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HOMMAGES TRIBUTES Moments forts du festival de Marrakech, les hommages sont une séquence qui illustre le rapport multidimensionnel que le festival entretient avec le cinéma. C’est ainsi qu’une star adulée et adorée, Isabelle Adjani sera présente à Marrakech. Bouleversante et généreuse, Isabelle Adjani est la comédienne dont rêvent les réalisateurs du monde entier pour capter la magie qui émane de sa grâce. Elle a travaillé avec des cinéastes de divers horizons privilégiant toujours les rôles de femmes fortes. Et le triomphe et le succès furent au rendez-vous deux fois palmées et un record de césars. C’est un mythe vivant du cinéma qui sera honoré à Marrakech. Il a fait rire et pleurer des générations et des générations de Marocains, Abderrahim Tounsi a forgé avec le personnage d’Abderraouf la figure comique la plus populaire de la scène marocaine. Un succès authentique touchant grands et petits qui a traversé les frontières pour le plus grand bonheur de la communauté maghrébine en Europe. Du pays du soleil levant, le festival rend hommage au cinéaste Shinya Tsukamoto, véritable homme-orchestre, comédien, cadreur, directeur de photo, scénariste…Un immense talent mobilisé au service d’un cinéma indépendant, innovant et radical. Une véritable planète cinéphilique saluée par de nombreux cinéastes occidentaux. Paul Verhoeven, le maître néerlandais qui gratifiera les cinéphiles et professionnels présents à Marrakech d’une masterclass très attendue, est l’autre personnalité du cinéma mondial à laquelle le festival rend hommage, une manière de saluer un artiste majeur de notre temps, auteur d’une œuvre culte, aussi éclectique qu’explosive. ISABELLE ADJANI ABDERRAHIM TOUNSI “ABDERRAOUF” SHINYA TSUKAMOTO PAUL VERHOEVEN 1 ISABELLE ADJANI Comédienne | Actress France ©Cristophe Meimoun/H&K François Truffaut disait d’Isabelle Adjani « Il faudrait la filmer tous les jours, même le dimanche ». Dès ses débuts, elle s’impose comme l’une des actrices les plus désirées du monde entier. Bouleversante, généreuse, rêvée par tous les cinéastes et capable de jouer tous les registres, elle est courtisée par les plus grands. François Truffaut, André Téchiné, Roman Polanski, Claude Miller, Werner Herzog, James Ivory, Patrice Chéreau ou Jean-Paul Rappeneau lui offrent des rôles qui la distinguent et réalisant ainsi leurs plus beaux film grâce à son talent exceptionnel. Privilégiant les rôles de femmes fortes qu’elle incarne avec passion, Isabelle Adjani reçoit une double Palme d’interprétation au Festival de Cannes pour ses rôles dans Possession d’Andrzej Żuławski et Quartet de James Ivory. Après quatre César pour ses rôles dans Possession, L’Été meurtrier de Jean Becker, Camille Claudel de Bruno Nuytten, et La Reine Margot de Patrice Chéreau, elle en obtient un cinquième, pour son interprétation dans La Journée de la jupe de Jean-Paul Lilienfeld, faisant d’elle l’actrice la plus récompensée par l’Académie à ce jour. Ce n’est pas à une actrice que le Festival rend hommage mais à un mythe, lumière du firmament cinématographique. François Truffaut used to say of Isabelle Adjani: “She ought to be filmed every day, even on Sundays.” From the start of her career, she was one of the most desired actresses in the whole world. Deeply moving and generous, she