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De Pygmalion a Pinocchio: Le Corps Et La Statuaire Dans Le Cinema Francais Et Italien

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De Pygmalion a Pinocchio: Le Corps Et La Statuaire Dans Le Cinema Francais Et Italien DE PYGMALION A PINOCCHIO: LE CORPS ET LA STATUAIRE DANS LE CINEMA FRANCAIS ET ITALIEN By SOPHIE GANACHAUD A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2008 1 © 2008 Sophie Ganachaud 2 To my Mom 3 ACKNOWLEDGMENTS I wish to thank all the people, family and friends, who supported me for the last 6 years. I also thank my supervisors committee (particularly Dr. Sylvie Blum-Reid, for her guidance and her patience). 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 CHAPTER 1 INTRODUCTION ....................................................................................................................8 2 VOYAGE EN ITALIE: LA STATUAIRE ET LA RÉSURRECTION DU COUPLE ..........15 La Statuaire Selon André Bazin .............................................................................................15 Histoire(s) de Revenants.........................................................................................................19 La Statue et le Corps Fasciste.................................................................................................26 L’Anglicité ‘Sculptée’ d’Ingrid Bergman et de George Sanders ...........................................30 Le Langage des Corps ............................................................................................................38 The Dead de James Joyce.......................................................................................................47 Les “Pères” de François Truffaut ...........................................................................................56 François Truffaut et Henri-Pierre Roché: Jules et Jim ..........................................................67 La Vénus d’Ille: La Femme Statufiée et le Monstre..............................................................78 Catherine.................................................................................................................................82 L’Écriture du Corps ................................................................................................................88 Jeanne Moreau........................................................................................................................91 3 ALAIN DELON ET SES FRÈRES : UN ACTEUR ENTRE LE CORPS ET LA STATUAIRE ..........................................................................................................................99 Alain Delon : Version Française.............................................................................................99 Les Deux “Gérard” du Cinéma Français : Gérard Philippe et Gérard Depardieu...............108 Le Corps Duel de Delon .......................................................................................................117 Alain Delon et Maurice Ronet : le Corps Intellectuel .........................................................119 L’Uniforme Fait la Statue.....................................................................................................123 L’Iconographie Delonienne..................................................................................................125 Delon et l’Iconographie Chétienne de Luchino Visconti .....................................................128 Marcello Mastroianni et Jean-Louis Trintignant : le Masculin, le Féminin et la Sexualité............................................................................................................................138 4 BEAU TRAVAIL : LA GREFFE OU L’INTERTEXUALITÉ DES CORPS ......................158 Billy Budd et le Mythe du “Beau Matelot”...........................................................................162 Un Corps sur Mesure pour Galoup : Denis Lavant .............................................................167 Le Légionnaire: un Homme aux Frontières du Mythe et de la Réalité ...............................170 La Discipline du Danseur .....................................................................................................179 Le Corps de la Nouvelle Vague : Michel Subor...................................................................183 La Genèse du Mépris et la Statuaire des Dieux....................................................................186 5 5 L’ENFANT OU L’ÉMANCIPATION DU CORPS DANS LE NOUVEAU CINÉMA ITALIEN...............................................................................................................................193 Kim Rossi Stuart ou le Corps de l’Éternel Adolescent.........................................................194 L’Enfant Double et Duel ......................................................................................................198 Allemagne, Année Zéro........................................................................................................202 L’Héritage de Buñuel : le Cauchemar de l’Enfant-Statue....................................................207 L’Horreur et l’Enfant-Monstre chez Salvatores ...................................................................211 L’Enfance Libérée de Kim Rossi Stuart...............................................................................218 6 CONCLUSION.....................................................................................................................224 LIST OF REFERENCES.............................................................................................................228 BIOGRAPHICAL SKETCH ......................................................................................................233 6 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy DE PYGMALION A PINOCCHIO: LE CORPS ET LA STATUAIRE DANS LE CINEMA FRANCAIS ET ITALIEN By Sophie Ganachaud May 2008 Chair: Sylvie Blum-Reid Major: Romance Languages My dissertation offers an analysis of the evolution of the various representations and meanings of the human figure and body, in both post-World War II French and Italian cinema. It explores the symbolism and the semiological role of the statuary and suggests a new reading of film classics such as Roberto Rossellini’s Voyage to Italy (1956) and François Truffaut’s Jules et Jim (1961), but also more recent film productions like Beau Travail (2001) by Claire Denis and Io non ho paura (2003) by Gabriele Salvatores. I compare some of these films to their literary counterparts such as James Joyce’s short story The Dead (1914), which inspired Voyage to Italy, and Herman Melville’s Billy Budd (1924) that provided Denis with her artistic concept of a new male body in Beau Travail. My goal was to explore these films from different perspectives so as to blend the frontiers between the cinematic and literary narrative genres. The transformations of the body reveal the profound impact of the war and the need to break free from its conditioning imagery: the artistic body breaks the mould to express a new and individualized vision of humanity. 7 CHAPTER 1 INTRODUCTION Les films présentés dans la thèse annoncent tous une brèche, une cassure par rapport aux modèles narratifs, esthétiques et figuratifs qui les ont précédés. Le moule se brise pour donner naissance à un nouveau cinéma, à une nouvelle esthétique. L’idée d’un moule et par là d’un modèle précurseur est particulièrement importante car elle prend forme, de façon littérale, à travers l’utilisation et le symbolisme de la statuaire, que celle-ci soit littérale ou métaphorique, dans chacune des œuvres étudiées: le premier chapitre revisite l’image du couple dans Viaggio in Italia (Voyage en Italie, 1953) de Roberto Rossellini, le deuxième se consacre entièrement à la représentation de la femme dans Jules et Jim (1961) de François Truffaut, et un le quatrième chapitre explore les thèmes de la greffe et de l’intertextualité des corps dans Beau Travail (2001) de Claire Denis. Cependant, l’étude ne se borne pas à l’analyse de films, elle s’intéresse également à la dialectique entre la statuaire et le corps de la star, comme le souligne le troisième chapitre qui analyse la persona de l’acteur Alain Delon, tel que le perçoivent le cinéma français et le cinéma italien. L’interaction culturelle et le dialogue artistique permanent qui existent entre les deux cinémas nationaux laissent entrevoir une certaine rivalité des masculinités ainsi qu’une complicité indéniable. Le dernier chapitre revient à l’image du couple et à leur union en la personne de l’enfant. Cependant, ce dernier refuse de suivre le modèle maternel ou paternel et se démarque clairement en tant que création et en tant individu à part entière, forçant les adultes à repenser leur rôle de modèles. En 2001, Suzanne Liandrat-Guigues est venue présenter à l’Université Occidentale de Bretagne de Brest, un essai sur la signification de la statuaire dans le film de Roberto Rossellini Voyage en Italie, en s’attachant plus précisément à l’étude des moulages en plâtre de deux corps découverts enlacés et pétrifiés par la lave du Vésuve, sur un site archéologique que visitent les 8 protagonistes du film, Alex et Catherine Joyce. Liandrat-Guigues développait alors une nouvelle théorie, à savoir que cette statuaire
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