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La Légende Urbaine Des Snuff Movies Histoire, Théorie, Esthétiques, Technologies

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La Légende Urbaine Des Snuff Movies Histoire, Théorie, Esthétiques, Technologies Université de Montréal La légende urbaine des snuff movies Histoire, théorie, esthétiques, technologies par Simon Laperrière Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de maîtrise en études cinématographiques Avril, 2013 © Simon Laperrière, 2013 Résumé La présente étude propose une analyse historique de la légende urbaine des snuff movies. En premier lieu, elle se penche sur l’émergence de cette rumeur dans le paysage médiatique américain des années 70 tout en focalisant sur certains objets filmiques l’ayant crédibilisée, principalement les stag et les mondo movies. Ce mémoire analyse par la suite l’influence majeure de deux événements sur l’implantation de la légende urbaine dans l’imaginaire collectif, soit l’assassinat de Sharon Tate et la circulation du film de Zapruder. Après avoir étudié la persistance de la rumeur, cet essai focalise sur la promotion et l’exploitation de Snuff (1976) en plus de proposer une analyse de ce long métrage. Ensuite, il se penche sur deux types de représentations du snuff dans le cinéma de fiction ainsi que leurs impacts sur l’authentification de la légende urbaine. Il est d’abord question des mises en scène du snuff dans le cinéma populaire qui s’inspirent de la rumeur pour ensuite l’actualiser. Sont ensuite étudiées les représentations du snuff à titre de faux documents, soit ces œuvres qui tentent par divers procédés de se faire passer pour de véritables films clandestins et, de ce fait, authentifient l’objet auquel ils se réfèrent. Puisque cette étude analyse l’évolution médiatique de la légende urbaine, elle se conclut sur son déplacement du cinéma vers Internet et de sa nouvelle crédibilisation grâce aux vidéos macabres, à la pornographie juvénile et au récent cas Magnotta. Mots-clés : snuff movies, esthétique, mort au cinéma, faux document, cinéphilie, médiations cinématographiques, cinéma d’exploitation, imaginaire i Abstract The following study proposes a historical analysis of the urban legend of snuff movies. First, it examines the emergence of this rumor in the American media landscape of the 1970s, while focusing on the cinematic objects having reinforced its credibility, mainly stag and mondo movies. This memoir subsequently analyzes the major influence two events had towards implementing this urban legend into the collective imaginary, namely the assassination of Sharon Tate and the circulation of the Zapruder film. After studying the persistence of the rumor, this essay focuses on the promotion and exploitation of Snuff (1976), offering, in addition, an analysis of this feature film. Following this, this essay addresses two types of snuff representation in fiction film, as well as their impact on the authentication of the urban legend. First, there is the issue of the staging of snuff in popular cinema, taking inspiration from the rumor in order to update it in return. Secondly, is studied the representations of snuff as fake documents, namely the works attempting, through various processes, to pass for genuinely illegal films, thus authenticating the objects they are a reference to. Because this study analyzes the evolution of the media surrounding the urban legend, it concludes on its displacement from the cinema to the Internet, and the new credibility allowed by macabre videos, child pornography and the recent Magnotta case. Keywords : snuff movies, aesthetics, death on film, fake documents, cinephilia, film mediations, exploitation cinema, the imaginary ii Table des matières Liste des figures......................................................................................................................v Remerciements .....................................................................................................................vii INTRODUCTION ..................................................................................................................1 0.1. Qu'est-ce que serait un snuff movie ? ................................................................................1 0.2. Hypothèse ........................................................................................................................6 0.3. Pourquoi croyons-nou au snuff ?.......................................................................................7 0.4. Vers une histoire de la légende urbaine.............................................................................9 PREMIER CHAPITRE: HISTORICISER LE SNUFF ..........................................................12 1.1. Prélude...........................................................................................................................12 