family: 'AGaramondPro'; font-size: 7.000000pt; vertical-align: 4.000000pt;"> </span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">et par une colorisation instrumentale issue
des techniques d’écriture impressionnistes</span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">. "</span></i></div>
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<span style="font-family: 'AGaramondPro';">Pour illustrer le courant du symphonisme intimiste, on peut citer les partitions de Philippe Rombi pour les films de François Ozon comme </span><span style="font-family: 'AGaramondPro';"><b>Les Amants
criminels</b></span><span style="font-family: 'AGaramondPro'; font-style: italic;"> </span><span style="font-family: 'AGaramondPro';">(1998)... :</span><br />
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<span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;"></span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt; font-style: italic;">... </span><span style="font-family: 'AGaramondPro'; font-size: 11pt;"><b>Sous le sable</b></span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt; font-style: italic;"> </span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">(2000) ... :</span><br />
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<span style="font-family: 'AGaramondPro'; font-size: 11.000000pt; font-style: italic;">... </span><span style="font-family: 'AGaramondPro'; font-size: 11pt;"><b>Swimming Pool</b></span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt; font-style: italic;"> </span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">(2002)... : </span><br />
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<span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">... ou plus récemment <b>Dans la Maison</b> (2012) et <b>Jeune et Jolie</b> (2013) :</span><br />
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<span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">On peut également citer les compositions d'Alexandre Desplat pour Xavier Giannoli avec </span><span style="font-family: 'AGaramondPro'; font-size: 11pt;"><b>Les Corps impatients</b></span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt; font-style: italic;">
</span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">(2002) (à noter la musique de la bande annonce qui paraphrase <b><a href="http://www.youtube.com/watch?v=ZWmrfgj0MZI">Unfinished Sympathy</a></b> de Massive Attack) ou pour Jacques Audiard avec </span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt; font-style: italic;"><b><span class="Apple-style-span" style="font-style: normal;">Sur mes lèvres</span></b> </span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">(2001) et </span><span style="font-family: 'AGaramondPro'; font-size: 11pt;"><b>De battre mon cœur
s’est arrêté</b></span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt; font-style: italic;"> </span><span style="font-family: 'AGaramondPro'; font-size: 11.000000pt;">(2004) :</span><br />
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<span style="font-family: inherit;">Le symphonisme intimiste accompagne subtilement l'intrigue de ces films centrés sur l'intériorité de personnages troublés par leur fantasmes, contribuant à créer un trouble entre le monde réel et </span>l'imaginaire.<br />
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Note 1 : <a href="http://www.pur-editions.fr/couvertures/1335518107_doc.pdf">La préface écrite par Michel Chion</a> pour l'ouvrage Une musique pour l'image aux Presses Universitaires de Rennes est un prolongement intéressant de cet article.</div>
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Je me suis inspiré de la table des matières de ce livre pour effectuer quelques recherches et compléter mon article<br />
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Note 2 : quelques <a href="http://www.toutestneutral.com/2010/07/top-10-des-themes-de-films-avec-un-mec-qui-siffle/">films emblématiques</a> dans l'utilisation du sifflement comme "musique de film".<br />
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Note 3 : deux liens vers des sites consacrés à la musique de film :<br />
<a href="http://www.underscores.fr/">http://www.underscores.fr/</a><br />
<a href="http://www.cinezik.org/index.php">http://www.cinezik.org/index.php</a></div>
JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-67362732750078566102013-08-02T15:24:00.000-07:002013-08-02T15:24:12.790-07:00The Motors // Airport (1978)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/SU5buMgojTo" width="420"></iframe><br />
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<br />JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-73723369984171270052013-07-27T04:45:00.000-07:002013-07-27T04:45:22.187-07:00Yang Yongliang // The Silent Valley<iframe frameborder="0" height="270" src="http://www.dailymotion.com/embed/video/xyr9j3" width="480"></iframe><br /><a href="http://www.dailymotion.com/video/xyr9j3_rencontre-avec-yang-yongliang-a-l-occasion-de-son-exposition-the-silent-valley-a-la-galerie-paris-be_creation" target="_blank">Rencontre avec Yang Yongliang à l'occasion de...</a> <i>par <a href="http://www.dailymotion.com/Actuphoto" target="_blank">Actuphoto</a></i><br />
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<br />JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com1tag:blogger.com,1999:blog-3438443715727614999.post-269368385887981692013-05-31T03:05:00.002-07:002013-05-31T03:07:59.574-07:00Le Mépris - Générique // Georges Delerue (1963)<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/kNL-Sh9sGno?list=PLF2ayhcb2yRXc5R9EtTywXXfuZfo-NrkT" width="560"></iframe></div>
JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-12607002356966075622013-04-21T06:01:00.002-07:002013-04-21T06:02:51.943-07:00Philipp Keel's Simple Diary™<br />
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<a href="http://3.bp.blogspot.com/--JvJ27vihrk/UXPivksxI5I/AAAAAAAABoA/jl4RPJr9hmE/s1600/default_va_simple_diary_vol_1_all_1109202130_id_271593.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/--JvJ27vihrk/UXPivksxI5I/AAAAAAAABoA/jl4RPJr9hmE/s400/default_va_simple_diary_vol_1_all_1109202130_id_271593.jpg" width="396" /></a></div>
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<a href="http://1.bp.blogspot.com/-x-gcllr_Ij4/UXPi2p22-OI/AAAAAAAABoI/YPL9lMbbgDs/s1600/page_va_keel_simple_diary_vol_1_01_0906301748_id_169512.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="283" src="http://1.bp.blogspot.com/-x-gcllr_Ij4/UXPi2p22-OI/AAAAAAAABoI/YPL9lMbbgDs/s400/page_va_keel_simple_diary_vol_1_01_0906301748_id_169512.jpg" width="400" /></a></div>
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Une nouvelle <a href="http://www.taschen.com/pages/fr/catalogue/taschen_specials/all/06721/facts.keels_simple_diary_premier_volume_vert_citron.htm">vision du journal intime</a> par <a href="http://www.taschen.com/pages/fr/catalogue/home/index.accueil.htm">Taschen</a>.JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com2tag:blogger.com,1999:blog-3438443715727614999.post-30958779527463269162013-04-21T05:42:00.001-07:002013-04-21T06:02:14.586-07:00Partie de campagne // Jean Renoir<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.dailymotion.com/video/xjkr30_partie-de-campagne-1936_shortfilms" target="_blank">"Partie de Campagne" (1936)</a> <i>par <a href="http://www.dailymotion.com/lemans88" target="_blank">lemans88</a></i></div>
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<b>Historique du film</b></div>
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<b>Partie de campagn</b>e ou <b>Une partie de campagne </b>est un film de Jean Renoir tourné durant l'été 1936 (Note 1).</div>
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Il est une adaptation d'une nouvelle de Maupassant de 1881, qui fait partie du recueil de <b>La Maison Tellier</b>.</div>
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Le film n'est sorti qu'en 1946, suite à de multiples difficultés techniques, financières et humaines.</div>
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Si quelques plans ont été remplacés par des cartons, le montage final de 40 minutes est tout de même considéré comme une oeuvre achevée par le réalisateur et la critique.</div>
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<i>L'équipe : une famille élargie</i></div>
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<b>Partie de campagne</b> parle de la famille, et c'est aussi un film de famille.</div>
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Au sens propre tout d'abord puisque Jean Renoir incarne le Père Poulain (Note 2), l'aubergiste qui accueille les deux canotiers et le dîner sur l'herbe de la famille Dufour.</div>
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Son fils Alain interprète le jeune garçon à la canne à pêche aperçu au début du film.</div>
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Marguerite, sa compagne qui est également la monteuse de ses films, tient le rôle de la servante dans l'auberge.</div>
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Au sens figuré, le film rassemble toute une communauté d'artistes autour de Renoir.</div>
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Parmi les assistants réalisateurs, on peut compter Luchino Visconti, Jean Becker ou Henri Cartier-Bresson.</div>
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Ce dernier fait également de la figuration comme séminariste aux côtés de l'écrivain Georges Bataille, l'époux de l'actrice Sylvia Bataille (qui deviendra la compagne de Jacques Lacan) qui interprète le personnage d'Henriette.</div>
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<tr><td class="tr-caption" style="text-align: center;">Partie de campagne // A droite Georges Bataille, figurant<br />
Au centre Henri Cartier Bresson, assistant et figurant</td></tr>
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<b>Résumé</b></div>
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L'action se déroule durant l'été 1860. M. Dufour, un quincailler parisien, part en famille passer une "journée à la campagne", en compagnie de sa belle-mère, de sa femme, de sa fille Henriette et de son commis et futur gendre Anatole.</div>
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Ils font halte à l'auberge du Père Poulain pour un déjeuner sur l'herbe.</div>
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Henri et Rodolphe, deux canotiers, décident de courtiser Mme Dufour et Henriette.</div>
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Ils emmènent ces dames faire une promenade en barque.</div>
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L'audacieux Rodolphe entraîne la mère dans un fourré tandis qu'Henriette cède au timide Henri sur une île.</div>
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La pluie interrompt l'idylle naissante.</div>
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Plusieurs années plus tard, Henriette, mariée à Anatole, revient sur les lieux et croise Henri.<br />
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Mais que s'est-il passé entre Henriette et Henri?</div>
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<b>Analyse</b></div>
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Derrière ses apparences de conte léger, d'abord champêtre et comique, puis franchement menaçant et dramatique, <b>Partie de campagne</b> est un film d'une grande richesse sur le plan du langage au cinéma. </div>
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Chaque image révèle une dimension métaphorique, contient des symboles ou s'appuie sur une technique permettant d'y ajouter du sens et ouvrant la porte à de multiples interprétations.</div>
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Comme l'écrit un contributeur du blog <a href="http://partiedecampagne.blogspot.com/">Partie de campagne</a> (Note 3), c'est peut être une définition de l'art (visuel) que de pouvoir construire à partir d'une image plusieurs significations.</div>
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Tentons d'illustrer la profondeur de ce chef d'oeuvre à travers 7 images.<br />
