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De La Violence Spectaculaire Au Spectacle Monstrueux De la violence spectaculaire au spectacle monstrueux. Enjeu de l’image nihiliste à travers les corps en crise dans la trilogie Hellraiser (BARKER, 1987 – RANDLE, 1988 – HICKOX, 1992) Florentin Groh To cite this version: Florentin Groh. De la violence spectaculaire au spectacle monstrueux. Enjeu de l’image nihiliste à travers les corps en crise dans la trilogie Hellraiser (BARKER, 1987 – RANDLE, 1988 – HICKOX, 1992). Art et histoire de l’art. 2021. dumas-03286906 HAL Id: dumas-03286906 https://dumas.ccsd.cnrs.fr/dumas-03286906 Submitted on 15 Jul 2021 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. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Master Cinéma et Audiovisuel Parcours Études Cinématographiques et Audiovisuelles Mémoire final de Master 2 Florentin GROH De la violence spectaculaire au spectacle monstrueux. Enjeu de l’image nihiliste à travers les corps en crise dans la trilogie Hellraiser (BARKER, 1987 – RANDLE, 1988 – HICKOX, 1992) sous la direction de Mme Evgenia Giannouri soutenu à la session de juin, 2021 1 2 Remerciement : Dans l’écriture conséquente de ce mémoire, je tenais à remercier Evgenia Giannouri pour m’avoir guidé pendant ces deux années de recherches et d’avoir eu la patience et l’écoute nécessaire afin de faire de mon projet ce qu’il est aujourd’hui. Je tenais également à remercier mon père et ma mère pour leur soutien inconditionnel, ainsi que mon frère pour avoir tendu l’oreille lors de mes élaborations de théorie, et ma sœur qui m’a constamment accompagnée dans les visionnages du corpus. Je remercie Emeline Stofati, Julia Pataillot, et Jeanne Rauzier de m’avoir soutenu moralement et intellectuellement dans ce long parcours. Enfin, je tenais à adresser un remerciement spécial pour Marie Bertrand qui m’accompagne et m’inspire chaque jour, sans qui je n’aurai sans doute pu accomplir ce projet de recherche. 3 Avertissement : Avant de commencer ce mémoire, nous tenions à prévenir le.la lecteur.trice de la dureté de certaines photographies. Comme il s’agit d’un mémoire qui se veut expérimental, le corps du texte est agencé par un corpus iconographique et photographique qui souligne les spécificités de l’horreur corporelle. Aussi, nous avons conscience que certaines photographies peuvent heurter la sensibilité de certain.e.s, tant les représentations sont extrêmes. Ainsi, nous préférons émettre un avertissement quant aux prochaines découvertes horrifiques que contient ce mémoire. 4 Sommaire : Introduction………………………………………………………………….……………………p.9 1. Enjeux de représentation et de mise en scène de la métamorphose corporelle dans Hellraiser…………………………………………………………………………………………p.28 Introduction à la première partie…………………………………………………………..p.28 1.1 « We have such sights to show you ». Approches historiques du body-horror……....p.31 1.1.1. Pour une histoire du cinéma d’horreur………………………………………...p.31 1.1.2. Les perspectives du mythe horrifique………………………………...……….p.39 1.1.3. Enjeu du body-horror : spécificités de mises en scène de l’horreur corporelle…………………………………………………………………………….p.43 1.1.4 Influences du body-horror…………………………………………..……...….p.53 1.1.5 Photogénie des corps en crise……………………………………………....….p.61 1.1.6 Possibilité expérimentale du body-horror……………………………………...p.69 1.1.7. Introduction de la trilogie Hellraiser dans le contexte historique du body- horror………………………………………………………………………………..p.71 1.2.« Angels to some, demons to other ». Modalités de représentations de la trilogie Hellraiser : étude iconographique des métamorphoses corporelles……………………..p.80 1.2.1. Iconographie cadavérique : figure du cadavre ambulant………………...…...p.80 1.2.2. Iconographie anatomique : figure de l’écorché vif………………………….p.102 1.2.3. Iconographie de l’hybridation corporelle : figure des cénobites…………….p.112 1.2.4. Iconographie de l’anormalité : figure du corps sale…………………...…….p.124 1.3. Métamorphose des corps dans la trilogie Hellraiser : enjeu culturel et sociopolitique………………………….………………………………………...………...p.128 2. Une métamorphose difficile : de l’hybridation du corps à la destruction de la perception. Valeur monstre de l’expérience dans Hellraiser………………………………………….....p.140 Introduction à la deuxième partie………………………………………………………...p.140 2.1. Destruction et hybridation du corps : engagement monstrueux dans l’image….…p.145 2.1.1. Enjeu sadomasochiste de l’iconographie corporelle…………...…………....p.146 2.1.2. Limites des corps socionormatifs et développement monstrueux de l’iconographie 5 corporelle………………………….……………………………………..