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L'amérique En Clair-Obscur

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L'amérique En Clair-Obscur L’Amérique en clair-obscur : construction d’une visibilité africaine-américaine dans l’oeuvre photographique de Gordon Parks Lise Delmas To cite this version: Lise Delmas. L’Amérique en clair-obscur : construction d’une visibilité africaine-américaine dans l’oeuvre photographique de Gordon Parks. Littératures. Université de Bretagne occidentale - Brest, 2019. Français. NNT : 2019BRES0077. tel-02650483 HAL Id: tel-02650483 https://tel.archives-ouvertes.fr/tel-02650483 Submitted on 29 May 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THESE DE DOCTORAT DE L'UNIVERSITÉ DE BRETAGNE OCCIDENTALE COMUE UNIVERSITE BRETAGNE LOIRE ÉCOLE DOCTORALE N° 595 Arts, Lettres, Langues Spécialités : Langues, littératures et civilisations anglophones. Études américaines. Par Lise DELMAS L’Amérique en clair-obscur : Construction d’une visibilité africaine-américaine dans l’œuvre photographique de Gordon Parks. Volume I – Texte Thèse présentée et soutenue à Brest, le 22 novembre 2019 Unité de recherche : Héritages et Constructions dans le Texte et l’Image (HCTI), EA 4249. Rapporteurs avant soutenance : Composition du Jury : Madame Anca CRISTOFOVICI Madame Marie-Christine AGOSTO Professeur à l’Université de Caen Normandie Professeur à l’Université de Bretagne Occidentale / directrice de thèse Monsieur Jean KEMPF Professeur à l’Université Lumière – Lyon 2 Madame Cécile COQUET-MOKOKO Professeur à l’Université de Versailles Saint-Quentin-en-Yvelines / présidente du jury Monsieur Gilles CHAMEROIS Maître de conférences à l’Université de Bretagne Occidentale Madame Anca CRISTOFOVICI Professeur à l’Université de Caen Normandie Monsieur Jean KEMPF Professeur à l’Université Lumière – Lyon 2 Université de Bretagne Occidentale École Doctorale Arts, Lettres et Langues ED595 Laboratoire HCTI – Héritages et Constructions dans le Texte et l’Image EA 4249 Lise Delmas L'Amérique en clair-obscur : Construction d'une visibilité africaine-américaine dans l'œuvre photographique de Gordon Parks Sous la direction de Madame Marie-Christine Agosto Professeur des Universités Vol. 1 – Texte Remerciements (Nombreux sont les paragraphes de remerciements qui ouvrent les thèses de doctorat à souligner la nature collective de cette entreprise. Les lignes qui suivent ne feront pas exception.) Je tiens en premier lieu à remercier Madame Cécile Coquet-Mokoko, Madame Anca Cristofovici, Monsieur Gilles Chamerois et Monsieur Jean Kempf de m’avoir fait l’honneur d’accepter de faire partie de mon jury. J’adresse ma plus sincère gratitude à ma directrice de recherche, Madame Marie-Christine Agosto, que je remercie pour son soutien, sa rigueur intellectuelle et ses facultés d’écoute et de dialogue. Aux États-Unis, un certain nombre de personnes et d’institutions m’ont permis d’approfondir ma compréhension de l’œuvre de Gordon Parks. Je tiens tout d’abord à remercier la fondation Gordon Parks, plus particulièrement Monsieur Peter J. Kunhardt, Jr., le directeur de la fondation et Madame Amanda Smith, la directrice adjointe, pour avoir facilité mon accès aux photographies de Parks et m’avoir donné la permission d’en utiliser certaines dans des publications. Je remercie Madame Deborah Willis et Monsieur Philip Brookman pour les entretiens individuels qu’ils m’accordèrent en septembre 2016 et qui me permirent de poser sur l’œuvre et la vie de Gordon Parks un regard enrichi de leurs connaissances personnelles sur le photographe. Ma visite au Schomburg Center fut l’occasion de visionner des tirages originaux de certaines photographies de Parks. Je souhaite remercier Madame Mary Yearwood pour m’avoir expliqué le fonctionnement des archives et m’avoir donné tout le temps nécessaire à leur consultation. Je tiens enfin à adresser mes plus chaleureux remerciements au personnel en charge des archives et des collections spéciales de l’université d’état de Wichita, où sont abritées les archives personnelles de Gordon Parks. Le Docteur Lorraine Madway, conservatrice des archives, et Madame Mary Nelson, bibliothécaire, m’ont accueillie pendant dix jours et ont mis à ma disposition des ressources précieuses. 