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Étude Du Cinéma Hatke En Inde Mélanie Le Forestier

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Étude Du Cinéma Hatke En Inde Mélanie Le Forestier Imaginaires nationaux et dynamiques transnationales : étude du cinéma hatke en Inde Mélanie Le Forestier To cite this version: Mélanie Le Forestier. Imaginaires nationaux et dynamiques transnationales : étude du cinéma hatke en Inde. Sciences de l’information et de la communication. Université Toulouse le Mirail - Toulouse II, 2016. Français. NNT : 2016TOU20073. tel-01587877 HAL Id: tel-01587877 https://tel.archives-ouvertes.fr/tel-01587877 Submitted on 14 Sep 2017 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. THÈSE E n vue de l’obtention du DOCTORAT DE L’UnIVERSITÉ DE TOULOUSE Délivré par : Université Toulouse - Jean-Jaurès Présentée et soutenue par : Mélanie Le Forestier le 15 septembre 2016 Titre : Imaginaires nationaux et dynamiques transnationales : étude du cinéma hatke en Inde École doctorale et discipline ou spécialité : ED ALLPH@ : science de l’information et de la communication Unité de recherche : Laboratoire d’Études et de Recherches appliquées en Sciences Sociales (LERASS) Directeur / trice(s) de Thèse : Pierre Molinier Claire Chatelet Jury : Alain Kiyindou Bruno Ollivier Imaginaires nationaux et dynamiques transnationales: étude du cinéma hatke en Inde Mélanie Le Forestier Remerciements Dans toute action, dans tout choix, le bien, c’est la fin, car c’est en vue de cette fin qu’on accompli toujours le reste. Aristote La rédaction d’une recherche s’appuie sur de grands moments de réflexion au cours desquels l’échange d’idées et de points de vue pose les marques de la thèse à venir. Aussi, je remercie toutes les personnes qui ont participé, de près ou de loin, à faire mûrir mon sujet à la forge de leurs avis éclairés. Je remercie tout d’abord mes directeurs de thèse, Pierre Molinier et Claire Chatelet, pour la confiance qu’ils m’ont accordée en acceptant d’encadrer ce travail doctoral. Grâce à votre bienveillance et vos encouragements dans les moments de doute, le travail a pu être mené à terme. Je remercie également Alain Kiyindou et Bruno Ollivier pour avoir accepté d’évaluer cette thèse. Je n’oublie pas les membres du GRECOM parmi lesquels j’ai apprécié la dynamique, la modernité des points de vue et les démarches de recherche. Un grand merci à tous. Je remercie particulièrement mes parents pour m’avoir soutenu, supporté, encouragé durant toutes ces années. Ce travail n’aurait pas pu être mené à bien sans leur soutien et leur présence dans la dernière ligne droite. Je remercie Minah, Liu Feng et Dong Seok, pour leur soutien moral et leur esprit zen. Et enfin, je remercie mes chats, pour leurs siestes débonnaires qui me rappellaient que la vie n’est pas faite que de thèse… I II Sommaire Remerciements ............................................................................................................................... I Sommaire ........................................................................................................................................III Abréviations ................................................................................................................................. VII Introduction .....................................................................................................................................1 Partie I. Une approche théorique et méthodologique décentrée ................13 Chapitre I. Les concepts d’hégémonie et de culture populaire au cœur des Cultural Studies indiennes .................................................................................. 15 I. De Gramsci aux Cultural Studies britanniques .............................................................. 16 II. Émergence des Cultural Studies indiennes .................................................................... 23 III. Conclusion ........................................................................................................................... 43 Chapitre II. Le cinéma indien au cœur des constructions identitaires ..................... 45 I. Panorama des Film Studies indiennes ............................................................................... 47 II. Une affinité entre cinéma et nation : redéfinir le national ......................................... 65 III. Cinéma national : déconstruction d’un concept ......................................................... 83 IV. Conclusion ........................................................................................................................... 102 Chapitre III. Définition d’une approche communicationnelle du cinéma hatke .............................................................................................................................. 103 I. Présentation de notre corpus d’analyse ........................................................................... 104 II. Construction d’un point de vue communicationnel sur notre objet de recherche .................................................................................................... 113 III. Conclusion .......................................................................................................................... 125 Partie II. Une approche médiaculturelle de l’industrie cinématographique indienne .............................................................................................127 Chapitre I. Construction hégémonique du Cinéma hindi : Bollywood ................ 129 III I. Construction méthodologique .......................................................................................... 130 II. Réorganisation de l’industrie du cinéma indien dans les années 1990 ................ 139 III. Du cinéma hindi à l’industrie culturelle Bollywood ............................................... 151 IV. Conclusion ........................................................................................................................... 165 Chapitre II. Bollywood et l’imaginaire national indien ................................................................................................................................. 167 I. L’imaginaire national dominant depuis les années 1990 ........................................... 168 II. Bollywood : une forme culturelle en constante évolution ....................................... 179 III. L’hégémonie de Bollywood au cœur du soft power indien ................................... 187 IV. Conclusion ........................................................................................................................... 206 Chapitre III. Émergence d’une nouvelle forme cinématographique : le cinéma hatke................................................................................................................................. 207 I. Des formes cinématographiques alternatives ................................................................ 208 II. Un mouvement culturel hatke au cœur des industries culturelles indiennes .................................................................................................................. 233 III. Conclusion .......................................................................................................................... 267 Partie III. Le cinéma hatke, un mouvement culturel contre-hégémonique ..................................................................................................................269 Chapitre I. La structure énonciative des films : entre fiction et documentaire .... 271 I. Construction symbolique du territoire indien dans les filmshatke ...................... 272 II. Représentation fictionnelle de faits sociaux réels........................................................ 298 III. Conclusion .......................................................................................................................... 314 Chapitre II. L’hybridation des films hatke en tant que genre cinématographique ........................................................................................................... 315 I. Appréhender les spécificités génériques des films hatke ........................................... 315 II. Discours réflexifs sur une pratique cinématographique hatke .............................. 319 III. Hybridation esthétique des films hatke ....................................................................... 333 IV. Conclusion ........................................................................................................................... 348 Chapitre 3. Construction de discours contre‑hégémoniques : un processus de démythologisation culturelle .................................................................... 351 I. Discours hatke sur les paradoxes de la modernité indienne ..................................... 351 II. Synthèse conceptuelle : définir le cinéma hatke .......................................................... 371 III. Conclusion .......................................................................................................................... 384 Conclusion générale .....................................................................................................................
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