Crimine, Colpa E Testimonianza: Sulla Performatività Nella Rappresentazione Documentaria

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Crimine, Colpa E Testimonianza: Sulla Performatività Nella Rappresentazione Documentaria Dottorato di ricerca: Letterature e Media: narratività e linguaggi Ciclo: XXXI CRIMINE, COLPA E TESTIMONIANZA: SULLA PERFORMATIVITÀ NELLA RAPPRESENTAZIONE DOCUMENTARIA Scomazzon Giulia Matricola: 1007693 Tutor: Professoressa Luisella Farinotti Cotutore: Professoressa Marina Sbisà Coordinatore: Professor Vincenzo Trione ANNO ACCADEMICO: 2017/2018 INDICE INTRODUZIONE .................................................................................................................... 1 CAPITOLO I Performance e documentario ....................................................................... 11 1.1 L’applicazione del paradigma performativo nello studio del documentario ................. 15 1.2 Felicità e infelicità degli atti linguistici performativi ..................................................... 28 1.2.1 La performance linguistica nella riflessione di J. L. Austin ..................................... 28 1.2.2 La politica del performativo in Judith Butler ............................................................ 41 1.3 Performance e colpa: il processo e il giudizio come atti discorsivi complessi .............. 52 CAPITOLO II Testimonianza e colpa ................................................................................ 63 2.1. Il credito della verità e il debito delle immagini............................................................ 63 2.2 L’azione documentaria tra tracce e responsabilità ........................................................ 75 2.3 La parola del colpevole: il problema della confessione e la possibilità del perdono .... 85 2.4. La colpa e la storia: un confronto con le strategie rappresentative di Ophüls e Lanzmann .............................................................................................................................. 92 CAPITOLO III La rappresentazione del crimine e del colpevole nel cinema documentario contemporaneo ............................................................................................ 111 3.1 L’intervista: l’incontro e la costruzione dell’altro ....................................................... 112 3.2 Un percorso filmografico: ragioni e obiettivi ............................................................... 117 3.2.1 L’incontro tra il filmmaker e il criminale ............................................................... 120 3.2.1.1 Broomfield e Aileen: il volto del condannato ................................................... 120 3.2.1.2 Into The Abyss: esplorazioni nel braccio della morte ...................................... 136 3.2.2 La confessione anonima: il filmmaker, il colpevole e la sua maschera .................. 151 3.2.2.1 Z32: le maschere dell’assassino e l’impunità sistemica ................................... 153 3.2.2.2 El sicario – Room 164: il cappuccio del boia ................................................... 165 3.2.3 Le declinazioni della colpa nel racconto documentario .......................................... 169 3.2.3.1 La colpa metafisica e la responsabilità collettiva: A German Life ................... 171 3.2.3.2 La colpa individuale e l’isteria collettiva: Una storia americana ...................... 179 3.2.3.3 La spettacolarizzazione del crimine: Tabloid ................................................... 191 3.2.3.4 Casting JonBenet: la colpa e il palcoscenico .................................................... 197 CAPITOLO IV Le docu-serie true crime: funzioni e convenzioni di un nuovo linguaggio 4.1 Raccontare la cronaca nera: il true crime tra intrattenimento e impegno civile ......... 206 4.2 The Jinx: The Life and Deaths of Robert Durst. Il documentarista a caccia del colpevole. ............................................................................................................................ 222 4.3 The Keepers: il colpevole assente e l’indagine dal basso ............................................ 234 4.4 Wormwood: il trauma e l’ossessione ............................................................................ 244 CONCLUSIONI ................................................................................................................... 257 5.1. Il caso Vannini: lo spirito inquisitorio e la televisione italiana .................................. 263 BIBLIOGRAFIA.................................................................................................................. 279 SITOGRAFIA ...................................................................................................................... 299 FILMOGRAFIA .................................................................................................................. 