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<b>1. Le trouble de la rivière</b></div>
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Le film commence par un trouble.</div>
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Dans les premières images, on ne sait pas si l'impression de mouvement se dégage du courant de la rivière ou de notre propre mouvement.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
C'est un écho au trouble de la fin du film, lorsqu'Henriette recroise Henri<br />
A-t-elle été violée?<br />
Est-elle rongée par le regret d'avoir épousé Anatole plutôt qu'Henri? <br />
<br /></div>
<div style="text-align: justify;">
Le paysage idyllique qui nous est présenté est rapidement cassé par le trait de la canne à pêche (de l'homme qui "drague"?) du jeune garçon (joué par le fils de Renoir lui-même) à qui la bande de parisiens demande son chemin.</div>
<div style="text-align: justify;">
<br />
La métaphore de la rivière continue d'être filée durant tout le film.<br />
<br />
Henri tente de séduire Henriette sur une barque qui glisse sur l'eau.<br />
<br />
Leur union sera conclue sur une île bordée par la rivière.<br />
<br />
Après cette séquence, la tempête s'abat sur la campagne et la surface de l'eau est transpercée par les larmes de la pluie.<br />
<br />
Enfin, lorsqu'Henriette retourne sur l'île avec Anatole, c'est sur une morne image du cours de la rivière que s'inscrit la phrase "Des années ont passé avec des dimanches tristes comme des lundis".<br />
<br />
<br />
<div style="text-align: center;">
<a href="http://3.bp.blogspot.com/-jas9KhfM83I/URYrepcMLUI/AAAAAAAABkM/Nr2XURbLjLc/s1600/tumblr_m0nt3w4z1b1qzh6eto1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="http://3.bp.blogspot.com/-jas9KhfM83I/URYrepcMLUI/AAAAAAAABkM/Nr2XURbLjLc/s400/tumblr_m0nt3w4z1b1qzh6eto1_500.jpg" width="400" /></a></div>
</div>
<div style="text-align: justify;">
<br />
<br /></div>
<div style="text-align: justify;">
<b>2. La fenêtre, mise en abime du regard</b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Les deux canotiers séducteurs assistent à l'arrivée de la bande dans le cadre d'une fenêtre, brillante métaphore de la mise en abîme cinématographique qui fait de nous tous des spectateurs voyeurs.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-F-g8h18FbPM/URYrfwawrPI/AAAAAAAABkg/bpa-_MvBDJE/s1600/ventana.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="http://4.bp.blogspot.com/-F-g8h18FbPM/URYrfwawrPI/AAAAAAAABkg/bpa-_MvBDJE/s400/ventana.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Partie de campagne // La fenêtre</td></tr>
</tbody></table>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>3. La balançoire : l'enivrement des sens</b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
La séquence de la balançoire de <b>Partie de campagne</b> est devenu un classique du cinéma français (Note 4).<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-vjAlnARdEKw/URYrV1tFeVI/AAAAAAAABic/OX4mRn_03zo/s1600/columpio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-vjAlnARdEKw/URYrV1tFeVI/AAAAAAAABic/OX4mRn_03zo/s320/columpio.jpg" width="234" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Partie de campagne // La balançoire</td></tr>
</tbody></table>
<br /></div>
<div style="text-align: justify;">
Elle est citée dans de nombreux films tels que <b>Cléo de 5 à 7</b> d'Agnès Varda, <b>La Lune dans le Caniveau</b> de Jean-Jacques Beineix ou <b>Les Roseaux Sauvages</b> d'André Téchiné.<br />
<br /></div>
<div style="text-align: justify;">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-oqHi1fkPIXQ/URY4yvuC5EI/AAAAAAAABlE/v-MHdt0e-H4/s1600/cleozer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-oqHi1fkPIXQ/URY4yvuC5EI/AAAAAAAABlE/v-MHdt0e-H4/s1600/cleozer.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: center;"><tbody>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Variations sur la balançoire // Cléo de 5 à 7</td></tr>
</tbody></table>
</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCimkLBh3DDYOc6t5iOvjItkpLAlddQIjm8BfO4VutiC9ahnN9fjZj7NYg2wnh3oJTbAMO01reuK59tbvWerJoYzq60Lrei9jfIJo8i9LkA_kqhRhgM30V2fYKgBaq9j551T8TGiTjkQo/s1600/Lune-caniveau-360.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCimkLBh3DDYOc6t5iOvjItkpLAlddQIjm8BfO4VutiC9ahnN9fjZj7NYg2wnh3oJTbAMO01reuK59tbvWerJoYzq60Lrei9jfIJo8i9LkA_kqhRhgM30V2fYKgBaq9j551T8TGiTjkQo/s320/Lune-caniveau-360.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Variations sur la balançoire // La Lune dans le caniveau</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE2u4wlP9h1rVe6tbX1srEGqKGe1CfW1Tw9Mq6kRgVLheyVfMnU6mLdd1fdDq7hfBIYNDYLePv2HlAfhG7ZEyh01iJ7JMQf-0ecRpoASQYEAz3OP1BC-j7Hy30mir4mvMO1UpjnYNwwCo/s1600/roseaux-360.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE2u4wlP9h1rVe6tbX1srEGqKGe1CfW1Tw9Mq6kRgVLheyVfMnU6mLdd1fdDq7hfBIYNDYLePv2HlAfhG7ZEyh01iJ7JMQf-0ecRpoASQYEAz3OP1BC-j7Hy30mir4mvMO1UpjnYNwwCo/s320/roseaux-360.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding-bottom: 6px; padding-left: 6px; padding-right: 6px; padding-top: 6px; text-align: center;"><tbody>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">Variations sur la balançoire // Les Roseaux Sauvages</td></tr>
</tbody></table>
</span></td></tr>
</tbody></table>
</div>
<div style="text-align: justify;">
La balançoire de Jean Renoir évoque bien sûr la balançoire du père, Jean-Auguste Renoir (Note 5).<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-sOWD8LvxMdQ/URYreVNvMzI/AAAAAAAABkI/9-eAoqxm9I4/s1600/swing_file0008_r1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-sOWD8LvxMdQ/URYreVNvMzI/AAAAAAAABkI/9-eAoqxm9I4/s320/swing_file0008_r1.jpg" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">La balançoire // Auguste Renoir</td></tr>
</tbody></table>
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;"><br /></span></span></i></span></span>
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;">La scène évoque également </span></span></i></span><span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;"><b>Hasards heureux de l'escarpolette,</b></span></span></i></span><span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;"> le tableau de Fragonard.</span></span></i></span><br />
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;"><br /></span></span></i></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-J12kH3HpgGM/USjUEGR4C6I/AAAAAAAABl0/bSi_OsFToeU/s1600/468px-Fragonard%252C_The_Swing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://1.bp.blogspot.com/-J12kH3HpgGM/USjUEGR4C6I/AAAAAAAABl0/bSi_OsFToeU/s640/468px-Fragonard%252C_The_Swing.jpg" width="497" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: PTSansRegular; font-size: 13px; line-height: 20px;"><span style="font-weight: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Hasards heureux de l’escarpolette // </span></span><span class="Apple-style-span" style="font-family: PTSansRegular; font-size: 13px; line-height: 20px;"><span style="font-weight: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Fragonard</span></span></span></td></tr>
</tbody></table>
<span class="Apple-style-span" style="font-family: PTSansRegular; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 20px;"><span class="Apple-style-span" style="font-family: Times;"><span class="Apple-style-span" style="font-size: small; line-height: normal;"><br /></span></span></span></span></div>
<div style="text-align: justify;">
Derrière la description naturaliste d'une scène galante, se cache l'affrontement entre deux symboles. </div>
<div style="text-align: justify;">
Le chien qui aboie, en bas à droite de la toile, représente la fidélité.</div>
<div style="text-align: justify;">
Il répond au cupidon à la gauche du tableau, symbole d'infidélité.<br />
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;"></span></span></i></span></span><br />
<br />
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;">La scène de la balançoire illustre l'enivrement, encore innocent, des sens d'Henriette au contact d'une nature idyllique.</span></span></i></span></span><br />
<br />
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;">La caméra, fixée sur la balançoire, nous entraîne dans le mouvement et encourage l'identification à la jeune femme.</span></span></i></span></span><br />
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;"><br /></span></span></i></span></span>
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: small;"><span class="Apple-style-span" style="font-size: 13px; line-height: 20px;"><i><span class="Apple-style-span" style="color: black; font-family: Times;"><span class="Apple-style-span" style="font-size: small; font-style: normal; line-height: normal;">La séquence préfigure également par le mouvement de va-et-vient ou le plan fixe sous les jupons d'Henriette, l'accouplement à venir avec Henri.</span></span></i></span></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="color: #333333; font-family: PTSansRegular; font-size: x-small; line-height: 20px;"><i><br /></i></span></div>
<div style="text-align: justify;">
Henriette explique elle-même cette confusion des sens à sa mère, lors de la discussion sous le cerisier (11:10), en décrivant le <a href="http://fr.wikipedia.org/wiki/Sentiment_oc%C3%A9anique">sentiment océanique</a> (la volonté de faire un avec le monde) qui la bouleverse.<br />
<br />
<br />
<b>4. Le satyre</b><br />
<br />
Par delà la scène de la balançoire, <b>Partie de campagne</b> multiple les allusions sexuelles.<br />
<br />
Certaines sont explicites et univoques, telles les poses faunesques de satyre de Rodolphe avec Mme Dufour.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-KF0zycJCtE8/URYrcPPeEuI/AAAAAAAABjk/F-oOeyjOkxM/s1600/partiedecampagne5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://1.bp.blogspot.com/-KF0zycJCtE8/URYrcPPeEuI/AAAAAAAABjk/F-oOeyjOkxM/s320/partiedecampagne5.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rodolphe satyre 1</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-U9634LwaoOw/URYriuA9tyI/AAAAAAAABkw/l0sWMOKSpXY/s1600/tumblr_m8i8weR4g91rq5e9jo1_500.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="237" src="http://1.bp.blogspot.com/-U9634LwaoOw/URYriuA9tyI/AAAAAAAABkw/l0sWMOKSpXY/s320/tumblr_m8i8weR4g91rq5e9jo1_500.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rodolphe satyre 2</td></tr>
</tbody></table>
<br />
D'autres plus subtiles font appel aux techniques du cinema. Ainsi, lorsque Rodolphe entraîne Mme Dufour dans un fourré, leur course est accompagnée d'un travelling soulignant la consommation du désir (32:49).<br />
<br />
<br />
<b>5. Rayures contre rayures</b><br />
<br />
Renoir aime mettre en scène dans ses films le combat entre l'ordre et le désordre.<br />
<br />
La lutte entre l'ordre bourgeois et l'anarchie prolétaire, la tentation de la liberté et le contrôle de l'autorité parentale et sociale s'incarne parfaitement dans le personnage d'Henriette.<br />
<br />
Lorsque nous faisons la connaissance des deux canotiers, Henri semble prôner la prudence.<br />
Il tente de raisonner les pulsions séductrices de Rodolphe.<br />
<br />
Ce dernier est habillé d'un marinière aux rayures horizontales, figures de plaisir et de jouissance tandis qu'Henri est muni d'une veste aux rayures verticales qui se réfèrent à l'ordre.<br />
<br />
Néanmoins, il ne porte sa veste que sur ces épaules, comme s'il voulait éviter d'être contaminé par ce semblant de discipline...<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-UISDF0Nlmps/URYrZzvbrtI/AAAAAAAABjQ/zgqxnsL72uA/s1600/los+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="291" src="http://3.bp.blogspot.com/-UISDF0Nlmps/URYrZzvbrtI/AAAAAAAABjQ/zgqxnsL72uA/s400/los+4.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henri et Rodolphe</td></tr>
</tbody></table>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>6. Le rossignol</b><br />
<br />
L'intervention du rossignol dans la nouvelle de Maupassant est plus ambigu qu'il n'y parait.<br />
<br />
Le chant du rossignol exprime l'érotisme de la situation, le chant du séducteur qui cherche à attirer sa femelle.<br />
<br />