3 Je suis reconnaissante envers différents acteurs de la recherche et de l’enseignement au sein de l’Université de Bretagne Occidentale pour avoir contribué à créer un environnement de travail idéal pour la recherche doctorale : Monsieur Alain Kerhervé, directeur du laboratoire Héritages et Constructions dans le Texte et l’Image (HCTI) et Madame Hélène Machinal, directrice adjointe de l’École Doctorale Arts, Lettres et Langues. Les aléas du doctorat furent grandement facilités par la compétence et la gentillesse de Madame Isabelle David, secrétaire de l’École Doctorale jusqu’en juin 2018, et par Madame Rachel Vilar par la suite. Je tiens également à remercier Madame Valérie Marc pour son aide précieuse pour la mise en page de ce travail. Je souhaite remercier tous mes amis, doctorants et jeunes docteurs de la Faculté Victor Segalen, qui ont placé ces quatre années de travail sous le signe de la solidarité et de l’échange, en particulier Gwenthalyn Engélibert pour ses relectures minutieuses, son humour et son regard affûté, ainsi que Fabrice Le Corguillé, Claire Le Gall, Sophie Le Hiress, Jérémy Cornec et Anthony Rémy, pour leur amitié et nos échanges lors des séminaires, colloques, et au-delà. Merci, enfin, aux membres de ma famille, pour leur interêt, leur soutien et pour m’avoir fait penser à autre chose quand il le fallait. À Sylvain et Ewen, à qui ce travail est dédié. 4 5 Sommaire Remerciements 3 Sommaire 5 Introduction 8 S’inventer 33 Chapitre 1. Itinéraire d’un enfant de la Grande Migration 37 1. Les expériences d’un autodidacte et leurs échos photographiques 38 2. Transmettre l’expérience de la ségrégation 49 3. Dans le tourbillon des Renaissances noires 57 Chapitre 2. Gordon Parks dans l’univers visuel africain-américain 83 1. La photographie aux États-Unis : pouvoirs et contre-pouvoirs 84 2. Individu, famille, communauté : les structures visuelles de l’édifice identi- taire africain-américain 98 3. « High-tech griots » : le rôle des photographes dans la construction et l’évolution des identités africaines-américaines 108 Chapitre 3. La formation documentaire 125 1. Découverte de la philosophie documentaire 126 2. Roy Stryker et Gordon Parks, examen d’une relation 144 Appartenir 164 Chapitre 4. La presse et la communauté noire : une relation probléma- tique 167 1. Le rôle de la presse dans la division raciale de la société américaine 168 2. Life et les Africains-Américains, une vision entre conservatisme et progres- sisme 176 Chapitre 5. La double conscience de Gordon Parks 199 1. Vers l’archétype du photojournaliste : processus et conséquences 200 2. « [.] A reporter who happened to be black, and not a black reporter » : né- gocier une position ambiguë 213 6 3. Un photographe porteur de nuances 224 Chapitre 6. Gordon Parks et le photo essay : histoires noires, public blanc 240 1. L’essai photographique : perspective historique et approches critiques 241 2. « Narrative skills sharpened to a razor’s edge » : analyse du style des photo essays de Gordon Parks 247 S’engager 275 Chapitre 7. Un regard ambivalent 279 1. Washington D.C., 1942 : à l’origine de la dissidence photographique de Gor- don Parks 279 2. « A Harlem Family », 1967 : une immersion sociale et dénonciation poli- tique 287 Chapitre 8. Les collaborations de Gordon Parks et leurs significations politiques 302 1. Gordon Parks et Ralph Ellison, dénoncer l’aliénation des Noirs 303 2. Gordon Parks et les Black Panthers : représenter une nouvelle radicalité noire 317 Chapitre 9. Regards critiques sur une nouvelle visibilité noire 332 1. Les photographies de Gordon Parks comme lieux de mémoire 332 2. Une nouvelle visibilité problématique 344 Conclusion 359 Annexes 370 Bibliographie 401 Table des matières 442 Index 451 7 8 Introduction 9 Poets, prophets, and reformers are all picture makers – and this ability is the secret of their power and of their achievements. They see what ought to be by the reflection of what is, and endeavor to remove the contradiction1. Frederick Douglass, « Pictures and Progress », 1861. Le nom de Gordon Parks est souvent associé à certaines de ses œuvres devenues emblématiques. Il s'agit très fréquemment de la photographie en noir et blanc2 intitulée American Gothic (fig. 1) en référence au tableau de Grant Wood, qu'elle évoque3. Ce cliché, pris à l’été 1942, représente Ella Watson, une femme de ménage noire posant devant un immense drapeau américain. Fixant l'objectif sans détour, elle tient devant elle son balai et sa serpillère, davantage armes qu'attributs. L'intérieur flou qui sert d'arrière-plan à cette photographie est celui des bureaux de la Section Historique de la Farm Security Administration (FSA), à Washington, où Parks venait d'être embauché. Quand il ne s'agit pas de photographie, le nom de Gordon Parks rappelle une de ses créations cinématographiques : le détective John Shaft de Harlem, figure tout aussi emblématique, qui fut l'un des premiers héros du genre de la Blaxploitation, symbole d'une identité noire américaine en pleine affirmation4. Ces deux images (l'une fixe, 1. Frederick Douglass, « Pictures and Progress », dans The Frederick Douglass Papers, Series 1, Vol. 3: Speeches, Debates, and Interviews, 1855-1863, New Haven/Londres, Yale University Press, 1986, p. 256. 2. D’un point de vue technique, les photographies en noir-et-blanc ne contiennent que ces deux couleurs. La terminologie exacte pour désigner ce que l’on appelle traditionnellement des photographies en noir et blanc, est, comme le souligne Jean Kempf dans un article de 2005 sur la photographie-couleur, « tonalités de gris ».
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