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Images De L'ironie Université de Montréal Images de l’ironie : De la chute de Babel aux plages de Spring Breakers par Gabriel Gagnon Département d’histoire de l’art et d’études cinématographiques Mémoire présenté en vue de l’obtention du grade de maîtrise en études cinématographiques 31 août 2018 © Gabriel Gagnon 2018 Résumé : Ce travail vise à définir la notion d’ironie en interrogeant une pratique singulière de celle- ci, soit celle du film Spring Breakers (2012) d’Harmony Korine. Cette approche réflexive, à la conjoncture d’un travail définitionnel et d’une démarche essayistique, consiste à rechercher à travers l’histoire, la théorie et différents phénomènes ironiques les outils capables de formuler un concept répondant aux problèmes et réflexions que pose l’ironie particulière à l’œuvre de Korine. Pour ce faire, ce travail s’attardera, dans un premier temps, à la question : « qu’est-ce que l’ironie? » et fera un tour d’horizon des différentes définitions proposées au fil des siècles, de Socrate aux théories postmodernes. Ces considérations nous permettront d’énoncer les conditions de possibilité d’une ironie proprement artistique et, plus spécifiquement, cinématographique. Ce potentiel artistique prendra forme à travers la pratique de l’avant- garde américaine des années 1950 à 1970 et de certains de ses cinéastes : soit Anger, Conner et Warhol. Par la suite, la viabilité de cette pratique artistique de l’ironie sera remise en question dû à son institutionnalisation dès les années 1980. Cette reconsidération, formulée à partir d’un texte de David Foster Wallace, E Unibus Pluram : Television and U.S. Fiction (1993), permettra d’articuler l’un des problèmes contemporains que rencontre le devenir artistique de l’ironie, soit celui de son hégémonie cynique. Finalement, ce problème trouvera sa répartie à travers différentes manifestations contemporaines de l’ironie, de la première saison de Twin Peaks (1990) de Lynch et Frost au film Spring Breakers de Korine. Ces réponses permettront progressivement de construire le concept d’amputation ironique et d’ainsi envisager une définition actuelle de l’ironie en art. Mots-clés : Ironie, ironie au cinéma, Harmony Korine, Spring Breakers, postmoderne. Abstract: This work aims to define the notion of irony by questioning a singular practice of it, that of Harmony Korine's film Spring Breakers (2012). This reflexive approach, at the conjuncture of a definitional work and an essayistic approach, consists in searching through history, theory and various ironic phenomena the tools capable of formulating a concept that answers the problems and reflections raised by the peculiar irony to Korine's work. To achieve this, this work will begin with the question: "What is irony?'' And will review the various definitions proposed over the centuries, from Socrates to postmodern theories. These considerations will allow us to state the conditions of possibility of a properly artistic and, more specifically, cinematic irony. This artistic potential will take shape through the practice of the American avant-garde from the 1950s to 1970s and some of its filmmakers: Anger, Conner and Warhol. Subsequently, the viability of this artistic practice of irony will be questioned due to its institutionalization since the 1980s. This reconsideration, formulated according to a text by David Foster Wallace, E Unibus Pluram: Television and US Fiction (1993), will articulate one of the contemporary problems that meets the artistic future of irony: its cynical hegemony. Finally, this problem will find its answer through various contemporary manifestations of irony, from the first season of Lynch and Frost's Twin Peaks (1990) to Korine's Spring Breakers. These answers will gradually build the concept of ironic amputation and thus help to elaborate a current definition of irony in art. Keywords : Irony, irony and cinema, Harmony Korine, Spring Breakers, postmodern. ii Table des matières : RÉSUMÉ : .................................................................................................................................................. I ABSTRACT: ............................................................................................................................................... II TABLE DES MATIÈRES : ............................................................................................................................ III INTRODUCTION : COMMENT PARLER D’IRONIE? ...................................................................................... 1 CHAPITRE 1 : QU’EST-CE QUE L’IRONIE ? .................................................................................................. 6 1.1 LA PLAISANTERIE DE YAHVÉ. ................................................................................................................... 6 1.2 L'IRONIE VERBALE : .............................................................................................................................. 9 1.3 L'IRONIE SOCRATIQUE : ....................................................................................................................... 11 1.4 L'IRONIE DE SITUATION :...................................................................................................................... 13 1.5 IRONIE ROMANTIQUE : ........................................................................................................................ 15 1.6 QUELQUES CONSIDÉRATIONS À PROPOS DE L'IRONIE « POSTMODERNE » : ....................................................... 17 CHAPITRE 2 : ESTHÉTIQUE DE L'IRONIE................................................................................................... 21 2.1. CONTRETEMPS RHÉTORIQUE ............................................................................................................... 21 2.2. L’IMAGE REBELLE ........................................................................................................................ 26 2.3. LE CADRE IRONIQUE .......................................................................................................................... 30 2.4. HORS-IMAGE DE L’IMAGE ............................................................................................................. 31 2.5. PERSISTANCE DE L’IRONISÉ DANS SA DIFFAMATION ....................................................................... 33 CHAPITRE 3 : PRATIQUE DE L’IRONIE ........................................................................................ 34 3.1. L'IRONIE DE « L'AVANT/POST-GARDE(CONTRE-MODERNE) CULTURELLE DU CINÉMA UNDERGROUND POP ET/OU NON-POP » .......................................................................................................................... 34 3.2 : LE MASQUE IRONIQUE : SOCRATE OU L’IRONIE DES GENS LAIDS .................................................................... 38 3.3 : MIROIR IRONIQUE : L’IRONIE DES AMOUREUX ......................................................................................... 41 3.4 ATTITUDE IRONIQUE : .................................................................................................................... 46 CHAPITRE 4 : LE PROBLÈME DE L’IRONIE ................................................................................................ 50 4.1 COMMENT PEPSI EMPÊCHA LA RÉVOLUTION ............................................................................................. 50 4.2. C’EST L’HISTOIRE D’UN CYNIQUE ET D’UN NIHILISTE QUI S’ACHÈTENT DU PEPSI ................................................. 55 4.3 POST-MORTEM ................................................................................................................................. 59 CHAPITRE 5 : VERS UNE SOLUTION ......................................................................................................... 60 5.1 : REMÈDE AU PROBLÈME DE LA MORT DE L’IRONIE ..................................................................................... 60 5.2 : IMPUISSANCE SOAP OPÉRATIQUE ......................................................................................................... 62 5.3 : CE QUE L’IRONIE REFOULE .................................................................................................................. 71 5.4 AMPUTATION IRONIQUE ...................................................................................................................... 81 CHAPITRE 6 : LE JEU DE L’AMPUTATION ................................................................................................. 87 6.1 : LE COYOTE TRISTE ........................................................................................................................... 87 6.2 : POUBELLE DE L’IRONIE (OU COMMENT DEVENIR UN MONSTRE) ................................................................... 93 6.3 : L’ATTRACTION DES NÉONS ................................................................................................................. 96 CONCLUSION : LE JEU DANGEREUX DE L’IRONIE ................................................................................... 102 BIBLIOGRAPHIE : .................................................................................................................................. 104 iii Introduction : Comment parler d’ironie? « Je voudrais que ce livre, comme enfant de mon intelligence, fût le plus beau, le plus élégant et le plus spirituel qui se pût imaginer ; mais hélas! Je n'ai pu contrevenir aux lois de la nature, qui veut que chaque être engendre son semblable. » (Cervantès, Don Quichotte de
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