Mais il ne faut pas oublier que dans la mythologie et la littérature, le rossignol, que l'on entend principalement la nuit, symbolise tristesse et nostalgie.<br />
<br />
Ainsi, dans la mythologie grecque, <a href="http://fr.wikipedia.org/wiki/Philom%C3%A8le_et_Procn%C3%A9">Philomèle</a> se venge de son violeur en lui faisant dévorer son propre enfant, avant de se métamorphoser en rossignol...<br />
<br />
Au fur et à mesure que l'image se rapproche du rossignol (via <a href="http://www.linternaute.com/video/magazine/montage-video/tutoriel-pratique/conseils_raccords/1-raccord-dans-l-axe.shtml">un raccord dans l'axe</a>), le cadre se resserre également sur les deux amants (31:32 ; 32:20).<br />
<br />
A la vue du rossignol, avant l'étreinte avec Henri, Henriette écrase déjà une première larme, source de bien des interprétations (Note 6).<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-u2z9FfG8hEU/UVyaUqBFN4I/AAAAAAAABnw/u-4lgcMVy6Q/s1600/9c768348ed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-u2z9FfG8hEU/UVyaUqBFN4I/AAAAAAAABnw/u-4lgcMVy6Q/s1600/9c768348ed.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Une première larme</td></tr>
</tbody></table>
<br />
<b>7. La larme</b></div>
<div style="text-align: justify;">
<br />
A l'instar de la séquence de la balançoire, l'image de la larme d'Henriette, filmée en gros plan face caméra, est devenu un classique du 7ème art.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-nqOqaAumc4E/URYrYoA3IaI/AAAAAAAABi8/ZlNxDshKO08/s1600/montaje+escena+beso.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="297" src="http://4.bp.blogspot.com/-nqOqaAumc4E/URYrYoA3IaI/AAAAAAAABi8/ZlNxDshKO08/s400/montaje+escena+beso.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Partie de campagne // Regard caméra</td></tr>
</tbody></table>
<br />
Cette scène brise un tabou du cinéma en permettant au personnage de fixer la caméra, ce qui était exceptionnel pour l'époque (Note 7).<br />
<br />
A partir de cette simple image, le film bascule définitivement de la comédie, aux limites du burlesque (l'analogie entre les personnages de M. Dufour et Anatole et de Laurel et Hardy est évidente), vers le drame.<br />
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Cette transgression de la frontière entre le spectateur et le spectacle a eu une influence énorme sur le cinéma mondial.</div>
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Bergman utilise le même procédé dans <b><a href="http://www.lesinrocks.com/cinema/films-a-l-affiche/un-ete-avec-monika/">Un été avec Monika</a></b> qui raconte l'histoire d'une jeune femme destinée à un homme qu'elle ne désire pas. Avant de se soumettre à l'ordre social, elle passe un fugace été de plaisir en compagnie de son amoureux (l'analogie scénaristique avec <b>Partie de Campagne</b> est assez claire).</div>
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Juste avant ce retour à la normale, la jeune héroïne nous administre ce regard caméra, à la fois rebelle et fataliste, comme pour interroger le spectateur sur sa part de responsabilité dans son abdication.</div>
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De même, à la fin des <b><a href="http://institutfrancais.de/cinefete/IMG/pdf/400.pdf">400 Coups</a></b> de François Truffaut, le regard lourd de questionnement moral d'Antoine Doinel, qui vient de s'échapper d'un centre pour mineurs délinquants, se plante dans les yeux du spectateur.<br />
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On peut s'interroger sur l'origine de cette deuxième larme, après celle du rossignol.<br />
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La larme exprime-t-elle une joie liée à la découverte de la puissance de l'orgasme ou au contraire la tristesse d'Henriette face à l'évanescence du plaisir, au présentiment de l'ennui de la vie à venir avec Anatole?<br />
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Une autre interprétation possible, plus répandue dans les milieux anglo-saxons, est celle de la souffrance, de la capitulation face au viol.<br />
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Le travelling arrière sur la rivière, transpercée de toute part par l'orage, qui succède au plan de la larme, semble répondre à cette question.<br />
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Ce travelling, pendant symétrique du début du film, suggère qu'après la découverte du plaisir et la transgression de l'ordre social avec Henri, la vie d'Henriette ne sera qu'un retour en arrière, une régression vers l'ennui du confort bourgeois.<br />
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C'est aussi ce que semble suggérer l'entrevue finale entre les deux amants, irrémédiablement séparés par des champs/contrechamps.</div>
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Vie au conditionnel, passé définitif.<br />
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<b>Notes :</b><br />
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Note 1 : Jean Renoir parle de son film.<br />
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Son rapport à Maupassant, la question de la liberté dans l'adaptation et le plagiat, le rôle du hasard dans le tournage.<br />
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Note 2 : Le personnage de l'aubergiste n'existe pas dans le texte original de Maupassant. </div>
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Sa fonction est plus symbolique que narrative : c'est un incitateur au plaisir des deux canotiers, comme le décrit <a href="http://www.cineclubdecaen.com/realisat/renoir/partiedecampagne.htm">la critique du Ciné-Club de Caen</a>.</div>
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Note 3 : <a href="http://partiedecampagne.blogspot.com/">Tout un blog</a> est consacré à <b>Partie de campagne</b> par le collectif <a href="http://lasagessedelimage.blogspot.com/2005/08/contact.html">La Sagesse de l'image</a>. </div>
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Chaque image y est âprement débattue par les contributeurs, illustrant la profondeur du film de Renoir.</div>
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Note 4 : Je recommande à cet égard la visite du site de l'artiste vidéaste <a href="http://www.laurentfievet.com/fr/">Laurent Fiévet </a>qui explore dans son oeuvre<a href="http://www.laurentfievet.com/fr/aworks/?c=08swing-high-swing-low"> Swing High, Swing Low</a> la figure de la balançoire au cinéma à travers une quarantaine de montages.<br />
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Note 5 : Le Ciné-club de Caen détaille <a href="http://www.cineclubdecaen.com/realisat/renoir/partiedecampagne.htm">les multiples références de Partie de campagne à la peinture impressionniste</a> en juxtaposant des scènes du film et des peintures de Jean-Auguste Renoir.</div>
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Note 6 : à ce sujet, on trouve ici une contribution utile sur ces plans rapprochés par le Centre National de Documentation Pédagogique : <a href="http://www.cndp.fr/mag-film/les-films/partie-de-campagne/plans-rapproches.html">Plans rapprochés</a>.<br />
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Note 7 : Tout sur le <a href="http://site-image.eu/index.php?id=446&page=film&partie=glossaire">regard caméra</a>, doctement expliqué par le site Transmettre le cinéma.<br />
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NDLR :<br />
Cet article résume la passionnante intervention de Laurent Jullier suite à la diffusion de <b>Partie de Campagne</b> à la Cinémathèque de Luxembourg, dans le cadre de sa conférence <span class="Apple-style-span" style="color: #222222; line-height: 18px;"><b><span class="Apple-style-span" style="font-family: inherit;"><a href="http://www.blogger.com/blogger.g?blogID=3438443715727614999#editor/target=post;postID=6003695758220452422;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=9;src=postname">Qu'est ce que le langage du cinéma?</a>, </span></b></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="color: #222222;">leçon inaugurale du cycle</span><span class="Apple-style-span" style="font-family: inherit;"> </span><b><a href="http://www.vdl.lu/Culture+et+Loisirs/Art+et+Culture/Cin%C3%A9math%C3%A8que/Du+Travelling+au+MacGuffin.html">Du Travelling au MacGuffin - Tout le langage du cinéma en 10 leçons</a></b> d</span><span class="Apple-style-span" style="color: #222222;">e l'</span><a href="http://www.blogger.com/posts.g?blogID=3438443715727614999&searchType=ALL&txtKeywords&label=Universit%C3%A9+Populaire+du+Cin%C3%A9ma" style="color: #2288bb; text-decoration: none;">Université Populaire du Cinéma</a><span class="Apple-style-span" style="color: #222222;">.</span></span><br />
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JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-76859672955043140542013-03-28T09:58:00.002-07:002013-03-28T09:59:38.145-07:00Arte // Real Humans<object allowscriptaccess="always" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=10,0,0,0" height="303" id="playerArte" width="450"><param name="allowFullScreen" value="true" /><param name="allowScriptAccess" value="always" /><param name="quality" value="high"><param name="movie" value="http://videos.arte.tv/videoplayer.swf?mode=prod&videoId=7385240&configFileUrl=http%3A%2F%2Fvideos%2Earte%2Etv%2Fcae%2Fstatic%2Fflash%2Fplayer%2Fconfig%2Exml&videorefFileUrl=http%3A%2F%2Fvideos%2Earte%2Etv%2Ffr%2Fdo%5Fdelegate%2Fvideos%2Freal%2Dhumans%2D100%2Dhumain%2Dbande%2Dannonce%2D%2D7385240%2Cview%2CasPlayerXml%2Exml&localizedPathUrl=http%3A%2F%2Fvideos%2Earte%2Etv%2Fcae%2Fstatic%2Fflash%2Fplayer%2F&lang=fr&autoPlay=true&admin=false&embed=true&autoPlay=false"><embed src="http://videos.arte.tv/videoplayer.swf?mode=prod&videoId=7385240&configFileUrl=http%3A%2F%2Fvideos%2Earte%2Etv%2Fcae%2Fstatic%2Fflash%2Fplayer%2Fconfig%2Exml&videorefFileUrl=http%3A%2F%2Fvideos%2Earte%2Etv%2Ffr%2Fdo%5Fdelegate%2Fvideos%2Freal%2Dhumans%2D100%2Dhumain%2Dbande%2Dannonce%2D%2D7385240%2Cview%2CasPlayerXml%2Exml&localizedPathUrl=http%3A%2F%2Fvideos%2Earte%2Etv%2Fcae%2Fstatic%2Fflash%2Fplayer%2F&lang=fr&autoPlay=true&admin=false&embed=true&autoPlay=false" width="450" height="303" allowFullScreen="true" name="playerArte" quality="high" allowScriptAccess="always" pluginspage="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash"></embed></object><br />
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<a href="http://www.arte.tv/guide/fr/046579-001/real-humans-1-10">Real Humans</a>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-28477702877464736312013-03-15T00:42:00.003-07:002013-03-15T00:42:18.062-07:00WoodKid // The Golden Age<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/hEyN2CgGDA0" width="560"></iframe></div>
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<a href="http://www.woodkid.com/">WOODKID</a>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-2957388527714697792013-03-09T04:33:00.002-08:002013-03-09T04:33:25.591-08:00Nat King Cole // LOVE<iframe frameborder="0" height="360" src="http://www.dailymotion.com/embed/video/xcuvs6" width="480"></iframe><br /><a href="http://www.dailymotion.com/video/xcuvs6_nat-king-cole-love_music" target="_blank">Nat King Cole - LOVE</a> <i>par <a href="http://www.dailymotion.com/mulderbaba" target="_blank">mulderbaba</a></i>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-67402969715874433402013-03-09T04:05:00.001-08:002013-03-09T04:05:20.014-08:002030.lu<iframe allowfullscreen="" frameborder="0" height="300" mozallowfullscreen="" src="http://player.vimeo.com/video/61165592" webkitallowfullscreen="" width="400"></iframe>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-84952945064387868952013-01-26T15:26:00.000-08:002013-01-26T15:26:15.871-08:00Beaux Arts Trio plays Dvorak "Dumky" Trio, i<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/6bDPMj2TOPQ" width="420"></iframe>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-60036957582204524222013-01-26T07:17:00.000-08:002013-01-26T07:17:17.933-08:00Tout le langage du cinéma : Qu'est ce que le langage du cinéma? (Leçon 0)<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-gKG5cVfcdHk/UQPwUamz-9I/AAAAAAAABhk/0y853kQBwh0/s1600/Partie+de+campagne.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="http://1.bp.blogspot.com/-gKG5cVfcdHk/UQPwUamz-9I/AAAAAAAABhk/0y853kQBwh0/s400/Partie+de+campagne.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Partie de Campagne</td></tr>
