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12 Years a Slave (Steve Mcqueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris

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12 Years a Slave (Steve Mcqueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Electronic version URL: http://journals.openedition.org/transatlantica/11425 DOI: 10.4000/transatlantica.11425 ISSN: 1765-2766 Publisher AFEA Electronic reference Transatlantica, 1 | 2018, “Slavery on Screen / American Women Writers Abroad: 1849-1976” [Online], Online since 27 August 2018, connection on 29 April 2021. URL: http://journals.openedition.org/ transatlantica/11425; DOI: https://doi.org/10.4000/transatlantica.11425 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 TABLE OF CONTENTS L’esclavage à l’écran / Slavery on Screen Dirigé par Michaël Roy et Philip Kaisary / Edited by Michaël Roy and Philip Kaisary Introduction« A hole in the canon of cinema » ? L’esclavage nord-américain à l’écran Michaël Roy From Uncle Tom to Nat Turner: An Overview of Slavery in American Film, 1903-2016 Melvyn Stokes « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993) Claire Dutriaux Confronting Race Head-on in 12 Years a Slave (Steve McQueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris “Queen of the fields”: Slavery’s Graphic Violence and the Black Female Body in 12 Years a Slave (Steve McQueen, 2013) Hélène Charlery The Birth of a Nation (Nate Parker, 2016): The Tale of Nat Turner’s Rebellion Delphine Letort American Women Writers Abroad: 1849-1976 Edited by Stéphanie Durrans American Women Writers Abroad: Myth and Reality Stéphanie Durrans In, Out, and Beyond: Dislocation, Contamination and the Redemptive Power of Womanhood in California, In-doors and Out by Eliza W. Farnham, 1856 Claire Sorin Transnational Relationships, US Feminism, and the Labor of Dark Foreign Men in the “New World” of Europe in Louisa May Alcott’s Diana and Persis Leslie Hammer Reading the Bibliographies of the Women’s Rest Tour Association: Cultural Travel in the Long Nineteenth Century Julia Carlson Travels, Translations and Limitations: Ambasciatrice Caroline Crane Marsh Etta Madden “Travelling in the Family”: Elizabeth Bishop’s Brazilian Autobiographical Voice Myriam Bellehigue Weimar Migrations: Katherine Anne Porter in Berlin Joseph Kuhn Transatlantica, 1 | 2018 2 “Back and Forth Between the Sea and the Mountain”: Negative Mobility and Transnationalism in Hualing Nieh’s Mulberry and Peach Grazia Micheli Hors Thème « Somnambulisme », ou l’après-coup de la métaphore Marc Amfreville Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz De la porte de Brandebourg à La Havane : Wilder, Hitchcock et l’héritage révolutionnaire Julie Michot Recensions Jim Cocola, Places in the Making: A Cultural Geography of American Poetry Neal Alexander Béatrice Pire, Figures de la décomposition familiale dans le roman américain contemporain Sophie Chapuis Carrie Hyde, Civic Longing : The Speculative Origins of U.S. Citizenship Hélène Cottet Dean J. Franco, The Border and the Line: Race and Literature in Los Angeles Michael Docherty Hélène Le Dantec-Lowry, Claire Parfait, Matthieu Renault, Marie-Jeanne Rossignol et Pauline Vermeren (dir.), Écrire l’histoire depuis les marges : une anthologie d’historiens africains-américains, 1855-1965 Nicolas Martin-Breteau Hélène Valance, Nocturne. Night in American Art, 1890–1917 Winner of the Terra Foundation for American Art – Yale University Press American Art in Translation Book Prize. Helena Lamouliatte-Schmitt Nicole Brittingham Furlonge, Race Sounds. The Art of Listening in African American Literature Charles Joseph Emily C. Burns, Transnational Frontiers: The American West in France James R. Swensen Transatlantica, 1 | 2018 3 Actualité de la recherche Melynda Price: “‘When Black Mothers Weep’: Race, Motherhood and Anti-violence Activism in Detroit” May 30th, 2018 – Université Sorbonne Nouvelle Jeanne Boiteux « Passeurs de la littérature américaine en France 1917-1967 » Université Rennes 214-15 mars 2019 Christelle Centi Percival Everett: Theory, philosophy and fiction ERIAC (EA 4705), Rouen UniversityMay 2nd and 3rd 2019 Anne-Julie Debare « La machine dans la littérature et les arts visuels du monde anglophone » Journée d’études internationale OVALE, Sorbonne-Université28 mai 2019 Olivier Hercend « Dorothea Tanning, le modernisme et l’avant-garde transatlantique » Conférence d’Alyce Mahon, Maîtresse de conférences en histoire de l’art moderne et contemporain à l’Université de Cambridge« Giacometti Lab », Institut Giacometti, Paris, 7 juin 2019 Yasna Bozhkova « Frontières dans les Amériques » Université