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Luchino Visconti Et L'adaptation Cinématographique D'œuvres

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Luchino Visconti Et L'adaptation Cinématographique D'œuvres Luchino Visconti et l’adaptation cinématographique d’œuvres littéraires : fondements de l’imaginaire et fatalité Emma Ait Aattou-Behrend To cite this version: Emma Ait Aattou-Behrend. Luchino Visconti et l’adaptation cinématographique d’œuvres littéraires : fondements de l’imaginaire et fatalité. Littératures. Université de Strasbourg, 2020. Français. NNT : 2020STRAC011. tel-03141193 HAL Id: tel-03141193 https://tel.archives-ouvertes.fr/tel-03141193 Submitted on 15 Feb 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. UNIVERSITÉ DE STRASBOURG ÉCOLE DOCTORALE 520 CHER THÈSE présentée par : Emma AIT AATTOU-BEHREND soutenue le 18/09/2020 pour obtenir le grade de : Docteur de l’Université de Strasbourg Discipline/ Spécialité : Littérature comparée Luchino Visconti et l'adaptation cinématographique d’œuvres littéraires : fondements de l'imaginaire et fatalité THÈSE dirigée par : M. PESENTI ROSSI Erik Professeur, Université de Strasbourg RAPPORTEURS : M. MILESCHI Christophe Professeur, Université Paris X M. URBANI Bernard Professeur émérite, Université d'Avignon AUTRE MEMBRE DU JURY : M. WERLY Patrick Maître de conférences, Université de Strasbourg Luchino Visconti et l'adaptation cinématographique d’œuvres littéraires : fondements de l'imaginaire et fatalité En Italie, le cinéma prend vraiment son essor peu avant la Première Guerre Mondiale. Cette nouvelle industrie y connaît un élan considérable grâce à la multiplication des salles obscures. Le néoréalisme serait né entre le Toni de Jean Renoir et l’Ossessione de Luchino Visconti. Et c’est autour des adaptations cinématographiques d’ouvrages littéraires de Visconti que notre étude s’attache, au gré des focalisations, inspirations et transpositions du réalisateur milanais. Ainsi, l’œuvre colossale du comte de Lonate Pozzolo se mue en banque de données à la source inépuisable. Acteur / Actrice / Adaptation / Aristocratie / Beauté / Communisme / Dandysme / Enfance / Famille / Fatalité / Féminité / Focalisation / Film / Gémellité / Histoire / Homosexualité / Identification / Inconscient / Inspiration / Italie / Littérature / Mélodrame / Mémoire / Musique / Naturalisme / Néoréalisme / Névrose / Politique / Projection psychanalytique / Réalisme / Roman / Théâtralité / Tragédie / Transgression / Transposition Luchino Visconti and the film adaptation of literary works : construction of imaginary and fate In Italy, cinema evolved rapidly right before World War I. This new art also grew up thanks to the multiplication of movies theaters. Neo-realism might be born between Jean Renoir's Toni and Luchino Visconti's Ossessione. And this study is about the film adaptation of literary works of Visconti, following the focalizations, inspirations and transpositions of the director from Milan. This way, by analysing his incredible work of art, we will be able to observe how rich the Earl of Lonate Pozzolo's films are. Actor / Actress / Adaptation / Aristocraty / Beauty / Childhood / Communism / Dandyism / Family / Fate / Femininity / Film / Focalizations / History / Homosexuality / Identification / Inspiration / Italy / Literature / Melodrama / Memory / Music / Naturalism / Neo-realism / Neurosis / Novel / Psychoanalytic projection / Realism / Theatricality / Tragedy / Transgression / Transposition / Twinship / Unconscious Sommaire Sommaire ...................................................................................................................... 7 Remerciements ............................................................................................................ 15 Introduction .................................................................................................................. 17 Première partie : Les adaptations .................................................................................. 25 Chapitre I : Focalisation ............................................................................................... 27 1/ Genèse ..................................................................................................................... 29 1.1.1. Points de vue ..................................................................................................... 29 1.1.2. Retranscription ................................................................................................... 36 1.1.3. Fidélité et écarts ................................................................................................. 39 2/ Les acteurs ............................................................................................................. 43 1.2.1. Jeunes premiers ................................................................................................. 43 1.2.2. Alain Delon ........................................................................................................ 47 1.2.3. Les actrices ....................................................................................................... 51 7 3/ Choix des œuvres .................................................................................................... 55 1.3.1. Le roman ........................................................................................................... 55 1.3.2. Le mélodrame ................................................................................................... 58 1.3.3. La famille ........................................................................................................... 62 Chapitre II : Inspiration ............................................................................................... 67 4/ Le comte de Modrone ............................................................................................. 69 2.4.1. Une vie de château ............................................................................................ 69 2.4.2. Le remords ........................................................................................................ 72 2.4.3. Alliances ........................................................................................................... 75 5/ Jean Renoir ............................................................................................................. 79 2.5.1. Biographie ......................................................................................................... 79 2.5.2. Filmographie ..................................................................................................... 82 2.5.3. Néoréalisme ...................................................................................................... 86 6/ Engagement politique ............................................................................................. 89 2.6.1. Totalitarisme ..................................................................................................... 89 2.6.2. Communisme .................................................................................................... 91 8 2.6.3. L’enfermement .................................................................................................. 94 Chapitre III : Transposition ....................................................................................... 101 7/ L’Italie .................................................................................................................. 103 3.7.1. Racines ............................................................................................................ 103 3.7.2. Un décor .......................................................................................................... 105 8/ Les époques .......................................................................................................... 109 3.8.1. Au fil des siècles ............................................................................................. 109 3.8.2. Reproduction historique .................................................................................. 111 9/ Les statuts sociaux ................................................................................................ 115 3.9.1. Les classes populaires ..................................................................................... 115 3.9.2. Les bourgeois .................................................................................................. 119 3.9.3. Les aristocrates ............................................................................................... 121 Deuxième partie : Mort à Venise .............................................................................. 125 Chapitre IV : Le lien proustien ................................................................................. 127 1/ Similitudes ............................................................................................................ 129 4.1.1. L’éducation ..................................................................................................... 129 9 4.1.2. La mère ........................................................................................................... 135 4.1.3. Homosexualité ...............................................................................................
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