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<b><span class="Apple-style-span" style="font-family: inherit;">Qu'est ce que le langage du cinéma?</span></b></div>
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<span class="Apple-style-span" style="line-height: 18px;">Par </span><span class="Apple-style-span" style="line-height: 18px;"><strong><a href="http://laurent.jullier.free.fr/">Laurent Jullier</a></strong></span><span class="Apple-style-span" style="line-height: 18px;"> (professeur d'études cinématographiques, Université Nancy 2 et Paris III)) Ciné-conférence ponctuée d'extraits de films | en langue française | 60' </span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="color: #222222; line-height: 18px;">Cinémathèque du Luxembourg</span><br /><span class="Apple-style-span" style="color: #222222; line-height: 18px;"></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br />22 octobre 2012</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /><span class="Apple-style-span" style="color: #222222;">Cette conférence constitue la leçon inaugurale du cycle</span><span class="Apple-style-span" style="font-family: inherit;"> </span><b><a href="http://www.vdl.lu/Culture+et+Loisirs/Art+et+Culture/Cin%C3%A9math%C3%A8que/Du+Travelling+au+MacGuffin.html">Du Travelling au MacGuffin - Tout le langage du cinéma en 10 leçons</a></b> d</span><span class="Apple-style-span" style="color: #222222;">e l'</span><a href="http://www.blogger.com/posts.g?blogID=3438443715727614999&searchType=ALL&txtKeywords&label=Universit%C3%A9+Populaire+du+Cin%C3%A9ma" style="color: #2288bb; text-decoration: none;">Université Populaire du Cinéma</a><span class="Apple-style-span" style="color: #222222;">.</span></div>
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Le langage cinématographique existe-t-il?</div>
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Est-il encadré par une grammaire, une syntaxe, s'organise-t-il comme un langage verbal?</div>
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Si oui, peut-on commettre des fautes de grammaire au cinéma?</div>
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<b><u>Le langage cinématographique : une syntaxe spécifique</u></b></div>
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<a href="http://fr.wikipedia.org/wiki/Sergue%C3%AF_Eisenstein">Eisenstein</a> comme <a href="http://fr.wikipedia.org/wiki/Pier_Paolo_Pasolini">Pasolini</a> pensait effectivement qu'on pouvait rapprocher les images des mots.</div>
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Quand on les associe, on obtient des phrases.</div>
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Il est vrai qu'au cinéma comme dans le langage, la somme du tout est supérieure au simple ajout de ses parties.</div>
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Par le biais du montage, le cinéma fait se succéder les images et construit ainsi son langage.</div>
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Par exemple, la scène d'ouverture Indiana Jones et l'Arche Perdue, s'ouvre dans un mouvement de <i>shot / reaction shot </i>typiquement spielbergien en faisant se succéder d'abord les yeux horrifiés de l'aventurier puis la boule de pierre menaçant de l'aplatir.</div>
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<span class="Apple-style-span" style="color: black; font-family: Times; font-size: small; line-height: normal;">The Rolling Boulder - </span><span class="Apple-style-span" style="color: black; font-family: Times; font-size: small; line-height: normal;">Raiders of the Lost Ark</span></div>
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Indiana Jones se sauve "car" il est menacé d'être aplati par la boule.</div>
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Le "car" est dans la conjonction des deux images.</div>
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Spielberg a l'habitude de montrer dans ses films la réaction de ses personnages puis seulement ensuite l'évènement à l'origine de leur réaction.</div>
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Néanmoins, dans cette scène, les images peuvent être inversées tout en gardant leur signification, ce qui n'est pas possible en terme de syntaxe (on mange une pomme / une pomme me mange).</div>
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Le langage cinématographique est défini par les infinies variétés de mouvements du corps dans l'espace.</div>
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On comprend ce que signifie le plan à l'instinct.<br />
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Cela ne s'apprend pas comme on apprend une langue, une grammaire, une syntaxe.</div>
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<b><u>Cadre et regard</u></b></div>
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Ce qui nous est donné à voir dans le cadre de l'écran a déjà une signification particulière.</div>
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Surtout si ces images reflètent ce qui est vu au travers des yeux du personnage.</div>
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Ainsi, dans la comédie musicale <b><a href="http://fr.wikipedia.org/wiki/La_Blonde_et_moi">La Blonde et Moi</a></b> (<i>The Girl Can't Help It</i>, 1956), la première apparition de l'héroïne, Jayne Mansfield, est figurée par un champ / contrechamp.</div>
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Dans le champ, on découvre Tom Ewell vu par Jayne Mansfield dans un plan "<i>Over the shoulder the shot</i>".</div>
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Les deux acteurs sont visibles ensemble dans l'image, ce qui suggère que Jayne Mansfield se figure bien en couple avec Tom Ewell.</div>
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En revanche, lorsque l'on passe au contrechamp, on ne voit plus que l'héroïne, à travers les yeux de Tom Ewell.</div>
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Elle est certes superbe, mais elle figure seule à l'image ce qui indique que Tom Ewell ne peut s'imaginer vraiment en couple avec elle, ce que le film confirmera par la suite.</div>
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La même asymétrie dans le regard s'observe dans l'ouverture de <b><a href="http://fr.wikipedia.org/wiki/The_Mask_(film)">The Mask</a></b>.</div>
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Lorsque Cameron Diaz croise pour la première fois les yeux de Jim Carey, on ne voit qu'elle (même le décor autour de son visage est noyé dans le flou).</div>
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Par contre, l'héroïne se voit bien avec le héros masqué.</div>
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Elle s'imagine même vieillir avec lui comme le montre le couple de personnes âgées au second plan (51ème seconde de l'extrait).</div>
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La tentation du coffre fort, objet de convoitise de <b>The Mask</b>, est également figurée dans le même plan.</div>
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<b><u>Comparaisons et métaphores</u></b></div>
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Eisenstein voulait convaincre le public d'une idée.</div>
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Pour ce faire, il utilisait des comparaisons et des métaphores.</div>
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Ainsi de la classique ouverture des <b>Temps Modernes</b> de Chaplin : au passage d'un troupeau de moutons succède une foule d'ouvriers sortant du métro pour rejoindre l'usine.</div>
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Comparaison un peu lourde quoique plus subtile qu'il n'y parait puisque Chaplin a dissimulé au milieu du troupeau un mouton noir symbolisant la figure anarchiste de Charlot...</div>
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A travers cette métaphore, on comprend que le cinéma est un langage contextuel.</div>
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Dans un autre contexte, les moutons pourraient signifier toute autre chose.</div>
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La disposition d'objets ou de personnes métaphoriques dans les plans est une constante du cinéma pour mettre le spectateur en état cognitif.</div>
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<b><u>La technique au service du langage</u></b></div>
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N'oublions pas que le cinéma est affaire d'industrie, de technique et de technologie.</div>
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Bien avant la révolution numérique, le langage cinématographique a pu s'appuyer sur les multiples possibilités offertes par la caméra pour souligner ces effets.</div>
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Dans <b><a href="http://fr.wikipedia.org/wiki/West_Side_Story_(film)">West Side Story</a></b>, version moderne de Romé et Juliette, les futurs amants se découvrent lors d'un bal et tout devient flou autour d'eux.</div>
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Ce plan est totalement artificiel, voire anti-intuitif.</div>
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L'utilisation de ce type de technique au cinéma est assez rare, les réalisateurs préférant faire appel à des procédés plus naturels.</div>
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Par exemple, dans <b>Macadam Cowboy</b> (1969), Schlesinger utilise un détail pour identifier le personnage de Jon Voight : on parvient à distinguer le cow-boy simplement à l'aide de son chapeau noir au milieu de la foule. </div>
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En utilisant la technique ou le détail pour développer un langage, le cinéma poursuit l'héritage des arts anciens et notamment de la peinture.</div>
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On peut établir une analogie entre le flou du cinéma et le non finito (manque volontaire de contours et d'harmonie apparente) de la peinture.</div>
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Cette technique est par exemple utilisée dans le tableau <b>La jeune maîtresse d'école </b>de Chardin sur le visage de l'enfant qui apprend.</div>
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<tr><td class="tr-caption" style="text-align: center;">La jeune maîtresse d'école / Chardin</td></tr>
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Dans le <b><a href="http://fr.wikipedia.org/wiki/Portrait_de_monsieur_Bertin">Portrait de Monsieur Bertin</a></b>, Ingres critique subtilement son modèle en faisant tomber la lumière sur les mains du grand bourgeois de façon à effiler le bout des doigts qui finissent par ressembler aux serres d'un aigle. La technique permet de dénoncer la rapacité des notables de la Restauration.</div>
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Une technique semblable est utilisée par Billy Wilder dans <a href="http://fr.wikipedia.org/wiki/Boulevard_du_cr%C3%A9puscule"><b>Sunset Boulevard</b></a> pour illustrer, au travers de ses mains crispées, la convoitise démente de Norma prête à fondre sur son amant.</div>
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Dans <b><a href="http://fr.wikipedia.org/wiki/Carrie_au_bal_du_diable">Carrie au Bal du Diable</a></b>, au contraire, le réalisateur figure dans un même plan et sans flou la jeune Carrie, paria tapie au fond de la classe, avec le capitaine de l'équipe de foot siégeant au premier rang.</div>
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Dans la réalité, l'image de Carrie devrait être floue. Cette image produite à l'aide d'un objectif à double foyer (ou double focale), trahi par le léger flou sur les cheveux du jeune homme, illustre l'attachement contre-nature des deux personnages (1).</div>
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La technique permet également de contourner les problème éthiques de figuration.</div>
