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Étude De La Scène De Meurtre Du Giallo

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Étude De La Scène De Meurtre Du Giallo Université de Montréal Le style dans le sang : étude de la scène de meurtre du giallo par Maxime Duguay Département d’histoire de l’art et d’études cinématographiques Faculté des Arts et Sciences Mémoire présenté à la Faculté des Arts et Sciences en vue de l’obtention du grade de Maître ès arts (M.A.) en études cinématographiques Avril 2014 © Maxime Duguay, 2014 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : Le style dans le sang : étude de la scène de meurtre du giallo présenté par Maxime Duguay a été évalué par un jury composé des personnes suivantes : Serge Cardinal Président-rapporteur Bernard Perron Directeur de recherche Carl Therrien Membre du jury Résumé Cette étude porte sur un type de cinéma italien appelé giallo. Ayant connu une forte popularité au tournant des années 1970 auprès d’un public dit vernaculaire, ces thrillers horrifiques sont encore aujourd’hui réputés pour leurs scènes de meurtre sanglantes et spectaculaires mettant à l’honneur un assassin ganté. Ce mémoire se propose de faire le point sur ces séquences de meurtre et surtout d’expliquer la façon particulière avec laquelle elles sont mises en scène. Pour bien y parvenir, nous en fournissons tout au long des exemples et les soumettons à une analyse détaillée. Notre approche analytique se veut essentiellement formaliste. Il s’agit de déconstruire ces scènes violentes afin d’en révéler certains des rouages. Dans un premier temps, nous rappelons quelques notions fondamentales du cinéma gore et nous penchons sur la problématique que pose invariablement la représentation de la mort au grand écran. Ceci nous permet ensuite d’observer plus amplement comment les réalisateurs du giallo traitent ces scènes d’homicide sur un mode excessif et poétique. Enfin, le rapport érotique à la violence entretenu dans ces scènes est considéré. Cela nous donne notamment l’occasion de nous intéresser à la figure du mannequin (vivant et non vivant) et de voir de quelles manières les cinéastes peuvent par son entremise transmettre un sentiment d’inquiétante étrangeté. ! "! Mots clés giallo cinéma italien gore érotisme meurtre horreur poétique inquiétante étrangeté Mario Bava Dario Argento ! ""! Abstract This study aims to explore giallo, a specific type of Italian cinema. Very popular with a vernacular audience at the turn of the 1970s, these horrific thrillers remain notorious for their bloody and spectacular murder scenes showcasing a gloved killer. With this thesis, we seek to review these murder sequences with a focus on explaining the particular way in which they are staged, shot and edited. To fully achieve this, we provide examples from these scenes and submit them to a detailed analysis. Our analytical approach is essentially formalist. We wish to deconstruct these violent scenes and reveal some of their inner workings. At first, we recall some basic notions of gore cinema and look at the problems that the depiction of death on the silver screen invariably raises. This allows us to see how giallo filmmakers treat these murder scenes in an excessive and poetic mode. Lastly, the erotic aspect of violence presented in these scenes is considered. This gives us the opportunity to focus on the figure of the model/mannequin (living and non-living) and see how filmmakers can use it to transmit an uncanny feeling. ! """! Keywords Italian cinema erotism murder horror poetic uncanny vernacular psychoanalysis fetishism Georges Bataille ! "#! TABLE DES MATIÈRES Liste des figures..........................................................................................................................vii Introduction ................................................................................................................................ 1 Chapitre I - Présentation du giallo et observations préliminaires sur la scène de meurtre 1.1 Présentation du giallo : une définition de l’objet ................................................................. 11 1.1.2 L’industrie cinématographique italienne à l’époque ........................................................ 12 1.1.3 Plus ou moins un genre ..................................................................................................... 14 p. 9 1.1.4 Naissance(s) du giallo ....................................................................................................... 17 1.1.5 Le giallo : un corpus flou .................................................................................................. 19 2.1 Découper la sensation .......................................................................................................... 21 2.2 Vers une représentation intégrale du meurtre ...................................................................... 26 2.2.1 Une scène fragile sur le plan technique ............................................................................ 29 2.2.2 Réalisme et fantaisie : deux approches à concilier .......................................................... 30 Chapitre II - La mise en scène, l’excès et le poétique 3. Une violence débordante ...................................................................................................... 32 3.1 Un goût insatiable pour l’excès (Edmonstone) ................................................................... 32 3.2 Visite épuisante chez l’antiquaire (Blood and Black Lace) ................................................ 36 3.2.1 L’espace diégétique et l’éclairage ..................................................................................... 39 3.2.2 Les grands crescendos avant la fin ................................................................................... 41 3.2.3 Un jupon qui dépasse largement........................................................................................ 43 4.1 Le prosaïque/le poétique (Koven) ........................................................................................ 44 4.2 Glissements progressifs dans le plaisir ................................................................................ 47 4.2.1 La vision subjective .......................................................................................................... 47 4.2.2 L’im-signe ......................................................................................................................... 50 5. Le montage (découpage) et le gros plan ................................................................................ 55 6. Retour sur le montage ............................................................................................................ 59 7. EXEMPLES 7.1 Les attaques directes 7.1.1 The Bird With the Crystal Plumage (ascenseur) ............................................................... 62 7.1.2 Blue Eyes of the Broken Doll (râteau au visage) .............................................................. 65 7.2 Le jump cut .......................................................................................................................... 69 7.2.1 Seven Blood-Stained Orchids (noyade) ............................................................................ 70 ! #! 7.3 Le raccord par analogie ........................................................................................................ 73 7.3.1 My Dear Killer (scie électrique) ....................................................................................... 73 7.3.2 Four Flies on Grey Velvet : d’un préambule funèbre à l’adieu inévitable ....................... 76 Conclusion chapitre II ................................................................................................................ 82 Chapitre III - L’érotisme 8. L’érotisme selon Bataille ....................................................................................................... 83 8.1 L’érotisme dans la scène de meurtre du giallo .................................................................... 86 8.2 La violence dans les scènes érotiques .................................................................................. 90 8.2.1 The Strange Vice of Mrs. Wardh (ébats doux-amers) ....................................................... 90 9. L’érotisme dans les scènes violentes 9.1 The Bird With the Crystal Plumage (l’obscène dans les ruptures) ...................................... 92 9.2 Bay of Blood (l’obscène dans la célébration de la mort) ..................................................... 95 9.3 The Case of the Bloody Iris (l’obscène dans la contemplation érotique forcée) ................. 97 10. La psychanalyse ................................................................................................................. 100 10.1 Le fétichisme .................................................................................................................... 101 10.2 Fétichisme et voyeurisme imposés ................................................................................... 102 10.3 L’éclat lumineux : force attractive/répulsive ................................................................... 106 11. Sur les mannequins et les poupées dans le giallo .............................................................. 108 11.1 Les vrais mannequins ...................................................................................................... 110 11.2 Les faux mannequins ....................................................................................................... 112 12. L’inquiétante étrangeté .....................................................................................................
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