was every filmmaker’s dream, capable of playing in any register, which meant she was courted by the greats. François Truffaut, André Téchiné, Roman Polanski, Claude Miller, Werner Herzog, James Ivory, Patrice Chereau, and Jean-Paul Rappeneau all gave her stand-out roles, and made some of their best films thanks to her exceptional talent. Isabelle Adjani often plays strong women, who she embodies passionately. This earned her a double acting award at the Festival de Cannes for her roles in Andrzej Żuławski’s Possession and Quartet by James Ivory. After collecting four César awards for her performances in Possession, along with One Deadly Summer by Jean Becker, Camille Claudel by Bruno Nuytten, and Queen Margot by Patrice Chéreau, she won a fifth for her role in Skirt Day by Jean-Paul Lilienfeld, making her the actress with the most Césars to-date. 2 The Festival is not paying tribute to an actress, but to a legend, a star in the cinematographic firmament. FILMOGRAPHIE SÉLECTIVE & RÉCOMPENSES SELECTIVE FILMOGRAPHY & AWARDS THE SLAP (La Gifle) Claude Pinoteau – Prix Suzanne Bianchetti THE STORY OF ADELE H. (L'Histoire d'Adèle H.) François Truffaut – Prix d’Interprétation/Best Actress New York Film Critics Circle Awards & National Society of Film Critics Awards & National Board of Review, Donatello de la Meilleure Jeune Actrice/Donatello new coming actress, Bambi de la Meilleure Actrice/Best Actress (Allemagne/Germany), Nominations au César & à l’Oscar de la Meilleure Actrice/Academy Award & César Nomination POSSESSION Andrzej Zulawski – Prix d’Interprétation féminine/Best Actress Festival de Cannes 1981, César 1982 de la Meilleure Actrice/Best Actress, Prix de la Meilleure Actrice/Best Actress Festival de Porto QUARTET James Ivory – Prix d’Interprétation féminine/Best Actress Festival de Cannes 1981 ONE DEADLY SUMMER (L'Été meurtrier) Jean Becker – César 1984 de la Meilleure Actrice/Best Actress SUBWAY Luc Besson – Nomination au César de la Meilleure Actrice/Best Actress CAMILLE CLAUDEL Bruno Nuytten – Ours d’argent de la Meilleure Actrice/Silver Bear for Best Actress Berlin 1989, César 1989 de la Meilleure Actrice/Best Actress, Prix d’Interprétation féminine (Belgique/ Belgium), Nomination à l’Oscar de la Meilleure Actrice/Academy Award Nomination QUEEN MARGOT (La Reine Margot) Patrice Chéreau – César 1995 de la Meilleure Actrice/Best Actress ADOLPHE Benoit Jacquot – Cygne d’or de la Meilleure Actrice/Best Actress & Cygne Coup de Cœur Festival de Cabourg SKIRT DAY (La Journée de la jupe) Jean-Paul Lilienfeld – César 2010 de la Meilleure Actrice/Best Actress, Prix Lumière – Globe de cristal – Étoile d’or de la Meilleure Actrice CAROLE MATTHIEU Louis-Julien Petit Dans le cadre de l’Hommage rendu par le Festival de Marrakech à Isabelle Adjani, une filmographie complète est également disponible sur le site internet du Festival. As part of the Tribute paid by the Marrakech Film Festival to Isabelle Adjani, a complete filmography is also available on line on the Festival website. 