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Ainsi, pour représenter les Camps de la Mort dans <b><a href="http://fr.wikipedia.org/wiki/La_Passag%C3%A8re_(film,_1963)">La Passagère</a></b> (1963), le réalisateur envisageait initialement de recruter des acteurs malingres.</div>
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L'idée n'étant pas très élégante et s'assimilant au comportement des bourreaux nazis, on choisit d'utiliser un procédé technique : en retirant la lentille du cinémascope, on parvient à effiler les corps des figurants.</div>
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La puissance du langage du cinéma apparaît dans l'ouverture du film <b>Two for the Seesaw</b> (1962) qui parvient à contenir dans un plan des indications contradictoires par la technique et la métaphore.</div>
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Robert Mitchum, tout juste séparé de sa femme, marche sur New York sur un pont suspendu (à partir de la 20ème seconde de l'extrait).</div>
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Le plan est filmé avec un grand angle suggérant de grandes perspectives : le héros est libre, toutes les possibilités lui sont ouvertes, New York est à lui.</div>
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En même temps, il marche sur un chemin très étroit et il est encerclé par les cables du pont comme autant de barreaux.</div>
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En réalité son chemin est balisé : il n'aura de cesse que de reconquérir le coeur de son épouse.</div>
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En combinaison avec la technique ou le détail, la métaphore joue un rôle majeur dans le langage du cinéma, comme le montre les extraits suivants :</div>
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- Dans la première séquence suivant le générique des <b>Temps Modernes</b>, Chaplin filme une horde de moutons (métaphore) en plongée (technique) pour illustrer la domination subie par les ouvriers (à partir de la 18ème seconde sur l'extrait suivant).</div>
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Au milieu de la horde, on peut apercevoir un mouton noir, référence à Charlot.</div>
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Puis Chaplin utilise un fondu enchaîné pour montrer les travailleurs.</div>
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Il faut souligner qu'au cinéma, art dynamique, la comparaison (la juxtaposition statique de deux images sur un même plan) n'existe pas.<br />
On juxtapose deux plans pour obtenir le même effet (moutons = travailleurs), renforcé par un même thème musical.</div>
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- Abel Gance dans son <b><a href="http://fr.wikipedia.org/wiki/Napol%C3%A9on_(film,_1927)">Napoléon</a></b> utilise la métaphore de la Méditerranée déchaînée (pendant le retour du général de sa Campagne d'Egypte) pour renforcer l'impression de tempête politique à l'Assemblée Nationale.<br />
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Les perruques blanches figurent l'écume.</div>
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La technique est toujours présente : flux et reflux entre les images au montage, le mouvement hiératique de la caméra proche du "filmé sur l'épaule", très novateur pour l'époque, accroît encore l'effet de chaos.</div>
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- L'extrait le plus célèbre de <b>La Grève</b> d'Eisenstein contient de multiples métaphores : l'encre souillant le plan sur le bureau (cf film : 1h 15mn 56) illustre le sang des ouvriers réprimés en relation avec les mains sales du commissaire tsariste.</div>
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La juxtaposition avec le plan sur les vaches tuées en abattoir (cf film : 1h 16mn 25) est très audacieux pour l'époque.<br />
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Le cinéma plus ancien se contentait de figurer la réalité, le spectateur restait seul maître du sens.</div>
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En employant un langage sophistiqué, le cinéma moderne développe sa puissance cognitive et émotionnelle mais réclame un effort supplémentaire du spectateur.</div>
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- Dans la <b><a href="http://fr.wikipedia.org/wiki/La_Passion_de_Jeanne_d'Arc">Passion de Jeanne d'Arc</a></b> de Dreyer, le supplice n'est pas montré explicitement, il n'est que suggérée par l'image des mécanismes et des instruments de torture (à partir de la 40ème seconde de l'extrait).</div>
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Le visage de Jeanne est filmé en gros plan car elle n'a pas de vision d'ensemble du plan qui se referme sur elle.<br />
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- Le surréalisme de <b>Zazie dans le Métro</b> est illustré dans la scène où la jeune fille apparaît successivement à gauche puis à droite de son père, dans un mouvement physiquement impossible.</div>
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- Lorsque X rentre chez elle, au regard du personnage de Bertrand Blier succède le lait qui déborde de la casserole (13 mn 56), symbole du désir.</div>
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La métaphore n'est certes pas très légère mais elle est soulignée par la technique d'un travelling avant, plus adapté pour représenter l'élan physique (puisque c'est la caméra qui s'avance pour grossir le sujet) que le simple zoom.</div>
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L'artifice du zoom (avant) est plus approprié pour figurer le désir inassouvi car on ne s'avance pas réellement vers le sujet. Le procédé est ainsi massivement utilisé par Visconti dans <b>Mort à Venise</b> pour mettre en scène le désir violent, mais inaccessible, du compositeur pour le jeune Tadzio (2).</div>
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- Tout en n'ayant l'air de rien dire, le langage du cinéma peut tout signifier comme dans cette séquence de <b>Mon Oncle</b> de Jacques Tati dénonçant l'absurdité d'une certaine architecture contemporaine : l'enfant expulsé en lisière de la maison, les bruits amplifiés des talons sur le sol glacial, la réaction de la voisine s'asseyant sur un sofa manifestement inconfortable, jusqu'à la phrase involontairement ironique de la maîtresse de maison ("Tout communique dans la maison", bien que personne n'y communique)...</div>
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<u>Ressources :</u><br />
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(1) Le blog <a href="http://psychose-visuelle.blogspot.com/">Psychose Visuelle</a> présente <a href="http://psychose-visuelle.blogspot.com/2013/01/collections-double-focale-vol-1.html">une sélection d'images capturées en double focale</a>.</div>
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(2) Lire à ce propos l'instructive critique de <a href="http://www.lesinrocks.com/cinema/films-a-l-affiche/mort-a-venise-2/">Mort à Venise</a> sur le site des Inrocks.</div>
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En complément de cette note je recommande l'excellente page <a href="http://site-image.eu/?page=glossaire&id=22">Suggérer / Comparer / Associer</a> du <a href="http://site-image.eu/?page=accueil">Site Image</a>.</div>
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<u>Note du conférencier :</u><br />
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<span class="Apple-style-span" style="font-family: inherit;">« Si le cinéma était un langage, on pourrait l'apprendre ; il y aurait des manuels de grammaire et les cinéastes commettraient parfois l'équivalent des fautes d'orthographe… Mais les images que l'on prend à l'aide d'une caméra ressemblent en général un peu trop au monde qui nous entoure pour faire office de symboles régis par des règles strictes. Et chaque fois que quelqu'un a tenté d'écrire une grammaire cinématographique, il s'est heurté à la tendance obstinée des images de cinéma à n'en faire qu'à leur tête, c'est-à-dire à vouloir dire des tas d'autres choses que celles qu'elles étaient censées dire selon les règles prévues à cet effet… Est-ce à dire qu'il n'y a pas de langage cinématographique ? Tout un chacun a pourtant l'impression de « comprendre » certains enchaînements de figures, sur l'écran, articulés comme les mots d'une phrase… Alors ? Eh bien la réponse est à la fois oui et non…</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Pour illustrer la discussion, l'exemple choisi sera <em>Partie de campagne</em>, un moyen-métrage que Jean Renoir tourna en 1936, d'après Maupassant, avec l'intention d'en faire un long-métrage, mais que diverses avanies l'empêchèrent de terminer. Remonté en 1946 sur la base des fragments tournés dix ans plus tôt, ce film illustre bien l'idée des 'plus petits éléments de langage' (mots écrits ou plans du cinéma) qui prennent des sens différents selon la façon dont on les combine et les recombine. » <em>(Laurent Jullier)</em></span></div>
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JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-35355795354925297532013-01-26T06:57:00.001-08:002013-01-26T06:57:58.102-08:00Cinémathèque Luxembourg // Du Travelling au MacGuffin - Tout le langage du cinéma en 10 leçons<br />
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">La Cinémathèque de Luxembourg poursuit sa collaboration avec l'Université du Luxembourg et le Fonds National de la Recherche Luxembourg, au travers d'un nouveau cycle de 10 conférences consacrées au langage du cinéma (l</span><span class="Apple-style-span" style="font-size: small;">e plan, le montage, la narration, le jeu d'acteur...).</span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;">Tout le programme ici :</span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: small;"><a href="http://www.vdl.lu/Culture+et+Loisirs/Art+et+Culture/Cin%C3%A9math%C3%A8que/Du+Travelling+au+MacGuffin.html">Du Travelling au MacGuffin - Tout le langage du cinéma en 10 leçons</a></span></div>
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JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-14608868170906786332013-01-18T13:59:00.002-08:002013-01-18T13:59:51.902-08:0016ème Festival Cinéma Télérama<iframe frameborder="0" height="271" src="http://www.dailymotion.com/embed/video/xvumm9" width="480"></iframe><br /><a href="http://www.dailymotion.com/video/xvumm9_festival-cinema-telerama-2013-bande-annonce_shortfilms" target="_blank">Festival cinéma Télérama 2013 (bande annonce)</a> <i>par <a href="http://www.dailymotion.com/Telerama_BA" target="_blank">Telerama_BA</a></i><br />
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<a href="http://www.telerama.fr/festivalcinema/">Festival Cinéma Télérama</a>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-75531018091524522202013-01-18T13:57:00.000-08:002013-01-18T13:57:03.310-08:00Qui C'est Celui La (Pierre Vassiliu) // Toco<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/sr-UbjPBhYU" width="420"></iframe>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-20548098906753466142013-01-01T12:35:00.000-08:002013-01-27T05:51:36.519-08:00Boutons de manchettes en cuivre // Alice Made This<div class="separator" style="clear: both; text-align: center;">
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<a href="http://alicemadethis.com/">Alice Made This</a>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-18429394286878451462013-01-01T12:19:00.002-08:002013-01-01T12:19:27.563-08:00Tous les genres du cinéma : le film d'aventure (Leçon 6)<div style="text-align: justify;">
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<b><span class="Apple-style-span" style="font-family: inherit;">Heroic Journeys : le cinéma des péripéties exotiques</span></b></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;">par Patrick Brion (critique, historien du cinéma et programmateur du "cinéma de minuit" sur France 3).</span></span><span class="Apple-style-span" style="font-family: inherit;"><br /><span class="Apple-style-span" style="color: #222222; font-size: 13px; line-height: 18px;"></span></span><span class="Apple-style-span" style="color: #222222; line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span></div>
