Cinéma De Femmes Et Condition Féminine En Chine : Une Analyse De Films De Ning Ying, Li Yu, Li Shaohong Et Xu Jinglei (2001-2007)

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Cinéma De Femmes Et Condition Féminine En Chine : Une Analyse De Films De Ning Ying, Li Yu, Li Shaohong Et Xu Jinglei (2001-2007) N° d’ordre NNT : 2020LYSE3062 THÈSE de DOCTORAT DE L’UNIVERSITÉ DE LYON opérée au sein de L’Université Jean Moulin Lyon 3 École Doctorale N° 484 Lettres, Langues, Linguistique, Arts Discipline de doctorat : Étude de l’Asie et ses diasporas Soutenue publiquement le 15/12/2020, par : Bérénice M. REYNAUD CINÉMA DE FEMMES ET CONDITION FÉMININE EN CHINE : UNE ANALYSE DE FILMS DE NING YING, LI YU, LI SHAOHONG ET XU JINGLEI (2001-2007) Devant le jury composé de : Monsieur Corrado Neri, directeur, Maître des conférences HDR, Université Jean Moulin Lyon 3 Madame Anne Kerlan, rapportrice, Directrice de recherche CNRS, CNRS-EHESS Madame Vanessa Frangville, rapportrice, Senior Lecturer, Université Libre de Bruxelles Monsieur Martin Barnier, examinateur, Professeur des universités, Université Lumière Lyon 2 Madame Sophie Coavoux, examinatrice, Maître des conférences HDR, Université Jean Moulin Lyon 3 Résumés Résumé : Les différentes définitions du « cinéma de femmes » en Chine sont mises à l’épreuve par le tournant historique que représente le début du vingt-et-unième siècle et par l’émergence à la même période d’une « nouvelle vague de cinéma de femmes ». Cette étude procède à une analyse scénaristique et formelle des films les plus emblématiques de cette nouvelle vague. Ils sont l’œuvre de quatre réalisatrices à différents stades de leur carrière qui partagent néanmoins un intérêt pour la condition féminine de leur époque, sans pour autant se revendiquer explicitement féministes. L’examen de ce corpus permet de dégager des tendances au sein de ce cinéma qui sont développées en trois temps. Le premier temps fait appel au concept de « regard féminin » d’Iris Brey pour étudier la subjectivité et la mise en scène des héroïnes de deux films du corpus qui ont recours à une voix over à la première personne. Un second temps est consacré à l’ambivalence de l’appréhension de l’espace urbain par les personnages féminins, entre opportunités et contraintes, et comment ces films revendiquent une émancipation des femmes par la ville. Enfin, un troisième et dernier temps analyse la récurrence des fins ouvertes ou ambiguës, un choix délibéré qui invite à une remise en question de la société patriarcale chinoise. En conclusion, les conditions dans lesquelles ces films ont été produits, la posture de leurs réalisatrices et leur dimension féministe ainsi démontrée permettent de redéfinir le « cinéma de femmes ». Abstract: The different definitions of "women's cinema" in China are challenged by the historical turning point of the early twenty-first century and the emergence of a "new wave of women's cinema" in the same period. This study proceeds to a textual analysis of the most emblematic films of this new wave. They are the work of four women directors at different stages of their careers who nevertheless share an interest in the women’s issues of their time, without explicitly claiming to be feminists. Examination of this corpus allows us to identify trends within this cinema that are developed in three chapters. The first chapter uses the concept of the "female gaze" by Iris Brey to study the subjectivity and mise-en-scène of the heroines of two films that use a first-person voice over. A second chapter is devoted to the ambivalence of the female characters' apprehension of urban space, between opportunities and constraints, and how these films claim an emancipation of women thanks to the city. Finally, a third and final chapter analyzes the recurrence of open or ambiguous endings, a deliberate choice that challenges China's patriarchal society. In conclusion, the circumstances in which these films were produced, the stance of their directors and their feminist dimension thus demonstrated allow us to redefine "women's cinema". Sommaire Résumés .................................................................................................. 3 Remerciements........................................................................................ 9 Note liminaire ....................................................................................... 13 Introduction .......................................................................................... 17 I. Le cinéma de femmes en Occident ...................................................... 19 II. Le cinéma de femmes chinois ............................................................. 22 A. En langue chinoise .......................................................................................... 23 B. En langue anglaise .......................................................................................... 28 III. La Chine des années 2000 ................................................................ 32 A. Une « renaissance » chinoise ......................................................................... 32 B. Les conséquences des réformes sur la condition féminine ........................... 34 C. Le féminisme dans les années 2000 ............................................................... 36 D. Le marché du cinéma ..................................................................................... 39 IV. Méthodologie et sélection du corpus .............................................. 44 V. Structure de la thèse........................................................................... 46 Chapitre 1 : Point de vue et regard féminin dans Stolen Life et Lettre d’une inconnue ...................................................................................... 51 I. Introduction ....................................................................................... 51 A. Voix over féminine et films de réalisatrices en Chine .................................... 52 B. Le regard féminin d’Iris Brey .......................................................................... 56 C. Stolen Life et Lettre d’une inconnue ............................................................... 63 D. Structure du chapitre...................................................................................... 67 II. Le point de vue et l’expérience ressentie des personnages féminins ... 68 A. Le procédé de la voix over .............................................................................. 68 B. Lettre d’une inconnue : la réalisatrice qui se confond avec le personnage ... 74 C. Stolen Life : la réalisatrice au service de la vision du personnage ................. 88 D. Conclusion .................................................................................................... 100 III. La mise en scène des personnages féminins .................................. 100 A. La scopophilie « contrariée » ....................................................................... 101 1. Stolen Life : un manque d’intimité et un plan subjectif ............................... 103 B. L’évolution de la posture des personnages : d’un déséquilibre à l’équilibre ? 111 C. Lettre d’une inconnue : l’évolution de la posture visuelle ........................... 119 D. Le traitement des sujets controversés par les réalisatrices ......................... 125 IV. Conclusion du chapitre .................................................................. 133 Chapitre 2 : Expériences féminines de l’espace urbain ......................... 137 I. Introduction ..................................................................................... 137 A. Le cinéma de la « génération urbaine » ....................................................... 139 B. Et les femmes ? ............................................................................................. 141 C. Une nouvelle approche de la ville ................................................................ 145 D. Structure du chapitre.................................................................................... 146 II. Des murs visibles et invisibles ........................................................... 147 A. Des moustiquaires dans Dam Street et Stolen Life ...................................... 151 B. La siheyuan dans Perpetual Motion ............................................................. 154 C. L’enclos du zoo dans Fish and Elephant ....................................................... 160 D. Conclusion .................................................................................................... 164 III. Quels espaces pour les femmes ? .................................................. 165 A. L’intégration du couple lesbien dans l’espace urbain .................................. 168 B. Un espace à soi : la voiture de Wang Mei dans Lost in Beijing .................... 179 C. Xiao Mei dans Lost in Beijing : « N’y a-t-il pas de place pour moi ? » .......... 188 D. Conclusion .................................................................................................... 193 IV. Des flâneuses à Pékin .................................................................... 194 A. Pingguo dans Lost in Beijing : « Le pouvoir émancipateur d’une bonne balade » ................................................................................................................ 197 B. Les flâneuses à la fin de Perpetual Motion ................................................... 205 C. Conclusion .................................................................................................... 213 V. Conclusion du chapitre ..................................................................... 215 Chapitre 3 : Fins ouvertes : des ouvertures critiques ? .......................... 219 I. Introduction ....................................................................................
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