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Je Me Suis Intéressée À L'histoire De Cinq Films Documentaires

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Je Me Suis Intéressée À L'histoire De Cinq Films Documentaires Université de Neuchâtel Pierrine Saini Faculté des lettres et sciences humaines Rue du Grand-Bureau, 24 1227 Les Acacias, Suisse [email protected] Institut d’ethnologie Rue Saint-Nicolas 4 2000 Neuchâtel, Suisse http://www.unine.ch/ethno/ Pierrine Saini Des hommes et des caméras Regard anthropologique sur la relation réalisateurs – protagonistes à travers cinq films documentaires récents Mémoire de licence en ethnologie Juin 2006 Directrice du mémoire : Mme Ellen Hertz Membre du jury : Mme Olivia Killias « La présence physique engage, même si elle est muette. » CARATINI Sophie, Les non-dits de l’anthropologie, Paris : PUF, 2004 «More often than not, and certainly more often than admitted, documentary filmmakers are unable to tell the whole truth of what they are up to without running the risk of being told to peddle their papers elsewhere. It is not that one is a liar or more dishonest than anyone else; it is simply that the nature of the business we are in makes impossible, a good deal of the time, to be absolutely candid. […] We are using human beings to make a point, we are “exploiting” them to make our films, and the fact is that our incomes and our careers often depend on our ability to conceal the truth of this exploitation from our subjects. That some subjects accept this exploitation, and others even revel in it, does not alter the fact that documentary filmmaking poses very real ethical and moral questions which must be dealt with carefully and compassionately. » GILBERT Craig, “Reflections on An American Family, II”, in: Alan ROSENTHAL, New Challenges for Documentary, pp. 288-307. - Berkeley and Los Angeles: University of California Press, 1988 : 293 « La participation effective et consciente des gens à la réalisation d’un film est souhaitable et parfaitement conforme aux techniques traditionnelles de l’observation ethnographique. » DE HEUSCH Luc, Cinéma et Sciences sociales, Reports and Papers in the Social Sciences, 16, Paris : Unesco, 1962 : 62 « They want to know the results and, unlike laboratory rats, they regard the findings with emotion. » HARING Douglas, Personal Character and Cultural Milieu, Syracuse: Syracuse University Press, 1956: 61, cité par BRETTEL, 1993 : 1 Table des matières Introduction………………………………………………………………………………………1 PREMIERE PARTIE : ECLAIRAGES THEORIQUES SUR LES ENJEUX D’UNE RELATION.…………………………………………………………………………….7 CHAPITRE 1 : LA RELATION DE TERRAIN EN ANTHROPOLOGIE ET EN SCIENCES SOCIALES.………………………………………………………………… 7 1.1 Un contrat et l’institution d’un rapport………………………………………………………. 8 1.2 Des rôles et transactions de terrain …………………………………………………………...9 1.2.1 Un chercheur entre implication et retrait : Gold et de la perspective interactionniste…………………………………………………………………………...9 1.2.2 Quel degré de participation du sujet ?.......................................................................12 1.2.3 L’observation participante et ses dilemmes………………………………………... 12 1.3 Evolution de la pratique de terrain en anthropologie : nouveaux contextes de recherche, nouvelles conceptions des places de chacun, nouvelles considérations éthiques……………….. 14 1.3.1 L’anthropologie du proche………………………………………………………….15 1.3.2 L’anthropologie réflexive…………………………………………………………... 16 Intervention, participation, coopération………………………………………….. 17 Place des sujets dans le texte……………………………………………………... 19 1.3.3 L’anthropologie féministe………………………………………………………….. 20 1.3.4 Ethique et considérations morales…………………………………………………. 20 Tromperie vs consentement informé…………………………………………….. 21 Codes éthiques…………………………………………………………………….22 Limites des codes éthiques et du consentement informé………………………….23 Réception et restitution…………………………………………………………… 25 CHAPITRE 2 : PENSER LA RELATION REALISATEUR-PERSONNES FILMEES DANS LE CINEMA DOCUMENTAIRE ET ETHNOGRAPHIQUE………………………….. 27 2.1 Une interaction sociale et des stratégies de mise en confiance………………………………. 27 2.2 Définir le cinéma documentaire ……………………………………………………………... 28 2.2.1 Mise en scène, provocation, reconstitution et narration ……………………….......30 2.2.2 Personnages et acteurs……………………………………………………………...33 2.2.3 Théories et fin de l’objectivité……………………………………………………… 35 2.3 Entre observation, participation et réflexivité : des démarches et des « modes » divers…….. 36 2.4 Evolution de la pratique documentaire : des moments-clés, des mutations techniques et de nouvelles conceptions des places de chacun…………………………………………………. 39 2.4.1 Contraintes instrumentales et options méthodologiques………………………….. 40 L’avènement du son synchrone et de l’équipement portable…………………….. 40 Cinéma direct, cinéma vérité, cinéma d’observation…………………………….. 