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<span class="Apple-style-span" style="color: #222222; line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;">Cinémathèque du Luxembourg</span></span><span class="Apple-style-span" style="font-family: inherit;"><br /><span class="Apple-style-span" style="color: #222222; font-size: 13px; line-height: 18px;"></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span><span class="Apple-style-span" style="font-family: inherit;">27 mars 2012</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span><span class="Apple-style-span" style="font-family: inherit;">Cette conférence s'inscrit dans le cycle </span><a href="http://www.blogger.com/posts.g?blogID=3438443715727614999&searchType=ALL&txtKeywords&label=Le+genre+au+cin%C3%A9ma" style="color: #2288bb; text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">"Du Mélo au Western Spaghetti : Tous les genres du cinéma en 10 leçons"</span></a><span class="Apple-style-span" style="font-family: inherit;"> de l'</span><a href="http://www.blogger.com/posts.g?blogID=3438443715727614999&searchType=ALL&txtKeywords&label=Universit%C3%A9+Populaire+du+Cin%C3%A9ma" style="color: #2288bb; text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">Université Populaire du Cinéma</span></a><span class="Apple-style-span" style="font-family: inherit;">.</span></div>
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<b>1. Des origines à nos jours</b></div>
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Bien que de multiples pays ont investi le genre (la France avec le film de cape et d'épée ; l'Italie avec le péplum), les Etats-Unis ont produit la plupart des chefs d'oeuvres du film d'aventure jusqu'à en faire un courant majeur du cinéma hollywoodien, aux côtés du western ou de la comédie musicale.<br />
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L'hypothèse de Patrick Brion est qu'à défaut d'avoir une longue histoire, l'Amérique s'est passionnée pour celle des autres pays au travers de leurs grandes figures historiques.</div>
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Le territoire du film d'aventure est très large puisqu'il englobe le western, la science-fiction, le film biblique (<b>Les Dix Commandements</b>, <b>Samson et Dalila</b>), le film d'horreur ou d'anticipation.</div>
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Le genre se caractérise par la présence centrale d'un héros, une action particulière, l'emploi de décors ou d'époques particuliers suggérant le dépaysement.</div>
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Avant tout, le film d'aventure repose sur les comédiens.</div>
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A l'époque du muet, l'icône du genre est Douglas Fairbanks qui incarne tous les grands héros de la littérature : <b>D'Artagnan</b>, <b>Zorro</b>, <b>le Pirate Noir</b>, <b>Robin des bois</b>...</div>
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L'avènement du parlant signera le déclin de Fairbanks.</div>
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Le genre continue de se développer en pleine crise économique des années 30, permettant aux spectateurs de s'évader par l'exotisme de ses films : <b>Les Révoltés du Bounty</b>, <b>L'Île au Trésor,</b> <b>Tarzan</b>,<b> Les Trois Lanciers du Bengale.</b>..<br />
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Henry Hathaway et Cecil B DeMille sont les grands réalisateurs de cette époque et Eroll Flynn son acteur majeur.</div>
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Beaucoup de films d'aventure évoquent l'histoire, à l'instar de <b>La Charge de la Brigade Légère</b> de Michael Curtiz.</div>
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<span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: inherit;">La Charge de la Brigade Légère est une désastreuse charge de cavalerie, dirigée par Lord Cardigan au cours de la bataille de Balaklava le 25 octobre 1854 lors de la guerre de Crimée. </span></span></div>
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<span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: inherit;">Elle est restée dans l'histoire comme le sujet d'un poème célèbre de Alfred Tennyson, dont les vers « Il n'y a pas de raison / il n'y a qu'à agir et mourir ».</span></span></div>
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<span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: inherit;">La dernière scène, à la gloire des anglais, montre la charge vengeresse du 27e Lancier contre les Russes et Surat Khan.</span></span></div>
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<a href="http://www.dailymotion.com/video/xgwcmu_la-charge-de-la-brigade-legere-6-6_people" target="_blank">La Charge de la brigade légère 6/6</a> <i>par <a href="http://www.dailymotion.com/apo-dictique" target="_blank">apo-dictique</a></i></div>
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Le film d'aventures est un genre de studio.</div>
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La MGM produit ainsi <b>Les Mines du Roi Salomon</b>, <b>Le Prisonnier de Zenda</b>, <b>Scaramouche</b>...</div>
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<b><a href="http://fr.wikipedia.org/wiki/Scaramouche_(film,_1952)">Scaramouche</a></b> (1952) est un modèle des films d'aventure de l'époque, démontrant de grandes qualités techniques mais aussi de scénario et de dialogue.</div>
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<a href="http://www.dailymotion.com/video/x1uh8d_scaramouche-duel-final_shortfilms" target="_blank">SCARAMOUCHE-DUEL FINAL</a> <i>par <a href="http://www.dailymotion.com/pierrot77" target="_blank">pierrot77</a></i><br />
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Comme beaucoup de films du genre, il repose sur un roman dont l'adaptation au cinéma se révèle supérieur au texte original.</div>
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En 1953, l'avènement du cinémascope redonne un coup de fouet au film d'aventure avec des oeuvres comme <b>Cléôpatre</b>, <b>Les Chevaliers de la Table Ronde</b>, <b>Les Mines du Roi Salomon</b>...</div>
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Aujourd'hui, on peut retrouver des éléments du genre dans des films comme <b>La Rose et la Flèche</b>, la série des <b>Conan le Barbare </b>ou des <b>Indiana Jones</b>.</div>
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L'<i>heroïc fantasy</i>, qui connaît un fort succès, semble reprendre le flambeau du genre. </div>
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On peut néanmoins déplorer la surenchère des effets spéciaux qui l'emporte sur l'écriture des films et la qualité des dialogues, au détriment d'une certaine émotion.</div>
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<b>2. Le film d'aventure : un genre politique?</b><br />
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Le genre est constamment sous-estimé, glanant peu d'oscars, malgré un succès populaire constant.</div>
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Pourtant, contrairement aux apparences, le film d'aventure peut dévoiler un sous-texte politique, voire subversif.<br />
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Tout d'abord, le genre présenta l'avantage de contourner assez facilement les règles de censure imposées par le Code Hays (qui sévit de 1934 à 1966).</div>
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Ainsi, en prétextant la reconstitution historique ou la mise en scène des sauvages, le film d'aventure permettait de mettre en scène l'érotisme et la nudité des corps.<br />
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Il en est ainsi de <b>Cleopatra</b> (1934) de Cecil B. DeMille, de la série des <b>Tarzan</b>, ou des <b>Révoltés du Bounty</b>...</div>
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Contrairement au western et au film noir, le film d'aventure est considéré comme un film de "gauche", libéral dans le sens humaniste en illustrant l'action de rebelles contre une autorité despotique.<br />
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Nous sommes à l'époque hitlérienne et comme l'indique Bertrand Tavernier, "les cinéastes immigrés apportent au cinéma hollywoodien toute l'inquiétude de la Vieille Europe".<br />
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Ainsi, <b>L'Aigle des Mers</b> (1940), second film de pirates d'Eroll Flynn, établit un parallèle entre la tentative d'invasion par l'Espagne au XVIème siècle et la Bataille d'Angleterre de l'Allemagne nazie contre le Royaume-Uni en 1940.<br />
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<span class="Apple-style-span" style="font-family: inherit;">De même, le discours final de la Reine<span class="Apple-style-span" style="line-height: 24px;">, disant qu'il est du devoir des hommes libres de se battre et que</span></span><br />
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="line-height: 24px;">le monde n'appartient pas à un seul homme, visait directement le public britannique et critique la position des isolationnistes américains.</span></span><br />
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="line-height: 24px;"><br /></span></span>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="line-height: 24px;">On voit comment le genre permettait de contourner la Loi américaine interdisant aux films de prendre position dans le conflit.</span></span><br />
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<iframe frameborder="0" height="270" scrolling="no" src="http://www.reelz.com/player.aspx?clipid=44757" width="480"></iframe><br />
<a href="http://www.reelz.com/movie/188211/the-sea-hawk?utm_source=Player&utm_medium=Player-Link&utm_campaign=Player-Referral-Bottom-Links" target="">The Sea Hawk</a> | <a href="http://www.reelz.com/person/90565/michael-curtiz?utm_source=Player&utm_medium=Player-Link&utm_campaign=Player-Referral-Bottom-Links" target="">Michael Curtiz</a> | <a href="http://www.reelz.com/person/150316/errol-flynn?utm_source=Player&utm_medium=Player-Link&utm_campaign=Player-Referral-Bottom-Links" target="">Errol Flynn</a> | <a href="http://www.reelz.com/person/263580/brenda-marshall?utm_source=Player&utm_medium=Player-Link&utm_campaign=Player-Referral-Bottom-Links" target="">Brenda Marshall</a> | <a href="http://www.reelz.com/trailers?utm_source=Player&utm_medium=Player-Link&utm_campaign=Player-Referral-Bottom-Links">Movie Trailer</a> | <a href="http://www.reelz.com/reviews?utm_source=Player&utm_medium=Player-Link&utm_campaign=Player-Referral-Bottom-Links">Review</a><br />
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<b>Ivanohé</b> (1952) de Richard Thorpe contient également une dimension critique contre l'antisémitisme ("Pour chaque Juif qui n'est pas un chrétien, je vous montrerai un chrétien qui n'est pas un chrétien") et le fanatisme religieux.<br />
Jean Sans-Terre utilise ainsi la religion comme une arme de représailles en faisant faussement accuser Rebecca, fière beauté juive et soutien d'Ivanohé, de sorcellerie pour la condamner au bûcher.<br />
Son projet sera contrarié par Ivanohé invoquant le Jugement de Dieu pour mettre en balance dans un duel, qu'il gagnera, le jugement prononcé.<br />
Le retour de Richard Coeur de Lion de croisade met fin au règne tyrannique de son frère félon.<br />
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JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-83702261043801465312012-12-23T04:16:00.000-08:002012-12-23T04:16:49.839-08:00Tous les genres du cinéma : Le Western Spaghetti (Leçon 5)<div style="text-align: justify;">
