The Changing Topography of Contemporary French Policier in Visual and Narrative Media
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Deathly Landscapes: The Changing Topography of Contemporary French Policier in Visual and Narrative Media DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Paige M. Piper, M.A. Graduate Program in French and Italian The Ohio State University 2016 Dissertation Committee: Margaret C. Flinn, Advisor Jennifer Willging Patrick Bray Copyrighted by Paige M. Piper 2016 Abstract This dissertation explores spatio-temporal shifts in twenty-first century French crime narratives, through a series of close readings of contemporary crime films, television, literature, and comics. The works examined rely on the formal properties of the policier genre but adapt its standard conventions, most notably with deviations in the use and function of space. In this dissertation, I demonstrate that the modern policier is one that embraces its spatio-temporal, social, and generic non-fixity. The textual/visual constructions of many hyper-contemporary crime narratives contain multiple modes of decomposition within: a decentralization of space, which moves the action away from the genre’s traditionally urban location to boundless rural spaces and border zones; a de- concentration of the policier genre, through the incorporation of tropes from other literary styles and works; and a devolution of social cohesion and community identity in the narratives. Chapter 1 examines works where historic references and urban legends of the 19th century fantastique literary genre unfold in modern rural locations. The past and the present converge to problematize modern ideals, identity, and community unity in rural spaces where reason is pitted against the supernatural. In Chapter 2, the crime narrative location is again shifted, this time from urban cities to rural, self-policing communities. Highly stylized settings and geometric architectures delineate restricted zones, and the forbidden forest, a staple “scene of the crime” in classic fairy tales, takes on the sinister and foreboding properties of a primal danger zone. These rural spaces remain outside of ii the law and untouchable to a classic detective figure, as communities reject patriarchal penetration of marginalized zones. Chapter 3 assesses transitional spaces in French adaptations of international crime fiction works. Border spaces and boundaries become fluid in reinterpretations of other nations’ famous crime fiction styles (such as the American “Hardboiled” crime novels, British police procedurals, and the Swedish “Scandinoir”). In each of these chapters, I engage with a constellation of spatial, genre, literary, and film/media theories to address how space within the narrative and the narrative form itself are impacted by the incorporation of other generic properties; how the classic role of the detective is transformed by these spatial turns; and how these shifts are in part driven by socio-political realities in the search for a “modern French identity.” iii To Elaine, who put books in my hands, Dolores, who put ink in my blood, and Ruhle, who put words to paper. iv Acknowledgments At times, the process of writing this dissertation was very similar to a police investigation. It was a puzzle that required patience, perseverance, logic, and just a little bit of luck to piece together. Fortunately, this enquête was not quite as bloody as the murders studied within these pages, and I owe a debt of gratitude to many individuals who made the challenge manageable and enjoyable. I am grateful for the guidance, patience, attentiveness, and humor of my advisor, Prof. Maggie Flinn, whose belief in my abilities has buoyed me throughout this process. She is a true mentor who has challenged me to think critically and creatively, and her own prolific and impressive research sets a benchmark of excellence to which I aspire. Many thanks to Prof. Patrick Bray, whose encyclopedic knowledge is awe- inspiring, and whose insightful comments have the precision of a surgeon’s blade. I am thankful for the insights and encouragement of Prof. Jennifer Willging, who graciously shared her crime course resources and literary theory expertise, and for Prof. Dana Renga, whose lively conversations on film theory enriched my scholarship. Special thanks to policier sage Prof. Andrea Goulet at the University of Pennsylvania, who kindly read an early version of my proposal and suggested bibliographical resources. A great deal of research for this project was undertaken with generous support from the Department of French and Italian, The Office of International Affairs and the Phyllis Krumm Scholarship, the Council of Graduate Students, and the College of Arts and Science’s Arts and Humanities grants program at the Ohio State University, which each provided funding that allowed me to travel v to France, Canada, and the United Kingdom for in-depth research and dynamic discussions with fellow crime scholars. Sincere appreciation is also extended to fellow FRIT graduate students in the dissertation writing workshop, and to the Midwest French and Francophone Cinema Working Group participants, who provided vital feedback on many, many drafts. Thank you to so many friends spanning the globe who are my sounding boards, proofreaders, and cheerleaders, including Lindsay, Christen, Anna, Matt, Davide, Paul, Andy, Shivvy, and Kirsten. I especially owe a stiff drink (or two) to my dear friends Carrie and Ashley for wise counsel, delirious distractions, and literal shoulders to cry on. I would be lost without the backing of the ever-expanding network of the Piper/Jackson/Chouinard family trees; words cannot adequately convey my love and appreciation to my parents and siblings who give me unwavering support and unconditional love every single day. I am permanently and happily indebted to the “J5” for providing constant laughter and soul sustenance, and to C, G, W, and E, who have proven to me the existence of magic as I watch them wonder and discover and grow. And to Country Rose, Braintwin, and Bookend, who are, and have always been my partners in crime, I say thank you, I love you, meet me in Jupiter Hollow. Only now can I see how far back the seeds of my research interests were planted: as a child, I used to sneak down the hallway every week to watch Edward Gorey’s macabre animated intro for PBS Mystery! over my mother’s shoulder, until she shooed me back to bed; I remember the excitement of carrying an armful of mystery novels home from the library, and the exquisite agony of deciding which one to read first; and very little compares to the thrill I felt—and still feel—when cinema lights dim and those first images flicker to life on the screen. I could not know then that those moments would lead me here, but, as the Scots say, whit’s fur ye’ll no go by ye; what’s meant to be shall not pass you by. vi Vita 1999................................................................Brookville High School, Brookville, OH 2009................................................................B.A. French, Wright State University, OH 2009-2010 ......................................................Assistant Ingénieur (Centre de Langues), Faculté des Sciences et Techniques, Université François Rabelais, Tours, France 2011................................................................M.A. French, Bowling Green State University, OH 2011-2012 ......................................................Adjunct Instructor of French, Wright State University, OH 2012-2013 ......................................................University Fellow, Department of French and Italian, The Ohio State University, OH 2013-2016 .....................................................Graduate Teaching Associate, Department of French and Italian, The Ohio State University, OH Publications “Synchronic Seriality: The Dissolving of Diegetic Borders through Metalepsis.” Series, International Journal of TV Serial Narratives, 1.2 (2015): 159-168. Fields of Study Major Field: French and Italian Graduate Interdisciplinary Specialization in Film Studies vii Table of Contents Abstract ............................................................................................................................ii Dedication ........................................................................................................................iv Acknowledgments............................................................................................................v Vita ...................................................................................................................................vii Introduction ......................................................................................................................1 I. The French Policier Genre .......................................................................................1 a. Evolution of the Genre ........................................................................................1 b. The Scene of the Crime.......................................................................................4 c. Spatial/Social Shifts in Modern Works ...............................................................6 II. Autopsy of the Corpus.............................................................................................8 a. Cultural Forensics: Consumption and Production in France ..............................8 b. Scope of the Investigation ...................................................................................15