………...p.159 2.2. Corps-évènement et corps-phénoménal : Description et identification des phénomènes monstrueux dans la trilogie Hellraiser…………………………………………...……….p.171 2.2.1 Valeur disruptive d’une éthique perceptive : positionnement spectatoriel et conséquence figurale de l’image monstrueuse……………………………...…...….p.172 2.2.2. Enjeu d’une résistance des corps à l’espace-temps normatif. Valeur de l’espace dans la trilogie Hellraiser……………………….…………………………...…..….p.174 2.2.3. Conscience d’habitation monstrueuse. Valeur du montage dans la trilogie Hellraiser………………………………………….…………………………….….p.189 2.2.4. Couleur et lumière. Composition matérielle de l’espace monstrueux...….….p.194 2.2.5. Caractère monstrueux de la projection auditive et musicale…………….…..p.204 2.3. Vers un nouvel état de perception : la valeur monstrueuse de l’image………....…p.212 2.3.1. D’une phénoménologie monstre comme image performative…………...…..p.213 2.3.2. Engagement des sens et essence expérimentale de l’image monstrueuse…...p.218 2.3.3. Figurabilité et construction d’un regard sensible sur le monde : enjeu du figural dans l’image monstrueuse……………………………………………………...…..p..223 2.3.4… à l’Image-Monstre en tant que spectacle monstrueux…………………..….p.231 3. L’Image-Monstre : nature nihiliste et enjeu post-nihiliste de l’image dans Hellraiser. Introduction à la troisième partie…………………………………………….…………..p.238 3.1. Enjeu nihiliste de l’Image-Monstre……………………………………..……..……..p.243 3.1.1. Nature performative de l’image. L’Image-Monstre en tant qu’acte phénoménologique autodestructeur………………………………….…….……….p.244 3.1.2. Valeur mythique de l’Image-Monstre : Conditionnement et actualisation sensible d’un régime d’être au monde………………………………………….……….…...p.259 3.1.3. L’Image-Monstre : phénoménologie monstrueuse de l’expérience projective……………………………………………………….…………………..p.268 3.2. L’Image-Monstre : construction cinématographique d’une expérience nihiliste. Enjeu d’engagement sensible et de construction figurative……………….…………………....p.278 3.2.1. L’espace-miroir………………………………………….…………………..p.279 3.2.2. Dédoublement des corps………………………………….…...…………….p.303 3.2.3. Basculement rationnel de la perception………………….………….………p.314 3.3. L’expérience nihiliste et l’ouverture post-nihiliste de la réalité : enjeu théorique de l’Image-Monstre……………………………………………………….…………………..p.324 6 3.3.1. Valeur anthropocène de l’Image-Monstre………………………………….p.324 3.3.2. Enjeu post-nihiliste de l’Image-Monstre : conscience-limite et possibilité éco- féministe………………….………………………………………………………...p.331 Conclusion…………………………………………………………………….....…..…………p.341 Bibliographie………………………………………………...…………………………………p.356 Filmographie………………………………………………………………………...…………p.388 7 À mon grand-père 8 Introduction Le rôle de l’anthropologue pour Philippe Descola1 est celui d’un ethnographe. À l’inverse de l’ethnologue qui extrait une information systémique selon une connaissance basique préétablie (et occidentale), en choisissant un regard objectif et omniscient sur un peuple considéré comme objet et matière scientifique ; l’ethnographe prend en compte sa subjectivité sensible pour essayer de rompre avec les schèmes perceptifs dominant en prenant conscience de la subjectivité autochtone. De la sorte, l’adoption d’un regard autre est effective dans le positionnement contradictoire à un regard occidentaliste du monde2. Pourquoi débuter avec ce point précis d’analyse anthropologique ? Non pas que nous nous apprêtons à émettre quelques hypothèses ethnographiques, ni même effectuer une analyse sociologique de l’image. Si nous commençons avec Philippe Descola et sa vision utopique de l’anthropologie, c’est pour mieux comprendre le développement de réflexion que nous allons embrasser tout au long de ce mémoire. Dans ce mémoire, il sera question de penser l’image horrifique dans ses potentialités nihilistes. Il y sera question de corps cadavériques, anatomiques, hybrides, détruits. Il y sera question d’oppression masculine et d’éclatement rationnel. En bref, il y sera question de monstre, d’écart sensible à la raison. Mais pour que nous puissions adopter un regard non phénoménologique dans la projection rétroréflexive sur le corps monstrueux, il faut dans ce cas que notre regard de chercheur s’emporte dans l’expérience et subisse le plus violemment possible la déconstruction à la fois physique et intelligible des sensations spatio-temporelles et corporelles. Alors que nous commençons à voir le body-horror comme un objet d’analyse concret, notre posture sur les différentes observations filmiques se dissout à mesure que le lien projectionnel
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