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Publics Et Spectateurs Hétérosexuels Du Festival Ecrans Mixtes 2012

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Publics Et Spectateurs Hétérosexuels Du Festival Ecrans Mixtes 2012 UNIVERSITÉ DE LYON UNIVERSITÉ LUMIÈRE LYON 2 INSTITUT D'ÉTUDES POLITIQUES DE LYON Publics et spectateurs hétérosexuels du Festival Ecrans Mixtes 2012 Des différentes utilisations et interprétations du festival-comme- hétérotopie-sexuée DAMIENS Antoine Mémoire de Séminaire Sociologie des acteurs et des enjeux du champ culturel 2011 - 2012 Sous la direction de : SANIER Max Membres du jury : - SANIER Max - CORDONNIER Sarah (Soutenu le : 31 août 2012 ) Publics et spectateurs hétérosexuels du Festival Ecrans Mixtes 2012 Des différentes utilisations et interprétations du festival-comme- hétérotopie-sexuée Publics et spectateurs hétérosexuels du Festival Ecrans Mixtes 2012 DAMIENS Antoine Sommaire Dédicace................................................................................................................................. 8 Remerciements....................................................................................................................... 8 Epigraphes..............................................................................................................................9 Introduction.......................................................................................................................... 10 Cinéma et festivals de film 'LBGT' : de l'intérêt de la re-présentation minoritaire.........10 Le Festival Ecrans Mixtes 2012 : un événement spécifique............................................14 Festivals, publics et spectateurs.......................................................................................15 Le public, l'impensé des études de festivals LBGT.........................................................18 Définir l'hétérosexualité sociologiquement : tensions entre une approche identitaire / de performance / d'affect (queer - hétérosexualités) et une approche en termes d'institutions / d'idéologie (féminisme matérialiste - hétérosexualité)............................20 Enjeux du travail de recherche........................................................................................ 27 Hypothèses et dispositif de recherche............................................................................. 28 Sections............................................................................................................................32 1. Le Festival Ecrans Mixtes 2012 : des festivals de films « gays et lesbiens » aux festivals queer ; le festival comme organisation discursive polysémique. ........................................33 1.1. festivals de film et production discursive : de la polysémie d'Ecrans Mixtes..........34 1.1.1. Le Festival comme organisation discursive......................................................34 Délimiter le rôle du festival de film : études textuelles et film festival studies.....34 Démultiplication des festivals, réseau, discursivité : de la nécessité de s'auto- définir et de se démarquer..................................................................................34 Festivals de film « gays » : une exception aux festivals traditionnels ?............37 L'analyse textuelle, une méthode insuffisante pour comprendre Ecrans Mixtes ........................................................................................................................... 39 Ecrans Mixtes, organisation et discursivité ...........................................................39 Ressources, Organisation de la communauté et discursivité d'Ecrans Mixtes : un (vrai) festival de film.................................................................................... 40 Ressources, Organisation de la communauté et discursivité d'Ecrans Mixtes : identité et communauté......................................................................................41 Contexte et discursivité : des éléments qui « font sens » dans un festival.............43 Lieux : espaces sexués et légitimation culturelle..............................................43 Temporalité : Agenda, temps, discours..............................................................45 1.1.2 Festivals « gays et lesbiens » de film, festivals de « films gays et lesbiens » et festivals queer : programmation d'Ecrans Mixtes ; une pluralité de lecture...............47 (Festivals de) « films gays et lesbiens » et (festivals) « gays et lesbiens » de film, « Festivals de film » gay et lesbien et festivals queer : du festival thématique au Festival activiste, différentes modalités de compréhension d'Ecrans Mixtes........47 Ecrans Mixtes, entre « festival de film » gay et lesbien et festival de « films gays et lesbiens »............................................................................................... 48 Activisme, droits de l'homme, thématiques : quelques exemples de conceptualisation d'Ecrans Mixtes comme « festival de films gays et lesbiens ». ........................................................................................................................... 49 Programmation et ligne éditoriale..........................................................................51 Démystifier la programmation : des critères et des publics..............................51 Quels films pour les Festivals Gays et Lesbiens ?............................................52 2012 4 Publics et spectateurs hétérosexuels du Festival Ecrans Mixtes 2012 DAMIENS Antoine 1.1.3. Communication d'Ecrans Mixtes et discursivité...............................................54 Nom, visuel, catalogue, partenaires : de la visibilité du caractère LBGTQ d'Ecrans Mixtes.....................................................................................................................54 Analyse de la revue de presse................................................................................ 55 De la polysémie d'Ecrans Mixtes ; différentes interprétations et différentes diffusions d'un même évènement........................................................................... 57 1.2. Une variété de publics et de spectateurs...................................................................58 1.2.1. Genre et sexualité - Ecrans Mixtes, un festival « plus que » gay et lesbien ?. 58 1.2.2. Cinéphilie et public...........................................................................................61 1.2.3. Publics et scènes culturelles emboitées.............................................................62 Scènes culturelles : entre lieux et identité.............................................................. 62 Délimiter les scènes culturelles d'Ecrans Mixtes................................................... 64 2. Ecrans Mixtes, hétérotopie sexuée et auto-constitution du/des public(s)........................66 2.1. Ecrans Mixtes : une hétérotopie sexuée .................................................................. 66 2.1.1. Le Festival comme hétérotopie sexuée............................................................. 67 Hétérotopie et Festivals de Films Gays et Lesbiens...............................................67 De l'intérêt d'une analyse centrée sur l'hétérotopie................................................68 2.1.2. Stratégies identitaires des publics dans l'hétérotopie........................................70 Stratégies identitaires et (hétéro)sexualité dans l'hétérotopie................................70 Genre et stratégie....................................................................................................71 2.1.3. Rapports différenciés à l'hétérotopie.................................................................73 Hétérotopie et publics au / du Festival...................................................................73 (dé)-sexualisation de l'hétérotopie..........................................................................75 2.2. Délimiter le(s) public(s) : auto-constitution des publics et hétéropublics................76 2.2.1. Du public (sing.) aux publics (plur.) : vers les hétéro-publics..........................76 Polysémie des/du public/s et festival de film – des lacunes des analyses en termes de contrepublics et de spectateurs critiques........................................................... 76 Spectateur critique : entre psycho-analyse et réception critique, une notion peu propice à l'analyse d'un public...........................................................................77 Les (contre-)publics warnerien : de la polysémie « du » et « des » publics......79 Penser l'auto-constitution des publics : des community studies aux hétéropublics ................................................................................................................................82 Apport des études psycho-sociologiques et des community studies.................82 Vers les hétéropublics : s'auto-exclure de l'hétérotopie..................................... 83 2.2.2. Hétéropublics, (hétéro)sexualité, hétérotopie................................................... 84 Hétéro-sexualité et hétéro-publics : se mettre à la marge......................................84 Hétéropublic, hétérosexualité et minoritaire.....................................................84 Appartenance à l'hétéropublic et hétérosexualité.............................................. 86 Deux cas particuliers : dés-identification et hétéropublics.....................................87 Homosexualité, dés-identification, sensibilité queer et inclusion dans le public ........................................................................................................................... 88 « I'm ashamed of my heterosexuality
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