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Film Noir Extrait 1..23 Film_noir_extrait - 31.10.2012 - 10:50 - page 1 Film_noir_extrait - 31.10.2012 - 10:51 - page 2 Pre´sentation de l’e´diteur Attache´ a` la fois au savoir-faire hollywoodien et a` l’e´ cri- ture des polars des anne´ es 1930, he´ ritier late´ ral de l’expressionnisme allemand et indirect des romans de Ann Radcliffe et de Matthew G. Lewis, le film noir reste attache´ aux noms de Billy Wilder, Fritz Lang, Otto Preminger, John Huston, Nicholas Ray, Jules Dassin, etc. Un genre qui a re´ volutionne´ l’esthe´ tique hollywoodienne, une e´ pope´ e que raconte ici Jean-Pierre Esquenazi dans un livre admirablement documente´ . Faire l’histoire du film noir, c’est examiner la vie d’une communaute´ d’intellectuels venus d’Europe ou de New York a` Hollywood dans les anne´ es 1930, pas toujours a` l’aise a` l’inte´ rieur du syste` me hie´ rarchise´ des Majors. Le genre naıˆt comme une sorte d’accident industriel a` la fin de la Seconde Guerre, sous le signe du de´ fia` la censure des studios, obtenant un grand succe` s avant de subir de plein fouet le maccar- thysme et son syste` me de blacklistage. D’une lucidite´ ame` re, le film noir transforme les durs a` cuire hollywoodiens en rate´ seffraye´ set fascine´ s par des femmes fatales rebelles, et me´ tamorphose les grandes me´ tropoles en de gigantesques labyrinthes semblables aux chaˆteaux hante´ s du gothique. Jean-Pierre Esquenazi retrace l’histoire et la sociologie d’un genre a` la fois populaire et profonde´ ment critique, commercial et pourtant avant- gardiste, si souvent imite´ que ses the` mes apparaissent aujourd’hui convenus. Jean-Pierre Esquenazi est sociologue de la culture audiovisuelle, membre de l’e´quipe Marge (Universite´ Lyon 3). Film_noir_extrait - 31.10.2012 - 10:51 - page 3 Le film noir Film_noir_extrait - 31.10.2012 - 10:51 - page 4 Film_noir_extrait - 31.10.2012 - 10:51 - page 5 Jean-Pierre Esquenazi Le film noir Histoire et significations d’un genre populaire subversif CNRS E´DITIONS 15, rue Malebranche – 75005 Paris Film_noir_extrait - 31.10.2012 - 10:51 - page 6 Collection « Cine´ ma & audiovisuel » dirige´ e par Laurent Creton ’ CNRS E´ DITIONS, Paris, 2012 Film_noir_extrait - 31.10.2012 - 10:51 - page 7 Sommaire Introduction................................................................................................................. 5 Premie` re partie Interpre´tations Chapitre premier. L’invention franc¸ aise du « film noir »....................... 21 Le Mythe originel du film noir........................................................................ 21 Deux articles de L’E´cran franc¸ ais et de La Revue du cine´ma............... 23 Le refus critique (1946-1950) ........................................................................... 29 Une trajectoire souterraine ............................................................................... 34 Panorama du film noir ame´ ricain, 1941-1953............................................ 40 Le passage de l’Atlantique................................................................................ 44 Chapitre 2. La (re)de´couverte ame´ricaine................................................... 47 Une bibliographie conside´ rable ...................................................................... 47 Anne´ es 1970 : le film noir comme avant-garde ......................................... 50 Anne´ es 1980 : la monumentalisation du film noir.................................... 62 Anne´ es 1990 et 2000 : le film noir comme sujet d’e´ tude ........................ 71 Deuxie` me partie Histoire d’un mouvement artistique Chapitre 3. Naissance du noir : un beau quadruple´.................................. 79 Un e´ ve´ nement a` Hollywood............................................................................. 79 L’audace des de´ butants : Double Indemnity................................................ 84 Cain, Sistrom, Wilder : e´ laboration d’un projet....................................... 84 L’ogre Breen....................................................................................................... 86 Cain n’est plus maudit a` Hollywood........................................................... 88 Une affaire d’intellectuels............................................................................... 90 Un effort de re´ alisme ....................................................................................... 93 Des collaborateurs implique´ s ........................................................................ 94 Film_noir_extrait - 31.10.2012 - 10:51 - page 8 8 Le film noir Simultane´ ite´ s: Phantom Lady, Laura, The Woman in the Window ... 96 Points communs................................................................................................ 96 Heureuses rencontres....................................................................................... 97 Affrontements avec le PCA ........................................................................... 101 L’arrive´ e de la seconde ge´ ne´ ration du hardboiled.................................... 104 Collaborations germano-ame´ ricaines.......................................................... 105 Le souci de re´ alisme......................................................................................... 107 La participation e´ nergique des collaborateurs ......................................... 109 Conclusion.......................................................................................................... 112 Chapitre 4. Sources institutionnelles d’un genre original ...................... 115 Hollywood, un monde de l’art tumultueux ................................................ 115 La glorieuse parenthe` se...................................................................................... 119 Une certaine inde´ pendance............................................................................... 123 Les he´ sitations de la censure ............................................................................ 127 L’arrive´ e des hardboilers .................................................................................... 131 Re´ alisme a` Hollywood ....................................................................................... 134 Collaborateurs du film noir.............................................................................. 138 Une occasion a` saisir .......................................................................................... 140 Chapitre 5. Le bref bonheur du film noir ...................................................... 143 Quelques hypothe` ses sur le public contemporain du film noir ........... 143 L’apre` s-guerre et ses doutes ............................................................................. 145 La vague de films noirs ...................................................................................... 149 Les gros budgets ................................................................................................... 152 RKO et 20th Century Fox, des studios fervents du film noir ............. 160 Auteurs de films noirs......................................................................................... 165 Films noirs de se´ rie B ......................................................................................... 170 La propagation du noir ..................................................................................... 174 Chapitre 6. L’e´tiolement d’Hollywood et l’e´nergie de´sespe´re´e du film noir............................................................................................................ 179 Les plus noirs des films noirs........................................................................... 179 L’imme´ diat apre` s-guerre ame´ ricain ............................................................... 181 De´ gradation du climat hollywoodien ........................................................... 185 L’aveuglement d’Hollywood ............................................................................ 189 Films du Blacklisting........................................................................................... 193 Angoisses a` Hollywood................................................................................... 193 Re´ ponses noires au blacklisting : le film gris ............................................. 195 Women’s films et policiers noirs.................................................................... 201 Le noir sombre dans la folie.......................................................................... 205 Persistance du noir « classique » ................................................................... 209 Le weak guy........................................................................................................ 212 Film_noir_extrait - 31.10.2012 - 10:51 - page 9 Sommaire 9 Troisie` me partie Une forme narrative et son esthe´tique Chapitre 7. Un mode`le narratif du film noir................................................ 219 La dimension textuelle du film noir .............................................................. 219 Des portraits re´ ve´ lateurs : la sce` ne primitive du film noir..................... 225 Deux portraits ................................................................................................... 225 Prologues............................................................................................................. 226 Apparitions......................................................................................................... 229 Le savoir des femmes......................................................................................
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