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Le Cinéma Remoderniste Histoire Et Théorie D'une Esthétique Contemporaine

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Le Cinéma Remoderniste Histoire Et Théorie D'une Esthétique Contemporaine UNIVERSITÉ SORBONNE NOUVELLE – PARIS III Mémoire final de Master 2 Mention : Études cinématographiques et audiovisuelles Spécialité : Recherche Titre : LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Auteur : Florian MARICOURT n° 21207254 Mémoire final dirigé par Nicole BRENEZ Soutenu à la session de juin 2014 LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Florian Maricourt Illustration de couverture : Photogramme extrait de Notre espoir est inconsolable (Florian Maricourt, 2013) Une chanson que braille une fille en brossant l'escalier me bouleverse plus qu'une savante cantate. Chacun son goût. J'aime le peu. J'aime aussi l'embryonnaire, le mal façonné, l'imparfait, le mêlé. J'aime mieux les diamants bruts, dans leur gangue. Et avec crapauds. Jean Dubuffet Prospectus et tous écrits suivants, 1951 En ces temps d'énormité, de films à grand spectacle, de productions à cent millions de dollars, je veux prendre la parole en faveur du petit, des actes invisibles de l’esprit humain, si subtils, si petits qu’ils meurent dès qu’on les place sous les sunlights. Je veux célébrer les petites formes cinématographiques, les formes lyriques, les poèmes, les aquarelles, les études, les esquisses, les cartes postales, les arabesques, les triolets, les bagatelles et les petits chants en 8mm. Jonas Mekas Manifeste contre le centenaire du cinéma, 1996 i am a desperate man who will not bow down to acolayed or success i am a desperate man who loves the simplisity of painting and hates gallarys and white walls and the dealers in art who loves unreasonableness and hot headedness who loves contradiction hates publishing houses and also i am vincent van gough Billy Childish I am the Strange Hero of Hunger, 2005 Je tiens à remercier chaleureusement les cinéastes remodernistes qui ont aimablement répondu à mes questions, en particulier Scott Barley, Heidi Elise Beaver, Dean Kavanagh, Rouzbeh Rashidi, Roy Rezaäli, Jesse Richards et Peter Rinaldi. Je remercie cordialement Nicole Brenez, ma directrice de recherches, Antonio Somaini et Sébastien Layerle, pour leur gentillesse et leurs re- marques. Je remercie amicalement Théo Deliyannis et Emil Leth Meilvang, mes compagnons de cinéma à Paris, pour leurs précieux conseils. SOMMAIRE INTRODUCTION 7 CHAPITRE I HISTOIRE DU MOUVEMENT REMODERNISTE 11 CHAPITRE II SOURCES, PHILOSOPHIE ET PRINCIPES DU 49 REMODERNISME CHAPITRE III BIO-FILMOGRAPHIES DES RÉALISATEURS REMODERNISTES 81 CHAPITRE IV ANALYSE DE FILMS REMODERNISTES : CARACTÉRISTIQUES, RÉCURRENCES ET SPÉCIFICITÉS 163 216 CONCLUSION 221 FILMOGRAPHIE BIBLIOGRAPHIE 226 234 ANNEXES INTRODUCTION 1.1 Le cinéma remoderniste est né dans le courant des années 2000 sous l'impulsion d'un peintre, cinéaste et photographe américain du nom de Jesse Richards. Tâchant d'appliquer les idées du remodernisme au cinéma, ce dernier tente d'abord vainement de regrouper des cinéastes autour de ses idées, avant de rédiger en août 2008, le Manifeste du cinéma remoderniste, texte programmatique à considérer comme l'acte de naissance du mouvement. 1.2 Le remodernisme trouve son origine dans le stuckisme, un mouvement pictural créé en 1999 par les ex-Medway Poets Billy Childish et Charles Thomson. Le stuckisme rejette « l'art contemporain » et ses artistes « post- modernes » qu'il estime malhonnêtes, égocentriques, superficiels. Dès 1997, dans les Manifestes Hangman, à la croisée de l'amateurisme, du dadaïsme et de l'anarchisme, Childish proposait le remplacement de notre société académique par un monde enjoué d'amateurs. 1.3 En mars 2000, Childish et Thomson rédigent le Manifeste remoderniste, qui prône une « nouvelle spiritualité dans l'art ». Le re-modernisme se donne pour tâche de remplacer le post-modernisme, qu'il juge « incapable de répondre aux problèmes fondamentaux de la condition humaine », en s'inspirant des idéaux de la modernité artistique. Contre l'artiste contemporain, ironique, moqueur et détaché, le remoderniste devra, d'après ses influences fin de siècle, « saisir le caractère rugueux de la vie », selon un nouveau sens de la spiritualité. Celle-ci apparaît contre l'art désabusé des galeries comme un syncrétisme de désintéressement amateur, de spiritualités orientales et d'influences expressionnistes et romantiques. 