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<b><span class="Apple-style-span" style="font-family: inherit;">Et pour quelques cadavres de plus : le Western Spaghetti</span></b></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span><span class="Apple-style-span" style="line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;">par Paul Lesch (assistant professeur associé en histoire du cinéma, Université du Luxembourg)</span></span><span class="Apple-style-span" style="font-family: inherit;"><br /><span class="Apple-style-span" style="color: #222222; font-size: 13px; line-height: 18px;"></span></span><span class="Apple-style-span" style="color: #222222; line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;">Cinémathèque du Luxembourg</span></span><span class="Apple-style-span" style="font-family: inherit;"><br /><span class="Apple-style-span" style="color: #222222; font-size: 13px; line-height: 18px;"></span></span><br />
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span>
<span class="Apple-style-span" style="font-family: inherit;">27 février 2012</span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Cette conférence s'inscrit dans le cycle </span><a href="http://www.blogger.com/posts.g?blogID=3438443715727614999&searchType=ALL&txtKeywords&label=Le+genre+au+cin%C3%A9ma" style="color: #2288bb; text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">"Du Mélo au Western Spaghetti : Tous les genres du cinéma en 10 leçons"</span></a><span class="Apple-style-span" style="font-family: inherit;"> de l'</span><a href="http://www.blogger.com/posts.g?blogID=3438443715727614999&searchType=ALL&txtKeywords&label=Universit%C3%A9+Populaire+du+Cin%C3%A9ma" style="color: #2288bb; text-decoration: none;"><span class="Apple-style-span" style="font-family: inherit;">Université Populaire du Cinéma</span></a><span class="Apple-style-span" style="font-family: inherit;">.</span></div>
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<b>1. Le Western est partout</b></div>
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Qui dit genre dit stéréotype, cliché.</div>
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Le virevoltant (cette étrange plante en forme de boule qui roule sur le sol), le décor d'une ville du Far West à la fin du 19e, un duel au revolver, des habits de cow boys... il suffit d'un seul de ces éléments pour caractériser le Western.</div>
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Un cadrage expressif, des tronches pittoresques ou des bruitages prononcés... et nous voici du côté du Western Spaghetti.</div>
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Tous ces codes sont immédiatement reconnaissables et le western italien, mort à l'écran, survit toujours sous forme de citation dans la culture populaire : Bandes dessinées (<b>Blueberry</b>, <b>Lucky Luke</b>), jeu vidéo...</div>
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Le cinéma américain contemporain cite et parodie constamment le western de Leone (<b>Back to the future 3</b>, <b>Face Off</b> de John Woo...).</div>
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Tarantino est sans doute le plus grand fan de Leone et du western en général qu'il cite abondamment dans <b>Kill Bill</b>.<br />
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Ainsi dans <b>Kill Bill 2</b>, la séquence en noir et blanc illustrant la rencontre de The Bride avec Bill est une référence visuelle directe à la scène d'ouverture de <b>The Searcher</b> de John Ford.<br />
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La scène contient également une référence auditive au travail de Leone puisque la musique utilisée lorsque The Bride retrouve Bill est la même que celle jouée par le personnage de Serenza (Lee Van Cleef, la Brute) lors de sa première apparition dans <b>Le Bon, la Brute et le Truand</b> (<b>Il Trament</b>o d'Enio Morricone).<br />
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<b>2. L'âge d'or du Western spaghetti</b></div>
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Plus de 450 Westerns Spaghetti ont été tournés entre 1963 et 1978.</div>
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La plupart sont de médiocres factures, seuls 10% d'entre eux peuvent être considérés comme des <i>Quality Westerns</i>.</div>
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Le maître du genre est incontestablement Sergio Leone.</div>
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Pourtant, les premiers européens à produire du Western Spaghetti sont les allemands avec la série des <b>Winnetou</b> (1962).</div>
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Adaptés des romans de Karl May, ces westerns mettent en scène les aventures de l'indien Apache Mescaleros, incarné par l'acteur français Pierre Wiss, entourés de comédiens américaines et anglais, et sont tournés en Yougoslavie.</div>
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Le grand succès de cette série créent les conditions économiques favorables au développement du Western en Europe, qui prennent le relais du péplum déclinant dans les studios italiens.</div>
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Après une grande série de navets, le premier film de Sergio Leone, <a href="http://tortillafilms.tortillapolis.org/pour-une-poignee-de-dollars.html"><b>Pour une poignée de dollars</b></a> (1964), rencontre un succès commercial et critique inattendu.</div>
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Pour ce film, Leone a transposé dans le Far West un film de samouraï de Kurosawa (<b><a href="http://mathieu.perrin.free.fr/yojimbo.html">Yojimbo</a></b>, 1961), inspiré du roman <b>La Moisson Rouge</b> de Dashiell Hammet (grand maître du <a href="http://www.blogger.com/blogger.g?blogID=3438443715727614999#editor/target=post;postID=2657069350893996789">roman noir américain</a>) qui s'était lui-même inspiré d'un roman du XVIIIème siècle de Goldoni (<b>Arlequin, serviteur de deux maîtres</b>).</div>
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Les extraits suivants montrent à quel point le western de Leone est un remake du film japonais de Kurosawa.</div>
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La scène du cercueil :</div>
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<iframe allowfullscreen="" frameborder="0" height="350" src="http://www.vodkaster.com/embed/261746" width="480"></iframe><br /></div>
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<b><a href="http://www.vodkaster.com/Films/Pour-une-poignee-de-dollars/14915">Commande de cercueils !</a></b>, extrait de <a href="http://www.vodkaster.com/Films/Pour-une-poignee-de-dollars">Pour une poignée de dollars</a></div>
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<a href="http://movieclips.com/f7UE-yojimbo-movie-get-two-coffins-ready/" style="color: #00aeff; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">Get Two Coffins Ready</a><br />
<a href="http://movieclips.com/AHTG-yojimbo-movie-videos/" style="color: white; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">Yojimbo</a> <a href="http://movieclips.com/" style="color: #cccccc; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">at MOVIECLIPS.com</a></div>
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Le passage à tabac :</div>
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<b><a href="http://www.vodkaster.com/Films/Pour-une-poignee-de-dollars/30986">Passage à tabac</a></b>, extrait de <a href="http://www.vodkaster.com/Films/Pour-une-poignee-de-dollars">Pour une poignée de dollars</a></div>
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<object data="http://movieclips.com/e/r7sP/0/177.96" height="354" style="background: #000000; display: block; overflow: hidden;" type="application/x-shockwave-flash" width="560"> <param name="movie" value="http://movieclips.com/e/r7sP/0/177.96" /><param name=FlashVars VALUE="autoPlay=false"><param name="allowfullscreen" value="true" /> <param name="bgcolor" value="#000000" /> <param name="wmode" value="transparent" /> <param name="allowscriptaccess" value="always" /> <embed src="http://movieclips.com/e/r7sP/0/177.96" FlashVars="autoPlay=false" type="application/x-shockwave-flash" allowfullscreen="true" movie="http://movieclips.com/e/r7sP/0/177.96" wmode="transparent" allowscriptaccess="always" ></embed> </object> <br />
<div style="-moz-border-radius-bottomleft: 4px; -moz-border-radius-bottomright: 4px; -webkit-border-bottom-left-radius: 4px; -webkit-border-bottom-right-radius: 4px; background: #000000; border-bottom-left-radius: 4px; border-bottom-right-radius: 4px; height: 27px; line-height: 11px; margin: 0; padding: 1px 0 0 0; text-align: center; width: 560px;">
<a href="http://movieclips.com/r7sP-yojimbo-movie-i-wont-talk/" style="color: #00aeff; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">I Won't Talk</a><br />
<a href="http://movieclips.com/AHTG-yojimbo-movie-videos/" style="color: white; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">Yojimbo</a> <a href="http://movieclips.com/" style="color: #cccccc; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">at MOVIECLIPS.com</a></div>
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Le Duel final :</div>
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<iframe allowfullscreen="" frameborder="0" height="350" src="http://www.vodkaster.com/embed/744500" width="480"></iframe><br /></div>
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<b><a href="http://www.vodkaster.com/Films/Pour-une-poignee-de-dollars/30988">Duel final</a></b>, extrait de <a href="http://www.vodkaster.com/Films/Pour-une-poignee-de-dollars">Pour une poignée de dollars</a></div>
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<object data="http://movieclips.com/e/Wr5qm/0/178.1" height="354" style="background: #000000; display: block; overflow: hidden;" type="application/x-shockwave-flash" width="560"> <param name="movie" value="http://movieclips.com/e/Wr5qm/0/178.1" /><param name=FlashVars VALUE="autoPlay=false"><param name="allowfullscreen" value="true" /> <param name="bgcolor" value="#000000" /> <param name="wmode" value="transparent" /> <param name="allowscriptaccess" value="always" /> <embed src="http://movieclips.com/e/Wr5qm/0/178.1" FlashVars="autoPlay=false" type="application/x-shockwave-flash" allowfullscreen="true" movie="http://movieclips.com/e/Wr5qm/0/178.1" wmode="transparent" allowscriptaccess="always" ></embed> </object> <br />
<div style="-moz-border-radius-bottomleft: 4px; -moz-border-radius-bottomright: 4px; -webkit-border-bottom-left-radius: 4px; -webkit-border-bottom-right-radius: 4px; background: #000000; border-bottom-left-radius: 4px; border-bottom-right-radius: 4px; height: 27px; line-height: 11px; margin: 0; padding: 1px 0 0 0; text-align: center; width: 560px;">
<a href="http://movieclips.com/Wr5qm-yojimbo-movie-the-final-showdown/" style="color: #00aeff; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">The Final Showdown</a><br />
<a href="http://movieclips.com/AHTG-yojimbo-movie-videos/" style="color: white; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">Yojimbo</a> <a href="http://movieclips.com/" style="color: #cccccc; font-family: Helvetica Neue, Helvetica, Arial, Sans-serif; font-size: 10px; font-weight: normal; text-decoration: none;">at MOVIECLIPS.com</a></div>
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<b>Pour une poignée de dollars</b> fait partie de la <b>Trilogie du dollar</b>, complétée par <b>Et pour quelques dollars de plus</b> (1965) et <b>Le Bon, la Brute et le Truand</b> (1966).</div>
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Leone réalise également <b>Il était une fois dans l'Ouest </b>(1968), avec Charles Bronson.</div>
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Tourné partiellement aux Etats-Unis à Monument Valley dans un paysage typiquement fordien, il peut être vu comme un pont entre le western spaghetti et américain.</div>
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L'âge d'or se clôt par <b>Mon Nom est Personne</b> de Tonino Valerii, ex-assistant de Leone.</div>
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Avec cette réflexion ludique sur le western italien, le genre commence à sombrer dans la décadence et l'auto-parodie, jusqu'à la série des <b>Trinita</b> dans les années 70.</div>
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<b>3- L'héritage du western spaghetti</b></div>
