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Programmesiteweb.Pdf CALENDRIER 19/09 Amphi D ou Debeyre séance d’introduction APOCALYPSE NOW de Francis Ford Coppola PARTIE I / PROPAGANDE ET IDEOLOGIE 26/09 Amphi D ou Debeyre : ALEXANDRE NEVSKI de Serguei Eisenstein et Dimitri Vasilyev 03/10 Amphi Cassin : Séance spéciale « La Continentale » : 2 films LA CONTINENTAL : LE MYSTERE GREVEN de Claudia Collao (documentaire) LES INCONNUS DANS LA MAISON DE Henri Decoin (fiction) 10/10 Amphi Cassin IVAN LE TERRIBLE de Serguei Eisenstein 17/10 Amphi Cassin Séance spéciale propagande américaine : 2 films OPERATION HOLLYWOOD de Emilio Pacull (documentaire) PATTON de Franklin J. Schaffner PARTIE II / PAMPHLET / SATIRE 24/10 Amphi Cassin THE CHARGE OF THE LIGHT BRIGADE ( LA CHARGE DE LA BRIGADE LEGERE de Tony Richardson 31/10 pas de film : pause pédagogique 07/11 Amphi Cassin PATHS OF GLORY (LES SENTIERS DE LA GLOIRE) de Stanley Kubrick 14/11 Amphi D ou Debeyre LA VIE ET RIEN D'AUTRE de Bertrand Tavernier 21/11 Amphi D ou Debeyre : INTOLERANCE de David Wark Griffith 28/11 Amphi Cassin : TO BE OR NOT TO BE ( JEUX DANGEREUX) de Ernst Lubitsch Toutes les séances sont introduites et commentées par le Pr de Carbonnières, Historien du Droit JEUDI 19 SEPTEMBRE 13h30 Amphi D OU DEBEYRE SEANCE D’INTRODUCTION APOCALYPSE NOW de Francis Ford Coppola USA, Version Redux (director’s cut 2001), 3h35 min Scénario : John Milius et Francis Ford Coppola avec Martin Sheen, Robert Duvall, Dennis Hopper, Marlon Brando … Palme d’Or festival de Cannes , 1979 Synopsis Saïgon, 1969. Le capitaine Benjamin L. Willard, mal rasé et imbibé d'alcool, s'ennuie et est submergé de fantasmes. Mais l'état-major ne l'a pas oublié. Réveillé et emmené rudement, il apprend du général Corman et du colonel Lucas de la C.I.A., qu'il doit partir tout de suite pour le Cambodge, neutre. Sa mission est de supprimer le colonel Kurtz qui, retranché dans un temple, avec des milliers d'hommes sous ses ordres, en demi-dieu, fait la guerre pour son propre compte. Pas même citée au générique, la nouvelle de Joseph Conrad, Au cœur des ténèbres, parue en 1899 a largement inspiré Coppola. Apocalypse now, est une introspection douloureuse. Durant sa lente remontée du fleuve, Willard acquiert la confirmation que l'horreur peut détruire le cœur de l'homme et le renvoyer à l'animalité. La société archaïque que Kurtz reproduit autour de lui est l'aboutissement d'un état de guerre qui a détruit toute conscience. La guerre produit la monstruosité à l'intérieur même de l'homme. Elle le renvoie à un degré d'inhumanité bestiale qui font paraitre la totale inconscience du danger ou la préservation des avantages coloniaux acquis comme terriblement dérisoires, derniers rayons d'une humanité voués à la disparition. Ciné club Caen Le scénario a été écrit par Millius en 1969, en écho à l'offensive du Têt. Coppola, obligé de l'actualiser, en garde de nombreux éléments, mais réécrit aussi une partie de l'histoire à la lumière de la défaite américaine, survenue six ans plus tard. Dès le départ, Apocalypse now est ainsi conçu comme une oeuvre expiatoire, un questionnement sur le sens même de ce conflit, du comportement qu'y ont eu les Etats-Unis. https://www.arte.tv/sites/olivierpere/2011/05/31/apocalypse-now-de-francis-ford-coppola/ JEUDI 26 SEPTEMBRE 13h30 SALLE DEBEYRE ALEXANDRE NEVSKI de Serguei Eisenstein et Dimitri Vasilyev Russie, 1938, 1h52 Scénario : Serguei Eisenstein et Pyotr Pavlenko Avec Nikolai Tcherkassov, Nikolai Okhlopkov, Andréi Abrikosov Musique : Serguei Prokofiev Synopsis Dans la Russie du XIIe siecle, Alexandre Nevski, prince pacifique d’un peuple de pêcheurs, prend le commandement d’une armée pour repousser les hordes barbares qui ont envahi son pays. Au temps où l’art d’Eisenstein était à la fois reconnu en URSS et surveillé de près par la nomenklatura soviétique, Staline lui-même commande Alexandre Nevski au plus grand cinéaste russe de son temps. Il s’agit pour Staline, à la veille de la Seconde guerre mondiale, de mettre en garde la nation contre l’expansionnisme allemand à l’Ouest ; pour ce faire, il va puiser dans l’Histoire russe, celle du Moyen-Age en particulier, pour en extraire un sujet apte à faire flamber le patriotisme : la victoire d’Alexandre Iaroslavitch (dit Alexandre Nevski) sur les troupes allemandes de l’Ordre Teutonique, venues envahir la terre russe pour y diffuser la religion chrétienne. Film de propagande soviétique dans toute sa splendeur, l’un des moins personnels d’Eisenstein, Alexandre Nevski demeure un morceau grandiose de cinéma épique. "Contrôlé" par le pouvoir stalinien, Eisenstein n’a guère les coudées franches pour diriger son projet et pour lui insuffler ses ambitions si personnelles : art réflexif du montage, expressivité des formes, touche d’ambiguïté... Le cinéaste aurait ainsi qualifié Alexandre Nevski de film impersonnel et