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De Catherine Breillat Une littérarité qui fait subversion aux codes pornographiques. Narration et intertextualité dans Romance (1999) et Anatomie de l'enfer (2003) de Catherine Breillat Mémoire Eloïse Pelletier Maîtrise en littérature et arts de la scène et de l'écran - avec mémoire Maître ès arts (M.A.) Québec, Canada © Eloïse Pelletier, 2021 Une littérarité qui fait subversion aux codes pornographiques. Narration et intertextualité dans Romance (1999) et Anatomie de l’enfer (2003) de Catherine Breillat Mémoire Éloïse Pelletier Sous la direction de : Julie Beaulieu, directrice de recherche Résumé Ce mémoire s’intéresse à deux films de Catherine Breillat : Romance (1999) et Anatomie de l’enfer (2003). Ces œuvres ont généré de fortes réactions auprès du public, principalement parce que chacun de ces films contient des scènes de sexualité explicite. Par ailleurs, on remarque que malgré son traitement cru et audacieux de la sexualité, le cinéma de Catherine Breillat ne franchit pas la limite du genre pornographique. Ce travail de recherche s’est attardé à comprendre pourquoi Romance et Anatomie de l’enfer jonglent avec les codes du cinéma X, sans toutefois appartenir à cette catégorie de films. Nous avançons l’idée selon laquelle ces deux œuvres de Breillat font subversion aux codes pornographiques, notamment grâce à une forme de littérarité qui est perceptible lors de leur visionnement. Ainsi, notre hypothèse suppose que ces films intègrent certains procédés associés à la littérature et que c’est en partie ce qui permet aux films de se distinguer de l’industrie du porno. Plus précisément, nous pensons que cette littérarité participe à la dimension conceptuelle et réflexive des films et ainsi pointe la façon dont chacune de ces œuvres arrive à critiquer la pornographie et les représentations de la sexualité des femmes à l’écran. Pour ce faire, le premier chapitre de ce mémoire expose le contexte de production et la réception des films avant de plonger dans chacune des œuvres pour examiner l’importance qui est donnée au langage verbal des personnages. Le second chapitre use des notions de narratologie pour observer les structures narratives des deux films. Le dernier chapitre fait l’analyse de divers intertextes littéraires auxquels les films font allusion ou référence implicitement. Ces trois parties cherchent à faire surgir cette littérarité, à en tracer les contours et ainsi comprendre quels sont ses effets dans Romance et Anatomie de l’enfer. ii Table des matières Résumé .......................................................................................................................... ii Table des matières ........................................................................................................ iii Liste des figures ............................................................................................................ iv Remerciements .............................................................................................................. v Introduction................................................................................................................... 1 Chapitre 1. Catherine Breillat : cinéaste dans la transgression .................................... 8 1.1. La New French Extremity.......................................................................................... 8 1.2. Catherine Breillat et la pornographie ..........................................................................21 1.3. Le style de Breillat : quand le poids des mots surpasse celui des images...........................26 Chapitre 2. Romance et Anatomie de l’enfer : une construction narrative complexe et atypique ....................................................................................................................... 36 2.1. La narratologie : de la littérature au cinéma .................................................................36 2.2. Les protagonistes et l’identification spectatorielle.........................................................39 2.3. Analyse de la narration dans Romance ........................................................................41 2.4. Analyse de la narration dans Anatomie de l’enfer .........................................................49 2.5. Des choix stylistiques significatifs .............................................................................58 Chapitre 3. Intertextualité et mémoire de la littérature dans le cinéma breillatien .... 62 3.1. À propos de l’intertextualité au cinéma .......................................................................62 3.2. Georges Bataille......................................................................................................65 3.3. Breillat et le roman libertin du XVIIIe siècle : entrecroisement de discours à propos du sexe et du monde .................................................................................................................70 3.4. De Marguerite Duras à Catherine Breillat : le cas d’Anatomie de l’enfer ..........................84 3.5. Pour terminer..........................................................................................................89 Conclusion .................................................................................................................. 91 Bibliographie .............................................................................................................. 97 iii Liste des figures1 Figure 1........................................................................................................................ 29 Figure 2........................................................................................................................ 29 Figure 3........................................................................................................................ 42 Figure 4........................................................................................................................ 42 Figure 5........................................................................................................................ 44 Figure 6........................................................................................................................ 51 Figure 7........................................................................................................................ 52 Figure 8.1 ..................................................................................................................... 56 Figure 8.2 ..................................................................................................................... 56 Figure 8.3 ..................................................................................................................... 56 Figure 9........................................................................................................................ 58 Figure 10 ...................................................................................................................... 68 Figure 11.1 ................................................................................................................... 77 Figure 11.2 ................................................................................................................... 77 Figure 12 ...................................................................................................................... 81 Figure 13.1 ................................................................................................................... 81 Figure 13.2 ................................................................................................................... 81 Figure 13.3 ................................................................................................................... 81 Figure 14 ...................................................................................................................... 88 Figure 15.1 ................................................................................................................... 88 Figure 15.2 ................................................................................................................... 88 Figure 16 ...................................................................................................................... 95 Figure 17 ...................................................................................................................... 95 1 Les références de chacune de ces figures se trouvent dans la bibliographie. iv Remerciements J’aimerais tout d’abord remercier Valérie Morin-Alain et Maude Bradette-Laplante, mes deux copines de toujours qui ont, elles aussi, passé par les cycles supérieurs. Leur écoute et leurs encouragements m’ont maintes fois libérée des angoisses liées aux embûches rencontrées tout au long de mon parcours à la maîtrise. Merci à mon copain Raphaël Bouchard qui a su m’apaiser et me soutenir dans mes moments de grand stress. Sa présence à mes côtés, surtout pendant la période d’isolement dû à la COVID-19, a été des plus précieuses et m’a permis de terminer l’écriture de mon mémoire dans un esprit de fête. Je tiens à souligner l’appui des membres de ma famille, qui me font tous confiance et ne mettent jamais en doute ma capacité à relever les défis que je m’impose moi-même. Je remercie également Jean-Pierre Sirois-Trahan pour ses conseils et de m’avoir offert un poste d’auxiliaire d’enseignement pendant plusieurs sessions ; je lui suis redevable d’une expérience et d’un apprentissage qui sont inestimables.
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