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Postures Du Spectateur Dans «Pink Flamingos» (John Waters, 1972)

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Postures Du Spectateur Dans «Pink Flamingos» (John Waters, 1972) Recevoir l’irrecevable Postures du spectateur dans Pink Flamingos (John Waters, 1972) Mé oire !atha"l Molaison Ma#trise en littérature et arts de la sc$ne et de l’écran Ma#tre ès arts (M%&%) 'uébec, Canada © Nathaël Molaison, 2014 R,-.M, Je ’intéresse / la 0i1ure du spectateur prévue par le 0il , / partir des travau2 de 3rancesco (asetti, Ro1er 4din, . berto 5co et Martin 6e0ebvre% Mon ob7ecti0 est de ontrer 8ue la 0i1ure du spectateur est plurielle. 9ans cette perspective, nous verrons 8ue tout 0il 0ait une of0re / son spectateur, mais que celui:ci y répond de mani$res di00érentes selon le contexte dans le8uel il voit le 0il et les positions éthi8ues 8u’il 0ait siennes% 6e 0il Pink Flamingos, de John Waters (1972), cherche, par tous les o;ens, / provo8uer la sensation d’un dégoût intéressant% =l s’inscrit en 0au2 contre l’institution du 0il de 0iction traditionnel, puis8u’il propose au spectateur d’> intera1ir ? avec lui% !ous verrons toutefois 8ue cette proposition i pli8ue une distinction entre, pour si pli0ier, un « bon ? et un « auvais ? spectateur, selon qu’il soit ou non participati0% iii @&A65 95- M&@=BR5- R,-.M,%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% iii R5M5R(=5M5!@-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% i2 =!@R49.(@=4!%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 1 1% J4C! W&@5R-, C=!,&-@5 D. SP5(@&(65%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%11 1%1% L’interdit dans les pre iers fil s de John Waters%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%11 1%2% Le cas de PinD Fla in1os%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 1E 1%E% Kitsch et séduction%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 1G 1%+% L’Hil ca p%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 17 1%G% Le personna1e ca p%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 2* 1%I% Provocation du Ditsch%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 21 1%7% Éthi8ue, trans1ression et spectaculaire%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%2E 1%J% Spectacularisation et point de vue spectatoriel%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%2I 2% L5 SP5(@&@5.R D&!- L5 F=6M%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%29 2%1% Sur la nécessité d’un spectateur modèle%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%29 2%2% L’> ef0et généri8ue ? et l’interpellation dans PinD Fla in1os%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%E2 2%E% Une spectacularisation du regard%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%EG 2%+% E00ets monstrati0s de l’énonciation%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% E7 2%G% L’exe ple de SalK%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% E9 2%I% Pouvoirs du rire dans Salò et PinD 3la in1os%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%+1 2%7% Grotes8ue, esprit carnavales8ue et ab7ection%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%+E 2%J% L’intervention du spectateur réel%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +G E% L5 SP5(@&@5.R D5M&!T L5 F=6M%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%+9 E%1% Le spectateur réel vu en 0onction d’un contexte%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%+9 E%2% Contraintes naturelles N récit et lan1ue%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%G* E%E% Contraintes non:naturelles N l’espace de com unication%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%G2 E%+% Mise en contexte N le midni1ht ovie%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%GE E%G% Le fil com e expérience collective%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%GI E%I% Sub7ectivité et « asochis e ? spectatoriel%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%G9 E%7% Postures spectatorielles issues du contexte%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%I1 +% L5 SP5(@&@5.R CO!3R4!@, A. F=6M%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%IE +%1% Le fil vu selon une posture inti e%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%IE +%2% À propos du déplaisir fil i8ue%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%I+ +%E% Du déplaisir à l’ab7ection%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% IG +%+% Le fil com e rite initiati8ue%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%I7 +%G% Une exclusion idéolo1i8ue%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% I9 v +%I% Éthi8ue et a00ectivité du spectateur%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 7* +%7% Mani0estations du spectateur%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 72 +%J% Une con0rontation au monde réel%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 7+ (4!(6.-=4!%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 77 A=A6=4LR&PC=5%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% JE &!!5P5 1 N IM&L5-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% J9 =!95P 95- -(C,M&- -ché a 1% Reproduction du « odèle ? sé io:pra1 ati8ue de Ro1er Odin%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%2 -ché a 2% Reproduction du sché a de com unication casettien%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%E vi If someone vomits during one of my films, it’s like getting a standing ovation. J4C! W&@5R- vii R5M5R(=5M5!@- 9’abord, 7e souhaite sincère ent re ercier a directrice, 6ucie Ro;, pour son enthousias e et ses éclaircisse ents au 0il de la rédaction% -es conseils, son ouverture et ses idées ’ont per is de e rendre au bout de ce che in, et c’est en partie 1rQce / elle si 7’ai choisi de ’aventurer dans les études de deu2i$ e c;cle. J’ai erais aussi re ercier plusieurs personnes 8ui ne réaliseront peut:être pas l’in0luence 8ue leur travail a eu sur le ien% Merci / Richard Aégin, / l’épo8ue char1é de cours / l’.niversité 6aval, 8ui ’aura per is de découvrir 8ue l’anal;se d’un ob7et sortant du > cadre universitaire ? pouvait être intéressante% Merci / Marie-&ndrée Aeaudet pour ses conseils et ses encoura1e ents alors 8ue 7e com ençais / peine / aborder le su7et de Pink Flamingos% Ces deu2 personnes ’auront per is de croire en mes capacités et en la pertinence d’un tel su7et de recherche. Merci au2 coll$1ues pour leur soutien et leur intérêt% Je salue votre coura1e d’avoir osé vous asseoir, un soir, avec oi, pour visionner > le eilleur des pires 0il s 7a ais produits ?% Merci au2 a is et parents 8ui ’ont encoura1é / travailler dans la voie 8ui ’attirait le plus% Mous aveT été d’un 1rand soutien dans les nombreu2 moments de doute qui ont mar8ué mon tra7et% i2 =!@R49.(@=4! Parler du spectateur au ciné a constitue un défi% &près l’avoir lon1te ps né1li1é au profit d’une anal;se du texte ou de la structure du texte, on com ence / reconna#tre sa relative autono ie. 6es travau2 portant sur le spectateur ont 1a1né en popularité. Ceu2 d’. berto 5co, de (hristian MetT, de 3rancesco (asetti et de Ro1er 4din ont dé ontré 8ue le spectateur ou l’instance prévue par le texte pouvait s’avérer un su7et de recherche intéressant% 6es propositions d’anal;se comprennent toutefois deu2 voies parallèles N il est possible de se de ander com ent le 0il construit son spectateur ou, au contraire, d’accorder au spectateur réel un plein pouvoir 8uant / la lecture du 0il au8uel il se prête. 6’une des propositions est pragmatique, selon Roger 4din, tandis 8ue l’autre est immanentiste. 6a pre i$re pose le 0il > com e un donné 8u’il Ul’anal;ste] décrit sans référence / ce 8ui lui est extérieur1 ?, tandis 8ue la seconde considère le spectateur au oment où il est > en relation avec le contexte dans le8uel Ule texte ou le 0il dans ce cas:ciV est é is et reçu2 ?% Il est ainsi possible de penser / deu2 spectateurs
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