1.4 Reprenant l'essentiel des idées de Childish et Thomson, le Manifeste du cinéma remoderniste de Richards encourage un cinéma subjectif, imparfait, 7 maladroit. Priorité est donnée à l'improvisation, à l'intuition, aux « petits moments » ordinaires. Enthousiasmé par le groupe Die Brücke et le cinéma no wave new yorkais, Richards est à la recherche d'un cinéma punk lyrique, largement inspiré par les cinéastes qui se sont historiquement revendiqués de l'amateurisme. Il attaque d'abord le cinéma de Kubrick et le médium numérique avant de revenir sur ses propos. Les concepts japonais de mono no aware et de wabi-sabi vont profondément inspirer l'esthétique du mouvement. Le remoderniste devra être simple et sincère, ses films personnels et poétiques, réalisés avec des moyens de fortune. À la suite de ce Manifeste, plusieurs jeunes cinéastes vont se reconnaître dans ces principes et former des groupes d'inspiration plus ou moins remoderniste. En 2011, In Passing, le premier film collectif officiellement remoderniste voit le jour. 2.1 Les écrits sur le cinéma remoderniste sont peu nombreux. À ma connaissance, seuls deux universitaires se sont intéressés au mouvement : John A. Riley, un universitaire anglais qui a écrit une thèse sur Tarkovski et Jack Sargeant, un spécialiste du cinéma underground expatrié en Australie – mais ils n'ont écrit que de très courts articles. Seul le formidable cinéphile thaïlandais Jit Phokaew a écrit de nombreuses critiques sur les films remodernistes, en particulier ceux de Rashidi. Le lecteur pourra s'y reporter attentivement. 2.2 Pour le reste, et compte tenu du manque de sources, ce travail ne fut pas possible sans de nombreux échanges avec les cinéastes remodernistes. Ils m'ont envoyé leurs films quand ils n'étaient pas déjà disponibles en ligne – où je les ai visionnés. Une correspondance électronique a permis d'engager avec eux des discussions sur leur implication dans le mouvement, d'obtenir des détails nécessaires à l'établissement d'une documentation bio-filmographique, mais aussi, parfois, de mieux saisir leurs intentions ou le sens de leurs pratiques, lorsque celles-ci m'apparaissaient floues. Les biographies du Chapitre III sont pour l'essentiel construites à partir de leurs indications. 2.3 Plutôt que de tenter illusoirement de faire l'histoire du remodernisme au 8 cinéma, ce travail examine les travaux de cinéastes contemporains se réclamant peu ou prou de ce mouvement. Leurs influences fort nombreuses nous inviteront à des recherches liées à l'histoire de l'art ou à la philosophie. À partir de celles-ci, ce travail écrira l'histoire d'un mouvement en devenir, analysera un corpus de films encore inexploré, proposera des pistes de réflexion sur ce nouvel esprit amateur. 3.1 Qu'est-ce que le remodernisme ? D'où vient-il ? Quels sont ses sources, ses origines, ses précurseurs, ses principaux représentants ? Que propose le stuckisme ? Comment se positionne-t-il par rapport à l'art « contemporain » ? quels sont les idées et principes du remodernisme ? Comment entendre le mot re-modernisme ? Qu'est-ce le cinéma remoderniste ? Comment se situe-t-il dans la filiation des principes stuckistes et remodernistes de Billy Childish ? Quelle est l'histoire de ce cinéma ? De quels cinéastes ou de quelles avant-gardes cinématographiques se revendique-t-il et pourquoi ? Quels sont les principaux cinéastes remodernistes ? D'où viennent-ils ? Quelles sont leurs activités en dehors de la pratique du cinéma ? À quoi ressemblent leurs films ? Comment caractériser les films remodernistes ? Comment le souci de « spiritualité » les imprègne-t-il ? Les « principes remodernistes » préalablement dégagés s'y retrouvent-ils ? Et si oui, comment ? Le cinéma re-moderniste est-il un cinéma de son époque ? En ce cas, quels questionnements permet-il d'engager sur le cinéma et la société d'aujourd'hui ? 3.2 Pour répondre à l'ensemble de ces questions, ce travail s'organisera en quatre temps. Un premier chapitre conte l'histoire du cinéma remoderniste, depuis ses origines – les Medway Poets de Billy Childish et Charles Thomson –, jusqu'à l'écriture du Manifeste du cinéma remoderniste par Jesse Richards en 2008, en passant par la constitution des mouvements stuckiste et remoderniste au tournant des années 2000. Le second chapitre analyse les sources et les principes du remodernisme à partir d'une triade spiritualité– modernité–amateurisme en remontant le fil de l'histoire jusqu'au temps de la 9 modernité artistique. Le troisième chapitre est un inventaire bio- filmographique des neuf cinéastes remodernistes fondamentaux. On trouvera pour chacun l'étude des films disponibles, une notice biographique, ainsi que les bibliographies et filmographies complètes. Le quatrième et dernier chapitre propose un examen des films remodernistes fondamentaux. Il confronte les images aux discours, et dégage une véritable esthétique remoderniste, sceptique et primitiviste, véritable rencontre entre la subjectivité constitutive de la modernité artistique et les moyens technologiques de notre époque. * Ce travail de Mémoire n'eut pas été possible sans l'aide précieuse des cinéastes remodernistes. Qu'ils soient de nouveau vivement remerciés au moment d'entamer cette étude. 10 CHAPITRE 1 HISTOIRE DU MOUVEMENT REMODERNISTE Même si le terme remodernisme fut utilisé pour la première fois en 2000, à l'occasion de l'écriture du Manifeste remoderniste, le concept s'est forgé dès les années 1980 autour de la pratique artistique de Billy Childish. Lui l'homme de l'ombre, indiscipliné notoire, grand amoureux de l'art qui se fait en douce, amateur qui se tient loin des galeries et des honneurs avait été membre dès la fin des années 1970, du collectif des Medway Poets, le plus ancien groupe à l'origine du mouvement remoderniste actuel. Dans les années 1980, ses poèmes, chansons, peintures et films contribuent à définir la première identité du remodernisme.
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