Grenoble Alpes, ILCEA4, Laboratoire Pacte, 11-13 juin 2019 Cléa Fortuné “Passages”: The Robert Duncan Centennial Conference in Paris Sorbonne Université, Paris, June 12-14, 2019 Berengere Riou “The Legacies of Ursula K. Le Guin: Science, Fiction and Ethics for the Anthropocene” /“Héritages d’Ursula Le Guin : Science, fiction et éthique pour l’Anthropocène” Paris, 18–21 June 2019, Institut du Monde Anglophone, Université de la Sorbonne Nouvelle David Creuze Perspectives The Birth of a Nation (Nate Parker, 2016) : modèles et contre-modèles The Birth of a Nation de Nate Parker, une anti-adaptation ? Michaël Roy Réécrire l’histoire du/au cinéma : The Birth of a Nation de Nate Parker, et l’ombre de D.W. Griffith Emmanuelle Delanoë-Brun Nat Turner à l’écran : un héritage controversé Antoine Guégan Trans'Arts “Ernst Haas, la couleur visionnaire,” at Les Douches La Galerie (Paris) Guillaume Mouleux Transatlantica, 1 | 2018 4 Là où réside la mémoire : Sally Mann au Jeu de Paume Sally Mann : Mille et un passages, 18/06/2019 – 22/09/2019, Jeu de Paume (Paris) Faustine Rondin Sally Mann’s “A Thousand Crossings” at the Musée du Jeu de Paume Mary-Elaine Jenkins La boîte à musique Leaving the Building: Elvis, Celebrity, Biography, and the Limits of Psychological Autopsy Mark Duffett and Paula Hearsum Transatlantica, 1 | 2018 5 L’esclavage à l’écran / Slavery on Screen Dirigé par Michaël Roy et Philip Kaisary / Edited by Michaël Roy and Philip Kaisary Transatlantica, 1 | 2018 6 Introduction « A hole in the canon of cinema » ? L’esclavage nord-américain à l’écran Michaël Roy 1 « The slaves left. » Prononcés par Amy (Oona Laurence) dans la scène d’ouverture des Proies de Sofia Coppola (The Beguiled, 2017), alors que la jeune fille s’apprête à porter assistance au caporal unioniste interprété par Colin Farrell, ces trois monosyllabes suffisent à évacuer du récit tout traitement de la problématique esclavagiste. De ces personnages d’esclaves – des femmes, des hommes ? combien ? employés à quelles tâches ? – on ne saura rien, hormis qu’ils ont déserté le pensionnat de Miss Farnsworth (Nicole Kidman), où se déroule l’essentiel de l’action. Leur acte de résistance est moins ici le signe de leur capacité d’agir (agency) qu’une façon d’éviter un sujet qui ne semble pas fondamentalement préoccuper la réalisatrice, quoi qu’elle en dise en interview ; « I didn’t want to brush over such an important topic in a light way », a-t-elle ainsi répondu à ses détracteurs. Car la critique a pris la mesure de cette troublante absence des esclaves et de l’esclavage dans un film se déroulant en Virginie pendant la guerre de Sécession, d’autant plus manifeste que les incarnations précédentes des Proies – le roman de Thomas Cullinan publié en 1966 et sa première adaptation par Don Siegel en 1971 – abordaient la thématique raciale, à travers les personnages de l’esclave domestique Matilda, renommée Hallie (Mae Mercer) dans le film de Siegel, et celui de la maîtresse d’école Edwina, métisse dans le roman. La première disparaît du film de Coppola, tandis que la seconde est interprétée par Kirsten Dunst. Difficile dans ces conditions d’échapper aux accusations de whitewashing, Les Proies puisant par ailleurs dans l’iconographie du film de plantation de l’âge classique d’Hollywood, entre robes à crinoline, grande maison à colonnes ioniques et dîner à la bougie ; il n’est pas tout à fait anodin que Coppola ait conseillé à l’actrice Elle Fanning de s’inspirer du personnage de Scarlett O’Hara (Vivien Leigh) dans Autant en emporte le vent (Gone with the Wind, Victor Fleming, 1939) pour le personnage d’Alicia. L’esthétisation des images va de pair avec une dépolitisation du propos, centré sur les jeux de séduction au sein du pensionnat, et Transatlantica, 1 | 2018 7 oublieux de la réalité sociale et historique de la guerre, comme l’a noté Richard Brody dans sa critique pour The New Yorker (Brody ; Atad ; Miller). 2 Sans doute Les Proies ne pouvait-il que susciter la controverse, alors que depuis le début des années 2010 se multiplient les films et les séries télévisées évoquant tant l’esclavage nord-américain que le lourd héritage racial qui en est le produit. Quatre films en particulier, tous sortis pendant le second mandat du premier président noir des États- Unis, ont installé le thème de l’esclavage et de son abolition dans le paysage cinématographique : Lincoln de Steven Spielberg (2012) présente la lutte abolitionniste comme le combat héroïque d’un homme politique blanc aux convictions inébranlables ; Django Unchained de Quentin Tarantino (2012) fait le pari de montrer le système
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