superficiel. https://www.avoir-alire.com/alexandre-nevski-la-critique JEUDI 3 OCTOBRE 13H30 AMPHI CASSIN SÉANCE SPÉCIALE CONTINENTALE : UN DOCUMENTAIRE SUIVI DU FILM « LES INCONNUS DANS LA MAISON » LA CONTINENTAL : LE MYSTERE GREVEN de Claudia Collao Documentaire, France, 52 min Le fil conducteur de ce documentaire est la figure mystérieuse et paradoxale d’Alfred Greven (1897-1973). Cet Allemand, proche ami de Hermann Göring depuis la première guerre mondiale, est nommé à Paris par Joseph Goebbels, ministre de la propagande du IIIe Reich, directeur de Continental-Films, dont le but, rappelle Bertrand Tavernier, était de produire « des films anodins, sans ambition particulière – des films qui endorment le spectateur… » Mais Greven, qui accroche chaque matin son manteau et son chapeau sur un buste d’Adolf Hitler dans son bureau de l’avenue des Champs-Elysées, témoigne d’« une étrange liberté », ainsi que le formule Tavernier. Contredisant à plusieurs reprises les ordres de Goebbels – qui n’impose pourtant pas de propagande à la production française de la Continental –, il s’ingénie à produire des longs-métrages de qualité. Ce francophile, qui « connaît très bien le cinéma français et sait qui sont les meilleurs », rappelle Jean Ollé-Laprune, laisse la bride sur le cou de ses poulains scénaristes et réalisateurs. Il encourage des scènes que la censure du gouvernement de Vichy aurait refusées. La Continental adapte même Zola et Maupassant, auteurs pourtant mis à l’index par les nazis. Plus étonnant encore, Alfred Greven engage des juifs, et aurait lancé : « Pour le cinéma, les juifs sont les plus forts ! » https://www.lemonde.fr/televisions-radio/article/2018/12/19/la-continental-le-mystere-greven-l-agent-double-du-cinema- nazi_5399973_1655027.html LES INCONNUS DANS LA MAISON DE HENRI DECOIN France, 1941, 1 h 30 min Scénario et dialogues d'Henri-Georges Clouzot d'après le roman de Georges Simenon avec Juliette Faber, Raimu, Tania Fédor, Marcel Mouloudji … Synopsis Un avocat, Loursat, abandonné par sa femme il y a 18 ans, a sombré dans la mélancolie, le dégoût et l'ivresse. Dans sa maison trop vaste dont il n'occupe qu'un étage a grandi sa fille, Nicole, élevée sans affection. Un jour, un cadavre est découvert chez lui, un ami de sa fille est inculpé ; il se fait son défenseur. « Clouzot avait écrit l'adaptation du roman de Simenon (rédigé en 1938 et publié en octobre 40) pour la Continental Films, dirigée, sous l'Occupation, par l'Allemand Alfred Greven. Ce sujet, dur, sans concessions, dévoilant l'hypocrisie et les tares d'une bourgeoisie de province repliée sur son ordre moral n'aurait certainement pas franchi les barrières de la frileuse censure du gouvernement de Vichy. "Les inconnus dans la maison" fut interdit à la Libération, (...). Le temps s'est chargé d'effacer le malentendu (le film fut taxé à tort de xénophobie; il gênait tout autant la morale d'après la Libération que celle du temps de Pétain) » (…) C’est au cours d’une plaidoirie retentissante,(…), que Loursat démasque le vrai coupable. Tout cela relève d’une tradition de dénonciation des mœurs et de l’hypocrisie bourgeoises, à laquelle Simenon apportait sa pierre. Mais qu’il y ait eu là-dedans un nom à consonances juives, Ephraïm Luska, même dans la foulée du romancier, sonnait, à l’époque, comme une marque d’antisémitisme. Ajoutons que l’attaque lancée par Loursat contre la décadence des mœurs, la responsabilité des adultes dans la déliquescence d’une société qui n’avait rien fait pour la jeunesse, retentissait comme l'apologie des idées nouvelles apportées par la « révolution nationale » de Pétain. (…) Il y a une étude de mœurs virulente, où la province, sur les vertus de laquelle s’appuyait l’ordre moral pétainiste, en prend pour son grade et perd son masque de respectabilité sous les coups de boutoir d’un ivrogne. Il y a, à l'abri de la Continental, où la censure française de Vichy ne pouvait pas s’exercer, un pamphlet social d'une grande force, d’une grande tension. Jacques Siclier, Le Monde, 13/10/1987 NB Le personnage d’Ephraïm Luska, fut rebaptisé "Amédée" dans une version redoublée après la Seconde Guerre mondiale, afin d'éviter des accusations d'antisémitisme. Raimu étant décédé en 1946, son dialogue ne put être redoublé : le prénom "Ephraïm" réapparait donc dans le dialogue, le personnage semblant dès lors avoir deux prénoms. JEUDI 10 OCTOBRE 13h30 Amphi Cassin IVAN GROZNYY I et II (IVAN LE TERRIBLE) de Serguei Eisenstein URSS, 1944-1946 , 1h35 et 1h21 min Scénario : Sergueï M. Eisenstein Avec Nikolaï Tcherkassov, Lioudmila Tselikovskaia, Serafima Birman Partie 1 : En l'an 1547, le Grand Duc de Moscovie est couronné Tsar de toutes les Russies. Le sacre a lieu dans une atmosphère de complot ; mais Ivan a heureusement l'appui du peuple... / Partie 2 : Pour briser le complot des boyards, Ivan crée un corps de miliciens et fait régner la terreur.
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