3 ABDERRAHIM TOUNSI “ABDERRAOUF” Comédien & humoriste | Actor & humorist Maroc | Morocco ©Abdelfatah Hamouda Né en 1936 au Maroc, Abderrahim Tounsi dit Abderraouf, est le précurseur de l’art humoristique au Maroc. Passionné par le théâtre, il débute sa carrière de comédien en créant, avec des amis, une troupe qui se produit dans des cafés en adaptant des textes de Molière. Abderraouf, personnage burlesque et simplet, créé en 1960 et inspiré d’un camarade de classe, séduit et fait rire des générations entières. Ses spectacles se jouent à guichets fermés et les enregistrements se vendent par milliers. Le succès d’Abderraouf va alors dépasser les frontières du royaume, s’étendant auprès de l’ensemble de la communauté maghrébine installée à l’étranger. Il est nommé à Anvers en 2011 « Meilleur Humoriste marocain du XXe siècle » par la fondation des Nuits de l’humour arabe. Born in 1936 in Morocco, Abderrahim Tounsi, known as Abderraouf, was the forerunner of comedic art in that country. Fascinated by the stage, he began his acting career by forming a troupe with some friends who performed in cafés, adapting texts by Molière. The Abderraouf persona, a burlesque simpleton, was created in 1960 and inspired by one of his classmates, and has made successive generations laugh. His shows played to packed houses, and recordings of them sold by the thousand. Abderraouf’s success then spread beyond Morocco’s borders, extending to the whole North African community abroad. In 2011, he was named Best Moroccan Humorist of the 20th Century by the Nuits de l’Humour Arabe foundation in Antwerp. FILMOGRAPHIE SÉLECTIVE | SELECTIVE FILMOGRAPHY Télévision | Television 2008 BILA HOUDOUD Nassim Abassi ABDERRAOUF OU ATTAKAAOUD! – Série TV/TV series CALL CENTER – sitcom 4 & sketches – TV & cassettes audio & captations de pièces de théâtre 2007 LA BICYCLETTE DE BA LARBI (Larbi Bo Bchklit) Leïla Triki – Prix d’Interprétation Masculine/Best Actor Carthage 2007 Longs métrages | Feature films 2016 MON ONCLE Nassim Abassi 2012 LE SAC DE FARINE Khadija Leclère 2011 MAJID Nassim Abassi 5 SHINYA TSUKAMOTO Réalisateur, scénariste, producteur & comédien | Director, screenwriter, producer & actor Japon | Japan ©DR Né à Tokyo en 1960, Shinya Tsukamoto est considéré comme le plus radical et innovant des cinéastes indépendants japonais. Véritable homme-orchestre, Shinya Tsukamoto s’est entouré d’une authentique famille de cinéma, composée de collaborateurs et de comédiens prêts à le suivre dans l'exploration de ses fantasmes les plus délirants, inspirés par les univers cyberpunk de William Gibson et Bruce Sterling ainsi que les films de David Lynch ou David Cronenberg. Nombre de cinéastes occidentaux, tels que Quentin Tarantino, ne cessent de louer les multiples talents de ce scénariste, réalisateur, comédien, directeur de la photographie, cadreur, monteur, directeur artistique et producteur de génie. Born in Tokyo in 1960, Shinya Tsukamoto is considered one of the most radical and innovative independent Japanese filmmakers. A genuine renaissance man, Shinya Tsukamoto has built up a true cinema family around him, made up of collaborators and actors ready to follow him in the exploration of his wildest fantasies, inspired by the cyberpunk universe of William Gibson and Bruce Sterling,