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Le western spaghetti a longtemps été conspué pour son maniérisme, son goût pour le baroque et la violence de ses films par-rapport au genre noble du western américain.</div>
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Les inventions de Leone interviennent à la fois dans le décor, les formes (le plan, le montage, la musique) et le discours idéologique.</div>
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<u>Le cadre du western spaghetti</u><br />
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Le western spaghetti ne met pas en scène de caravanes, de troupeaux, de fermiers, de diligences ou de cow-boys.<br />
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Le but n'est pas d'illustrer le mythe fondateur des origines de l'Ouest américain.<br />
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La mythologie du western classique disparaît au profit de symboles et d'accessoires portés par les personnages mus par leurs seuls intérêts égoïstes : gilet en mouton, poncho (porté par Eastwood pour cacher son allure fluette), longs manteaux et cigarillo...<br />
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<u>Le Western spaghetti, genre cynique</u></div>
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Dans le western spaghetti, et contrairement à son ancêtre américain, la différence entre le bon et le méchant n'est jamais clairement établie.</div>
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Le Bon est simplement moins méchant que le grand méchant ; tout le monde est un peu bon, brute et truand.</div>
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Le héros est incarné par un mercenaire, mal rasé, violent, cynique et égoïste, par opposition au cow-boy chevaleresque du western classique.</div>
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Le matérialisme succède à l'idéalisme et au civisme.</div>
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La recherche d'argent ou la vengeance constituent les principales motivations des personnages.<br />
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Mystérieux et taciturne, le héros tue froidement ses opposants, ce qui était nouveau pour l'époque.<br />
On tue sans remords, même un homme sans défense.<br />
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La violence est omniprésente à travers des exécutions sommaires, des pendaisons, le passage à tabac, voire la torture ornée de sadisme.<br />
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Parfois, au détour d'un scène, le héros peut faire preuve d'un peu d'humanité et de compassion.<br />
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Dans <b>Le Bon, la Brute et le Truand</b>, Eastwood offre son cigare et son manteau à un homme agonisant (à la fin de l'extrait ci-dessous) ou se prononce contre la Guerre de Sécession ("Je n'ai jamais vu mourir tant d'imbéciles, et si mal").</div>
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<iframe frameborder="0" height="360" src="http://www.dailymotion.com/embed/video/x82ocj" width="480"></iframe><br />
<a href="http://www.dailymotion.com/video/x82ocj_le-bon-la-brute-et-le-truand-partie_shortfilms" target="_blank">Le Bon La Brute Et Le Truand Partie 7 by 6MOHA9</a> <i>par <a href="http://www.dailymotion.com/6MOHA9" target="_blank">6MOHA9</a></i><br />
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Les Indiens et les figures féminines sont quasiment absents, à quelques exceptions près où la femme représente l'espoir, le futur, la civilisation.</div>
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<u>Une nouvelle esthétique</u><br />
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La musique joue un rôle central dans le genre, ce qui constitue une nouveauté pour le cinéma.<br />
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Quelques mots suffisent pour situer ou souligner une situation.<br />
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Les trois protagonistes du <b>Bon, La Brute et le Truand</b> ont chacun un bruit qui les distingue.<br />
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Le western spaghetti utilise de nombreux instruments originaux et est truffé de bruitages insolites mêlés de voix humaines.<br />
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Les 10 premières minutes d'<b>Il était une fois dans l'Ouest</b> sont ainsi constituées uniquement de bruitages amplifiés.<br />
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La cadrage se caractérise par une succession de gros plans et de plans très larges, voire panoramiques, illustrant les émotions des personnages.<br />
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Par-rapport au western classique, le genre italien repose beaucoup plus sur les gros plans qui insistent sur quantités de détails (les visages, le regard, le rictus, les armes, les vêtements) pour illustrer les motivations égoïstes des personnages.<br />
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Le western fordien met en valeur la majesté des paysages et englobe l'action de ses héros dans un grand tout mythologique d'une Conquête de l'Ouest qui apporte la civilisation dans un monde de sauvagerie par la pose du télégraphe, le développement du chemin de fer, la lutte contre les Indiens.<br />
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Dans le western spaghetti, l'espace est beaucoup plus fermé, le monde a déjà été entièrement envahi par les hommes. L'action des milices, de la révolution, des conflits collectifs et leurs conséquences dramatiques (<b>Le Bon, la Brute et le Truand</b> se déroule en pleine Guerre de Sécession et montre un camp de concentration nordiste évovcateur des camps nazis) sont bien présentes.<br />
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Le western italien met ainsi en scène la fin du mythe de l'Ouest américain et la naissance d'une Amérique moderne mue par l'affairisme, la corruption et les intérêts individuels.<br />
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Le montage aussi est marqué par de forts contrastes, alternant lenteur solennelle et séquances d'actions très rapides.</div>
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La séquence du duel à trois du <b>Bon, La Brute et le Truand</b> dans l'arène du cimetière est symbolique du genre. </div>
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Au départ, le montage est lent. </div>
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Le choix du cimetière est chargé d'ironie. Le plan est large.<br />
La musique de la montre suspens le temps et l'action.<br />
En quelques sorte, on mime par des poses caricaturales la geste chevaleresque du western classique.</div>
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On passe ensuite à un gros plan sur les pistolets, les tronches et les regards.</div>
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Les bruitages se succèdent, les gestes sont encore lents.</div>
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Enfin, l'image, centrée sur Eastwood, s'accélère avec la musique.</div>
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On passe au très gros plan et le duel se conclue.</div>
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Indéniablement, Leone a innové et modernisé le cinéma en général avec des motifs, des conventions et des codes qui se sont disséminées dans tout les films contemporains.</div>
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JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com2tag:blogger.com,1999:blog-3438443715727614999.post-8684393408842002832012-07-24T10:48:00.000-07:002012-07-24T10:52:12.831-07:00Boutons de manchette Dunhill // MenLookEn solde sur MenLook en ce moment, <a href="http://www.menlook.com/fr/45-soldes-homme/dunhill">les boutons de manchettes Dunhill</a>.<br />
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<span id="goog_2140149248"></span><span id="goog_2140149249"></span></div>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0tag:blogger.com,1999:blog-3438443715727614999.post-33485756197456063702012-07-16T14:51:00.004-07:002012-07-16T14:51:34.708-07:00Un week end à Colmar (avec des enfants et en été!)<div style="text-align: justify;">
Au coeur de l'Alsace, <a href="http://www.ot-colmar.fr/fr/">Colmar</a> se prête bien à un week end qui plaira aux adultes et à leurs enfants.</div>
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Les promenades dans la vieille ville, à pied ou <a href="http://sweetnarcisse.com/">en barque</a> ou en calèche, permettent de découvrir <a href="http://www.ot-colmar.fr/fr/decouvrir">la grande richesse historique et architecturale de Colmar</a> : maisons à colombages dont les célèbres Maisons des Têtes ou la Maison Pfister, les multiples églises, la Petite Venise...</div>
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Pour les enfants, on peut effectuer une rapide visite au petit <a href="http://www.ot-colmar.fr/fr/musees-de-colmar/269000094_musee-du-jouet-et-des-petits-trains-colmar?view=ficheproduit&layout=ficheproduit&produit=269000094">Musée du Jouet</a> et passer une grande après-midi au <a href="http://www.ot-colmar.fr/fr/parcs-animaliers/F229000793_centre-de-reintroduction-des-cigognes-et-des-loutres-en-alsace-hunawihr">Centre de réintroduction des cigognes et des loutres en Europe</a>, situé à 20 minutes de Colmar.<br />
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Ce dernier parc est très agréable, et permet de se promener au milieu des cigognes.<br />
Les spectacles (repas des cigogneaux, démonstration des techniques de pêche en aquarium) sont réussis, de même que les itinéraires au travers du parc.<br />
On ne se sent jamais oppressé par la foule, l'attente, la malbouffe ou le soleil et c'est plus intelligent qu'un parc Disney.</div>
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Colmar offre bien entendu divers plaisirs culinaires : les vins d'alsace, les flammkuchen, les biscuits...<br />
Attention tout de même, s'agissant d'une ville touristique, les mauvais restaurants sont légion.<br />
Pour notre part, nous avons savouré, à plusieurs reprises et toujours avec plaisirs, les mets du restaurant bio <a href="http://www.larpegebio.com/">l'Arpège</a>.</div>
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Pour résider, nous pouvons recommander le charmant hôtel <a href="http://www.hotel-le-colombier.fr/">Le Colombier</a>, au coeur de la Petite Venise, ou l'Hôtel <a href="http://www.accorhotels.com/fr/hotel-0978-mercure-colmar-centre-unterlinden/index.shtml">Mercure Centre Unterlinden</a>, situé à deux pas du musée Unterlinden, et qui propose des suites familiales fort pratique pour les enfants.</div>
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Bien entendu, il est indispensable de visiter le <a href="http://www.musee-unterlinden.com/">Musée Unterlinden</a> et ses chef d'oeuvres de l'art rhénan du XVe et XVIe siècles.</div>
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La pièce-maîtresse du musée est <a href="http://www.musee-unterlinden.com/grunewald-retable-d-issenheim.html">le Retable d'Issenheim</a>, d'une puissance expressionniste et d'une modernité étonnante.</div>
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A l'occasion de son 500e anniversaire, le Musée a choisi d'exposer un autre chef d'oeuvre avec le <a href="http://www.blogger.com/blogger.g?blogID=3438443715727614999#editor/target=post;postID=3468275948764681333">Décor</a> d'Adel Abdessemed, hommage et prolongement contemporain du Retable.</div>
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Enfin, pour les infatiguables, les proches alentours de Colmar fourmillent d'itinéraires passionnants.</div>
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La Route des Vins permet de traverser les beaux villages de <a href="http://www.kaysersberg.com/">Kaysesberg</a>, <a href="http://www.turckheim.fr/">Turckheim</a>, <a href="http://www.valleemunster.eu/">Munster</a>..., de découvrir l'orgueilleux <a href="http://www.haut-koenigsbourg.fr/fr">Château du Haut-Koenigsbourg</a>...</div>
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</div>JDhttp://www.blogger.com/profile/17629743097811378884noreply@blogger.com0