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Le Cinéma, Un Art Imaginaire ? Élie Castiel

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Le Cinéma, Un Art Imaginaire ? Élie Castiel Document generated on 10/01/2021 9:09 p.m. Séquences : la revue de cinéma Le Cinéma, un art imaginaire ? Élie Castiel Nicolas Boukhrief Made in France Number 302, May 2016 URI: https://id.erudit.org/iderudit/82179ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Castiel, É. (2016). Le Cinéma, un art imaginaire ? Séquences : la revue de cinéma, (302), 44–44. Tous droits réservés © La revue Séquences Inc., 2016 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 44 | RECENSION Le Cinéma, un art imaginaire ? En tête à tête avec Orson : ournaliste, chargée d’études, auteure de plusieurs textes Conversations entre Orson Janalytiques ou littéraires, Patricia Yves signe un livre où, paradoxalement, l’évidente approche anticinéma place le 7e art Welles et Henry Jaglom parmi l’une des expressions les plus louangées de l’activité humaine. Cet ouvrage, sorte de our le 30e anniversaire de la miroir, de reflet de notre condi- Pmort de ce géant aux pieds tion, même si « cantonner l’art d’argile que fut Orson Welles, de à re-présenter le monde, à le nombreuses éditions de livres et doubler, condamne peut-être de documents de tous genres ont l’art à n’être que récréatif plutôt vu le jour. Peter Biskind, critique que créatif… » (p. 33), propose et journaliste ainsi qu’auteur une réflexion philosophique où d’essais sur le nouvel Hollywood, la sémiologie, les références avait eu vent que le cinéaste Henry sociales et l’approche aca- Jaglom avait enregistré, dans démique peuvent désorienter les années 80, ses conversations certains lecteurs. Car, en excel- avec Orson Welles lors de dîners lente observatrice de la pensée dans un restaurant connu de Los cinématographique, l’auteure Angeles. Cet ouvrage est le fruit ne recule devant rien pour illuster les défaites du 7e art, ses vacil- de cette recherche, et Peter Biskind en est aussi l’éditeur. lations externes et internes, sa relation avec la vie, l’intervention Jaglom, réalisateur indépendant américain (A Safe Place), de la fameuse mimèsis grecque. Pour confirmer sa thèse, elle a considérait Orson Welles avec beaucoup d’égards. Ce recours à des films de tous genres : elle évoque autant Welles dernier avait trouvé les points faibles de son plus jeune (Citizen Kane), Jacques Audiard (De rouille et d’os) que les collègue, et certaines des discussions sont, au départ, différents épisodes de Star Wars (La Guerre des étoiles). Elle ac- des taquineries de Welles voulant faire réagir Jaglom aux centue l’analyse de Ida, de Pawel Pawlikowski, et des sensibles énormités qu’il avance. Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles, L’acteur-réalisateur de Citizen Kane a connu le milieu des arts de la regrettée Chantal Akerman. L’imaginaire dans le cinéma durant plus de cinquante ans et il a des opinions arrêtées, même si est son cheval de bataille. Comment est-il conçu dans les im- elles changent un peu au fil des discussions, sur de nombreux sujets ages en mouvement ? Quels parallèles dresser entre ces disposi- dont quelques-uns abordent aussi la politique. Certaines anecdotes tifs visuels et la vie ? Son écriture, bien que libre, se soustrait font déjà partie d’entrevues poussées publiées ou diffusées ailleurs, à un jargon universitaire que certains trouveront obscur; mais mais l’accumulation est assez étonnante. On peut donc déguster qu’importe ! Le cinéma, un art imaginaire ? est, par son titre, un cette publication à petites doses. Le résumé des chapitres, dans le ouvrage qui questionne et suggère, par le biais de propositions sommaire, permet de retrouver certaines personnes plus facilement, raisonnées, et qui force à réfléchir sur la notion du regard. de savourer à nouveau certains passages et même de les analyser. L’écran n’est plus géant; au contraire, il se conçoit aujourd’hui On déplore, par ailleurs, une erreur du présentateur à propos de sur plusieurs plateformes. Patricia Yves en est consciente. Touch of Evil à la page 22. Biskind et le traducteur Bernard Cohen Elle s’accroche aux nouveaux temps tout en les remettant en ont eu la très bonne idée de rajouter des biographies et des notes question; jolie façon d’approcher le nouveau siècle, avec toutes sur plusieurs des aphorismes ou personnalités évoqués au fil de ces les hésitations propres à chaque nouveau tournant d’époque. rencontres. Orson Welles y démontre encore son sens de la formule Lorsqu’elle conclut en clamant que « le mieux pour savoir où l’on qui faisait de lui un invité recherché par les plateaux de télévision. va, où l’on souhaite aller, est encore de savoir d’où l’on vient… », Ses nombreux projets, comme celui de The Big Brass Ring, lui n’est-ce pas là la mission même du cinéma qui consiste à tracer servent aussi à démontrer qu’il n’est pas que l’homme d’un chef- du mieux qu’il peut l’histoire du monde ? Comme il se doit, nous d’œuvre, mais un individu plus complexe comme le prouvent bouclons notre appréciation de son ouvrage avec un énigmatique également les livres de Peter Bogdanovich. point d’interrogation. ÉLIE CASTIEL LUC CHAPUT Patricia Yves Peter Biskind, présentateur et éditeur Le cinéma, un art imaginaire En tête à tête avec Orson : Conversations (Coll. « Le Parti pris du cinéma ») entre Orson Welles et Henry Jaglom Paris : L’Harmattan, 2015 Paris : Robert Laffont, 2015 146 pages, sans ill. 368 pages, sans ill. SÉQUENCES 302 | MAI – JUIN 2016.
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