1.2. Contexte.........................................................................................................................18 1.3. Point de départ ...............................................................................................................20 1.4. La mort d'un président....................................................................................................27 1.5. Puissance et résistance de la rumeur ...............................................................................30 CHAPITRE 2: DE LA RUMEUR À LA REPRÉSENTATION FILMIQUE DU SNUFF MOVIE .................................................................................................................................38 2.1. Snuff, ce film que l'on croyait immontrable.....................................................................39 2.2. Snuff. Histoire d'un tournage, théorie d'un complot.........................................................45 2.3. « Did you get it ? Did you get it all ? » ...........................................................................49 CHAPITRE 3: LES REPRÉSENTATIONS DU SNUFF FILM DANS LE CINÉMA POPULAIRE ........................................................................................................................62 3.1. Décadences dans l'Ouest - Emanuelle en Amérique de Joe d'Amato ...............................62 3.2. De l'autre côté du miroir - Hardcore de Paul Schrader....................................................66 3.3. La quête du transgressif - Videodrome de David Cronenberg..........................................69 3.4. Un certain épuisement (de 1983 à aujourd'hui) ...............................................................76 iii 3.5. Vers le faux document....................................................................................................79 CHAPITRE 4: PÉNÉTRER LE CADRE - SNUFF MOVIE ET FAUX DOCUMENT...........81 4.1. Une source d'inspiration - Last House on Dead End Street .............................................83 4.2. Montrer pour évoquer - Guinea Pig 2: Flower of Flesh and Blood d'Hideshi Hano ........88 4.3. August Underground et le « devenir-snuff »....................................................................91 CHAPITRE 5 : SNUFF ET INTERNET - LA DERNIÈRE MUTATION ............................99 5.1. Retour en force de la peur...............................................................................................99 5.2. Apparitions et mises en ligne des vidéos macabres ....................................................... 100 5.3. La pointe de l'iceberg - snuff film et pornographie juvénile ........................................... 103 5.4. « Y'ont mis ça sur Internet. » - 19-2 de Podz ................................................................106 5.5. Qui est-ce que le snuff film regarde ? .......................................................................... 110 CONCLUSION...................................................................................................................119 BIBLIOGRAPHIE.............................................................................................................. 125 FILMOGRAPHIE……………………………………………………………………………….. iv Liste des figures Fig. 1. Affiche promotionnelle du film Snuff (1976).............................................................40 v À mon grand-père, Pour m’avoir confirmé que Snuff ne montrait pas un vrai meurtre parce qu’un bras, « ça saigne pas de même ! » vi Remerciements Je souhaite d’abord et avant tout à remercier chaleureusement mon directeur André Habib pour son érudition, ses pertinents conseils, sa patience et, surtout, son amitié. Véritable Virgile universitaire, il m’a guidé avec sagesse et rigueur à travers les sept cercles de la rédaction. Ma famille m’a toujours motivé à poursuivre mes projets jusqu’au bout, même les plus étranges. Sans leur soutien constant, je n’aurais probablement jamais entamé les études supérieures. Je salue toute l’équipe du festival Fantasia, tout particulièrement Nicolas Archambault, Ariel Esteban Cayer, Mitch Davis, Julie Poitras, Marie-Laure Tittley et Pierre Corbeil. Merci d’avoir compris dès le départ toute l’importance et les efforts que j’accordais à ce projet et de fermer les yeux sur les trop nombreuses fois où j’ai failli à respecter certaines dates de tombée… Je tire ma révérence à tous ceux qui ont contribué de près et de loin à la finalisation de ce mémoire : Jean-Michel Berthiaume et Gabriel Gaudette du OFF-CIEL, Antonio Dominguez Leiva, Samuel Archibald, Fred Vogel ainsi que mes amis Ben, Eric, Frederick, JFR, Joëlle, Hélène, Martin, Maurice et Phil. Merci également à Douglas Buck pour m’avoir, à la dernière heure, refilé quelques DVD. Finalement, je tiens à souligner l’apport à ce travail de ma précieuse
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