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    Corso di Laurea Magistrale in Lingue, economie ed istituzioni dell’Asia e dell’Africa mediterranea D.M. 270/2004 Tesi di Laurea Magistrale Il cinema di Tsukamoto Shin’ya: fra auto-orientalismo e sovvertimento del tecno-orientalismo Relatore Ch. Prof. Eugenio De Angelis Correlatore Ch. Prof. Toshio Miyake Laureando Alessio Pepe Matricola 841037 Anno Accademico 2016 / 2017 要旨 1989 年、日本の映画監督、塚本晋也の初長編映画「鉄男」がローマ 国際ファンタスティック映画祭でグランプリを取った。当時、アメリ カとヨーロッパでの日本映画への興味はもう薄れて来るところであっ た。その中で、塚本の受賞は映画監督としてのキャリアを積んだだけ でなく、日本のＳＦ映画、特にサイバーパンクというサブジャンルに も非常な影響を与えた。そして「鉄男」が次第にサイバーバンクのフ ァンの間で話題になるに連れ、塚本はカルト映画監督として注目を浴 びるようになった。それはなぜであろうか。答えを挙げるために、と りあえずオリエンタリズムという現象についての説明をする必要があ ると思う。 オリエンタリズムとは、フランスとイギリスをはじめ、ヨーロッパ だけでなくアメリカまで展開されたアカデミックな思想で、世界を 「西洋」と「東洋」に分けて考える考え方である。この「東洋」とは アジアの全ての国の特徴が一つの単語で画一化された概念である。 「東洋」に対し、オリエンタリズムは難解でエキゾチックなイメージ があり、「西洋」の人々から見ると「東洋」の社会は「西洋」に較べ それほど文明化されていないと考える思想である。 面白いことに、この考え方は「西洋」だけでなく、日本でも、特に 日本の映画や小説などで時々見られる。例えば、日本人の小説家と映 画監督の作品にはアメリカ人などが日本に対し用いるステレオタイプ が出て来ることもある。この場合では「セルフ・オリエンタリズム」 とも呼ばれる。映画と言えば、「日活」の「寿司タイフーン」という 部局で作られている映画はいつも過激で、日本の文化の中で「西洋」 の人々に魅力を発散するさまざまな要素が含まれている。 塚本の作品からも「セルフ・オリエンタリズム」の要素が見られる。 サイバーパンクの場合はもちろん、別のジャンルの映画でも「鉄男」 で使われた過激なスタイルが出て来るのが一つの例である。塚本はイ ンタービューでこのスタイルが漫画の影響を受けたと言った。 1 しかし、時々「セルフ・オリエンタリズム」に抵抗する傾向もみら れる。例えば、柾悟郎の小説「ヴィーナス・シティ」（1992 年）では、 リドリー・スコットの「ブレードランナー」（1982 年）のようなアメ リカで作られたサイバーパンクの映画に現れるオリエンタリズムに対 し批判している声もある。 この論文の目標は塚本の作品の中で、柾悟郎の同じようにサイバー パンクのオリエンタリズム、いわゆる「テクノ・オリエンタリズム」 に対し批判している映画があるかどうかについて研究することである。 研究を進めるために、第一に、日本の最近の映画と国際映画祭につい て説明する必要がある。第二に、オリエンタリズムの定義をはじめ 「セルフ・オリエンタリズム」の現象を紹介し、多数な日本人の映画

  • Schichte Im Werk Shinya Tsu- Kamotos

    BACHELORARBEIT Manuel Fricke Der Körper als Projektionsflä- che der Psyche und die menschliche Evolutionsge- schichte im Werk Shinya Tsu- kamotos 2013 Fakultät Medien BACHELORARBEIT Der Körper als Projektionsflä- che der Psyche und die menschliche Evolutionsge- schichte im Werk Shinya Tsu- kamotos Autor: Herr Manuel Fricke Studiengang: Regie (Film/Fernsehen) Seminargruppe: FF09w2-B Erstprüfer: Prof. Dr. Detlef Gwosc Zweitprüfer: Holger Borggrefe Einreichung: Nenzingen, 11.09.2013 Faculty of Media BACHELOR THESIS The body as a projection sur- face for the psyche and the hu- man evolution in the works of Shinya Tsukamoto author: Mr. Manuel Fricke course of studies: Directing (Film/Television) seminar group: FF09w2-B first examiner: Prof. Dr. Detlef Gwosc second examiner: Holger Borggrefe submission: Nenzingen, 11.09.2013 IV Bibliografische Angaben: Nachname, Vorname: Der Körper als Projektionsfläche der Psyche und die menschliche Evo- lutionsgeschichte im Werk Shinya Tsukamotos The body as a projection surface for the psyche and the human evolution in the works of Shinya Tsukamoto 2013 - 93 Seiten Mittweida, Hochschule Mittweida (FH), University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2013 Abstract Die Bachelorarbeit befasst sich mit der Funktion des menschlichen Körpers im Werk des Regisseurs Shinya Tsukamoto anhand von sieben ausgewählten Filmbeispielen. Die Fragestellung ist hierbei, wie der menschliche Körper als Mittel zur Erzählung ver- wendet wird. Hierbei wird die These aufgestellt, dass die Körper der Hauptprotagonis- ten in Tsukamotos Filmen in unterschiedlicher Form als visuelle Erweiterung, sprich: als Projektionsfläche für innere Konflikte und Problemstellungen und stets auch für die nicht immer gelingende Lösung dieser Konflikte immanent sind bzw. wären. Metho- disch wird hierbei je nach Film entweder ganzheitlich die Handlung und die visuellen Ausdrucksformen analysiert und interpretiert oder auf einzelne Szenen detailliert einge- gangen.