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1A633 Szegedi Tudományegyetem Bölcsészettudományi Kar DOKTORI 1A633 Szegedi Tudományegyetem Bölcsészettudományi Kar DOKTORI DISSZERTÁCIÓ Pápai Zsolt BOLOND PIERROT CSODAORSZÁGBAN - Az európai művészfilm és a Hollywoodi Reneszánsz (1965-1967-1975) - 2009 TARTALOMJEGYZÉK 1. BEVEZETÉS 1.1. Előszó: a Hollywoodi Reneszánsz definíciója és a dolgozat célkitűzése ... (6) 1.1.1. A Hollywoodi Reneszánsz periodizációja ... (6) 1.1.2. A Hollywoodi Reneszánsz definíciója ... (8) 1.1.3. A dolgozat célja ... (10) 1.1.4. A dolgozat felépítése ... (12) 1.2. A Hollywoodi Reneszánsz kontextualizálásának lehetőségei ... (13) 1.3. Infláció: a Hollywoodi Reneszánsz politikatörténeti és társadalomtörténeti kontextusban ... (14) 1.3.1. A Hollywoodi Reneszánsz politikatörténeti kerete ... (15) 1.3.2. „A világ forrong. Mi tükrözzük ezt" (politikus műfajfilmek) ... (16) 1.3.3. Az ideológia vége: a hollywoodi film és az ellenkulturális mozgalmak ... (17) 1.4. Recesszió és liberalizáció: a Hollywoodi Reneszánsz gazdaság- és intézménytörténeti kontextusban ... (20) 1.4.1. A háború utáni recesszió ... (21) 1.4.2. A közönség megváltozása ... (22) 1.4.3. Liberalizáció: a cenzúra átalakulása ... (24) 1.4.4. Mozikultúra és filmoktatás: az európai művészfilm presztízse az Egyesült Államokban az ötvenes-hatvanas években ... (25) 1.5. Emancipáció: a Hollywoodi Reneszánsz formatörténeti kontextusban ... (27) 1.5.1. Az újjászületés felé ... (27) 1.6. A szakítás programja: Arthur Penn Bonnié és Clyde-]& ... (29) 1.6.1. A Bonnié és Clyde és a politikai modernizmus ... (30) 1.6.2. A Bonnié és Clyde önreflexivitása ... (32) 1.6.3. A nyitány mint manifesztum ... (33) 1.6.4. A Bonnié és Clyde és a Kifulladásig ... (35) 1.6.5. Szabadság, szerelem, halál - a francia újhullám hívószavai a szüzsében ... (37) 1.6.6. A szabadság korlátai ... (39) 2. A REVIZIONISTA MŰFAJFILM ELMÉLETE 2.1. A bordwelli művészfilm-koncepció jellemzése és kritikája ... (40) 2.1.1. A bordwelli művészfilm-koncepció három pillére ... (40) 2.1.2. A bordwelli koncepció kritikája ... (43) 2.1.3. Kovács András Bálint Bordwell-bírálatának kritikája ... (45) 2.2. Műfajiság és filmforma kérdései a Hollywoodi Reneszánszban ... (47) 2.2.1. Műfaj, antiműfaj, filmforma és filmstílus ... (48) 2.2.2. A klasszikus műfajok revíziója: a McCabe és Mrs. Miller példája ... (49) 2.2.3. Hollywoodi stiliszták: Altman hangsávon végzett kísérletei ... (52) 2.2.4. Hollywoodi stiliszták: Sam Peckinpah vizuál-alkímiája ... (54) 2.2.5. Film-palimpszeszt: a keleti partiak kísérlete az európai inspirációk és a hollywoodi hagyományok integrációjára ... (55) 2.2.6. Jegyzet Woody Allenről... (57) 2 2.3. A bordwelli koncepció áthangolása, és a Hollywoodi Reneszánsz jellemzésének lehetőségei ... (58) 2.3.1. A bordwelli koncepció Reneszánszbeli alkalmazhatóságának problémái ... (59) 2.3.2. Bordwell újraírása: műfaji kommentárok ... (59) 3. OBJEKTÍV REALIZMUS A HOLLYWOODI RENESZÁNSZBAN 3.1. Bevezető ... (65) 3.2. A filmkép és a filmnyelv revíziója ... (66) 3.2.1. A funkcionális filmkép és filmnyelv válsága ... (67) 3.2.2. A filmkép és a filmnyelv reneszánsza ... (68) 3.2.3. A hollywoodi filmkép objektivizálódása ... (71) 3.2.4. Objektivizálódás versus