41 Vers une collaboration avec les sujets…………….................................................42 2.4.2 Docufictions, docusoaps : vers des frontières floues avec la fiction……………….43 2.5 Tendances actuelles : documentaires performatifs, réflexifs et subjectifs…………………… 44 2.6 Considérations éthiques et consentement informé…………………………………………… 47 2.6.1 L’éthique dans le cinéma documentaire…………………………………………….48 Le cas de « An American Family » comme révélateur des dilemmes éthiques….. 49 2.6.2 Le consentement informé et ses limites…………………………………………….. 51 2.6.3 Un contrat moral et /ou juridique ?........................................................................... 52 2.7 Nouvelles revendications des sujets et droit à l’image. Vers un rapport marchand ? ………..54 DEUXIEME PARTIE : METHODOLOGIE, TERRAIN ET CONTEXTE…………………... 58 CHAPITRE 3 : TERRAIN ET METHODOLOGIE…………………………………………….. 58 3.1 Délimitation du sujet et du terrain………………………………………………………….....58 3.2 Conditions des entretiens…………………………………………………………………….. 59 3.3 Autour des entretiens….............................................................................................................61 CHAPITRE 4 : CONTEXTE DU CINEMA DOCUMENTAIRE SUISSE……………………... 64 4.1 Contexte et brève histoire du cinéma documentaire suisse…………………………………...64 4.2 Conditions de production et de diffusion…………………………………………………….. 66 4.3 Une nouvelle génération de documentaristes ?......................................................................... 68 CHAPITRE 5 : PRESENTATION DES FILMS ET DES REALISATEURS………………….. 70 5.1 Présentation des réalisateurs…………………………………………………………………..70 5.2 Présentation des films : description et construction des films, conditions de production, de réalisation et de diffusion………………………………………………………… 73 5.2.1 La Parade………………………………………………………………………….. 73 5.2.2 117 Police Secours………………………………………………………………..... 75 5.2.3 Pas les flics, pas les Noirs, pas les Blancs…………………………………………. 76 5.2.4 Maïs im Bundeshuus……………………………………………………………….. 78 5.2.5 Remue-Ménage……………………………………………………………………...81 TROISIEME PARTIE : ANALYSE DES HISTOIRES RELATIONNELLES DES CINQ FILMS……………………………………………………………………………… 83 CHAPITRE 6 : ENTRE INTERVENTION ET NON INTERVENTION : DIVERSES TECHNIQUES DE TOURNAGE ET DIFFERENTS TYPES DE RELATIONS….83 6.1 Une technique de tournage non interventionniste : captation et soumission à l’action……… 83 6.2 Mise en scène et provocation………………………………………………………………… 85 6.3 Présence de la caméra et de l’équipe de tournage : techniques, influences et perturbations… 88 6.3.1 Des caméras mobiles et des « principes »………………………………………… 89 6.3.2 Dispositifs lourds et forte présence de l’équipe…………………………………… 90 6.3.3 Discrétion de l’équipe et oubli de la caméra : la caméra comme révélateur……… 92 6.3.4 Un rapport à la caméra variable……………………………………………………93 6.4 Importance et conception des moments off…………………………………………………...95 CHAPITRE 7 : IMPLICATION, IMMERSION OU DISTANCE ? PLACE DU REALISATEUR FACE AUX PROTAGONISTES……………………………………………... 97 7.1 Raphaël Sibilla : immersion, implication et non distance ……………………………………97 7.2 Jean-Stéphane Bron : empathie et distance, présence et effacement………………………… 99 7.3 Lionel Baier : implication personnelle, visibilité et proximité avec les protagonistes ……… 100 CHAPITRE 8 : PARTENAIRE, COOPERATEUR, COREALISATEUR, COLLABORATEUR, ACTEUR OU PERSONNAGE ? POSITIONS DES PROTAGONISTES……………………… 102 8.1 Pascal, quelle participation?......................................................................................................102 8.2 Sarah assimilée à l’équipe du film : coopération, collaboration et manque de démarcation dans les rôles……………………………………………………………………….. 103 8.3 L’équipe Dumoulin-Sibilla : des policiers collaborateurs ?......................................................104 8.4 Des acteurs ?............................................................................................................................. 106 8.5 Une direction d’acteurs et un rapport de travail………………………………………………107 8.6 Des personnages de fiction ?.....................................................................................................110 8.7 Critères de sélection des protagonistes des films et casting…………………………………..112 CHAPITRE 9 : CONCEPTIONS DE LA CONTRIBUTION DE CHACUN AU FILM ET COMPLEXITE DE LA RELATION…………........................................................................116 9.1 Institution du rapport et motivations du consentement : des mises en confiance (des stratégies ?) et des « contrats »……………………………………………………………... 116 9.1.1 Des mises en confiance nécessaires et des réalisateurs/trices impliqués………….. 117 9.1.2 Des stratégies de mise en confiance………………………………………………...119 9.1.3 L’opportunité du film……………………………..................................................... 120 9.1.4 Quel « contrat » ? ……………………………………………………......................121 9.2 Nature de la relation………………………………………………………………………….. 123 9.2.1
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