302 INTRODUZIONE «Se gli uomini definiscono reali certe situazioni, esse saranno reali nelle loro conseguenze» William Thomas, 1928 Viviamo in una cultura ossessionata dalla colpa. Le nozioni filosofiche di volontà e responsabilità al centro della concezione moderna del soggetto sono radicate in una tradizione giuridica e religiosa millenaria che ha fatto della colpa uno dei cardini del pensiero morale. All’interno di questa prospettiva, la cultura occidentale ha elaborato l’idea di libertà come capacità di scelta proprio attraverso l’esperienza della colpa che contraddistingue il rapporto tra il soggetto e il Dio biblico e che definisce l’orizzonte etico-giuridico delle società occidentali. Allo stesso tempo l’immaginario contemporaneo è saturo di immagini, rappresentazioni e racconti di crimini e di violenze che vengono consumati come prodotti di intrattenimento con una leggerezza che non conserva alcuna traccia del peso esistenziale attribuito alla colpa nella tradizione giudaico-cristiana. In particolare, l’ossessione dei media per la colpa criminale si lega a forme di rappresentazione del reale segnate dall’irresponsabilità ben visibile nella costante spettacolarizzazione televisiva della cronaca nera. Questa ricerca tenta di mettere a fuoco la tensione tra la pervasività della colpa come categoria di giudizio (e auto-giudizio) dominante nella cultura occidentale e le pratiche audiovisive che documentano il crimine. Lo studio muove dalle questioni teoriche relative alla performatività e alla testimonianza e analizza in un secondo momento un corpus di documentari contraddistinti dalla «passione per il reale»1 e dalla volontà di inquadrare la questione della colpa in una prospettiva etica impegnata nei confronti del mondo e dell’altro. Partirò dall’esame dell’applicazione del paradigma performativo negli studi dedicati alla rappresentazione documentaria ripercorrendo il dibattito tra Bill Nichols e Stella Bruzzi sull’uso della nozione di ‘performance’ nell’analisi della nonfiction cinematografica e televisiva contemporanea. L’esposizione metterà in rilievo il legame profondo tra queste due interpretazioni e il pensiero estetico postmoderno. Sia in Nichols sia in Bruzzi il concetto di ‘performatività’ serve, infatti, a segnalare il passaggio storico e politico tra un modello di cinema documentario ispirato all’adesione ai fatti a uno improntato, invece, a una critica strutturale di ‘ciò che appare come reale’ o, meglio, allo smascheramento delle logiche di potere 1 D. Dottorini, La passione del reale. Il documentario o la creazione del mondo, Mimesi Edizioni, Milano-Udine 2018. 1 e di mercato sottese all’oggettivazione del reale operata dai media. A partire dagli anni Ottanta, la diffusione congiunta della tecnologia digitale e dell’estetica postmoderna ha fatto emergere nell’ambito del cinema nonfiction una tendenza connotata da processi di ibridazione con la fiction e dall’autoriflessività del testo filmico. È in questo contesto storico e produttivo che viene introdotto il tema della performatività come chiave interpretativa per leggere i mutamenti linguistici della forma documentaria a cavallo tra il Ventesimo e il Ventunesimo secolo. Il nesso evidente tra il pensiero postmoderno e le teorie e le pratiche del documentario contemporaneo verrà esplorato anche in relazione alla critica neoformalista e cognitivista mossa da David Bordwell e Noël Carroll al paradigma strutturalista che ha dominato i Media e Film Studies dagli anni Settanta fino alla fine degli anni Novanta alimentando un approccio profondamente scettico alla rappresentazione nonfiction e alla sua funzione testimoniale. Nella seconda parte del primo capitolo sarà, invece, approfondito l’orizzonte filosofico- linguistico entro cui si è andato definendo il concetto di ‘performance’. Seguendo e ampliando la proposta di Bruzzi, ci confronteremo con gli studi di John Langshaw Austin e Judith Butler, due autori centrali nel dibattito sulla performatività del linguaggio della seconda metà del Novecento. Il passaggio dalla prospettiva analitica del filosofo inglese a quella strutturalista della filosofa statunitense farà emergere le problematiche insite nell’accostamento tra questi due pensatori suggerito da Bruzzi. La pragmatica austiniana delinea, infatti, un approccio al linguaggio orientato all’analisi dell’interazione tra i soggetti tramite l’uso di procedure comunicative condivise, mentre l’impostazione strutturalista di Butler, che attinge ampiamente al pensiero di Derrida e di Foucault, mira a indagare la performatività linguistica prima e fuori dalla situazione interazionale, in una dimensione originaria rispetto ai diversi contesti d’uso della parola. Se l’enunciatore di Austin è un agente responsabile,2 per Butler, invece, l’enunciatore è ontologicamente sovradeterminato dal linguaggio che usa; è, cioè, un soggetto prima agito e poi agente, la cui performance linguistica
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