metaforikusság ... (75) 3.2.5. Kitekintés: a fantasztikus fordulat, és a hollywoodi realizmus alkonya ... (76) 3.3. A hollywoodi filmek szüzséjének új típusú realizmusa ... (78) 3.4. A véletlen illúziója ... (79) 3.4.1. Renoir macskája, avagy triviális szituációk és mellékszálak a szüzsében ... (80) 3.4.2. Véletlen egybeesések ... (86) 3.4.3. A véletlen mint struktúrateremtő és struktúratemető erő Altmannái ... (88) 3.5. Epizodikus építkezés a revizionista műfaj filmekben ... (91) 3.5.1. Az epizodikus szüzsé és a dezorientált hős ... (92) 3.5.2. Lőj a Sofőrre! Epizodikusság a Hollywoodi Reneszánsz road movie-jaiban (Monté Hellman: Kétsávos országút) ... (93) 3.6. Nyitott végű elbeszélések ... (96) 3.7. Ellipszisek a revizionista műfaj filmekben ... (98) 3.7.1. Az understatement reflexiója ... (98) 3.7.2. A hiány poétikája és a fragmentált világ képe Altmannái ... (99) 3.7.3. Az ellipszis mint struktúraépítő elem a Hollywoodi Reneszánszban ... (100) 3.8. Serpenyő és puska találkozása: a hangnemváltás programja és a kevert hangnem poétikája ... (101) 3.8.1. A hangnemváltás és a kevert hangnem az európai modemizmusban ... (102) 3.8.2. A hangnemváltás és a kevert hangnem a Hollywoodi Reneszánszban ... (106) 3.8.3. Kitekintés: a kevert hangnem a nyolcvanas-kilencvenes években ... (108) 3.8.4. Permanens parabázis Altmannái: Buffalo Bill és az indiánok ... (109) 3.8.5. A kevert hangnem mint műfaji kommentár ... (110) 3.8.5.1. A kevert hangnem és a klasszikus konfliktustípusok áthangolása a Hollywoodi Reneszánsz westernfilmjeiben ... (111) 3.8.5.2. A kevert hangnem szerepe a klasszikus hősszerepek újragondolásában: Altman Hosszú búcsú]ának példája ... (113) 3.8.6. Kevert hangnem a hangsávon: keresztirányú dialógusok ... (114) 4. SZUBJEKTÍV REALISTA MŰVELETI SÉMÁK 4.1. Bevezető ... (115) 4.2. Szubjektív realizmus a hollywoodi filmben 1967 előtt... (116) 4.2.1. Sötétség és köd New Yorkban (Sidney Lumet: A zálogos) ... (117) 3 4.2.2. Godard Nyolc és félje (Arthur Penn: Mickey, az ász) ... (120) 4.2.2.1. A Mickey, az ász és Godard ... (121) 4.2.2.2. A Mickey, az ász és Fellini ... (122) 4.2.3. Hollywoodi avantgárd (John Frankenheimer: Másolatok)... (125) 4.3. Fordulat a szubjektív realista ábrázolásmódban ... (128) 4.3.1. Tabula rasa (John Boorman Point Blankje) ... (128) 4.3.2. Nouvelle Free Cinema (Richárd Lester: Petulia)... (130) 4.3.3. Iszonyat az új világban (Román Polanski: Rosemary gyermeke) ... (131) 4.4. Szubjektív realizmus a Hollywoodi Reneszánszban a hetvenes évek elején ... (134) 4.4.1. Fellini az Alomgyárban (Paul Mazursky: Alex Csodaországban) ... (135) 4.4.2. Róbert AltmanBergman-trilógiája ... (138) 4.4.3. Benyomások konverziója (Antonioni: Nagyítás - Coppola: Magánbeszélgetés) ... (143) 5. A DEZORIENTÁLT HŐS ALAKVÁLTOZATAI 5.1. Száguldás a semmibe: a Hollywoodi Reneszánsz dezorientálódott hőseinek formatörténeti és társadalomtörténeti pozíciója ... (146) 5.2. Keresésmotívum kontra csellengésmotívum ... (148) 5.2.1. „A bukás pátosza" ... (148) 5.2.2. A neorealizmus öröksége? ... (149) 5.3. A Hollywoodi Reneszánsz motiválatlan hőseinek amerikai mintái ... (152) 5.3.1. Foglalkozása: nyomozó (Arthur Penn: Éjszakai lépések) ... (153) 5.3.2. Egy amerikai férfi és egy francianö (Róbert Aldrich: Hustle) ... (157) 5.3.3. Vizsgálat egy minden gyanú felett álló polgár ügyében: a politikai thriller mint kortünet, és a dezorientálódott hős magára találása (Alan J. Pakula filmjei)... (160) 5.4. A szerepcsere és a hősfunkciók profanizálása mint műfaji kommentár: Sam Peckinpah kóborló hősei ... (163) 5.4.1. A Peckinpah-westernek világképe ... (163) 5.4.2. Az értelmetlen tettekben megjelenő akut passzivizálódás: Peckinpah kortárs westernjeinekhősei... (165) 5.5. A kóborlásforma kommentálja ... (167) 5.5.1. Altman Svejkjei... (167) 5.5.2. A hatékony cselekvés kritikája ... (169) 5.5.3. Altman követői ... (171) 5.6. Az elbizonytalanodó hős és az öntudatosodó szerző ... (171) 6. KÖZELÍTÉSEK A REVIZIONISTA MŰFAJFILMHEZ: SZERZŐISÉG ÉS MŰ FAJI SÁG A HOLLYWOODI RENESZÁNSZBAN 6.1. A műfaji kommentár és a revizionista műfajfilm definíciója ... (174) 6.2. Műfaji kommentár, szerzőiség és szerzői kommentár ... (179) 6.2.1. A szerzői öntudatosság megnövekedése ... (179) 6.2.2. Szerzői kommentárok: Antonioni hatása a hollywoodi képkomponálásra ... (181) 6.3. Műfajiság és revizionizmus: hasonlóságok és különbségek a műfaji elemekkel élő modem művészfilm és a revizionista müfajfilm között... (186) 4 6.3.1. Szerelmem, Alphaville: a Point Blankműfaji olvasata ... (187) 6.3.2. A Persona mint thriller: Altman Képekjének müfajisága ... (189) 6.3.3. A Magánbeszélgetés műfaji olvasata ... (191) 6.3.4. Konzervatív progresszió, avagy amerikai Jules és Jim (George Roy Hill: Butch Cassidy és a Sundance Kölyök) ... (192) 6.4. Revizionista melodráma? ... (194) 6.4.1. Az európai modem melodráma és a hollywoodi családi melodráma ... (195) 6.4.2. A modem melodráma klasszicizálása (Bob Rafelson: Öt könnyű darab) ... (197) 6.4.3. A klasszikus családi melodráma modernizálása (Peter Bogdanovich: Az utolsó mozielőadás)... (198) 6.4.4. Amerikai édes élet (Hal Ashby: Sampon) ... (199) 6.5. A későmodemizmus előérzete: Nashville ... (201) 6.5.1. A politikum megjelenési formái Altmannái ... (201) 6.5.2. A Nashville inverz müfajisága ... (203) 6.5.3. A szabadság fantomja: a Nashville és a politikai modemizmus ... (205) 6.5.4. A Nashville európai mintái... (206) 6.5.5. A Nashville utóélete ... (208) 6.6. A Hollywoodi Reneszánsz és a midcult... (209) 7. ÖSSZEGZÉS HELYETT 7.1. A műfaji revizionizmus hatóköre a Hollywoodi Reneszánszban ... (212) 7.2. Harmadik típusú találkozások: a posztklasszicizálódás attraktivitása ... (214) 8. IRODALOMJEGYZÉK (218) 9. FILMOGRÁFIA ... (222) 5 1. BEVEZETÉS 1.1. Előszó: a Hollywoodi Reneszánsz definíciója és a dolgozat célkitűzése 1.1.1. A Hollywoodi Reneszánsz periodizációja A fősodorbeli amerikai film elmúlt négy évtizedét sommásan új-hollywoodi korszakként emlegetik a filmtörténészek és kritikusok, holott inkább a különbségek szembetünőek, semmint a hasonlóságok a hatvanas évek második felétől számított bő tíz év eseményei, valamint a nyolcvanas évektől napjainkig tartó szakasz jelenségei között. A leegyszerűsítő megközelítés szerint Új-Hollywood lakója Scorsese halálosan szorongó taxisofőrje, Malick sivár vidékeken és lelkük útvesztőjében botladozó szerelmespárja, vagy Coppola magánbeszélgetéseket lehallgató, emellett önelemzésre is hajló titkos ügynöke - de Új-
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