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Dottorato in Cotutela Università degli Studi Roma Tre Dipartimento di Comunicazione e Spettacolo Scuola Dottorale “Culture e trasformazioni della città e del territorio” Sezione “Il cinema nelle sue interrelazioni con il teatro e le altre arti” XXIV ciclo – a.a. 2011 - 2012 Titolo della tesi: Identità culturali in crisi: sguardo sui processi di inclusione-esclusione nel cinema francese e francofono contemporaneo di finzione (1990-2010). Dottoranda: Tutor: Valentina Domenici Prof. G. De Vincenti Prof.ssa L. Schifano 1 Sommario: Introduzione Parte Prima Capitolo 1. Identità fluttuanti in un’era “post-nazionale”. La crisi politico-sociale delle moderne democrazie occidentali e della forma Stato-Nazione. Ruolo delle grandi ondate di immigrazione: la rottura dell’isomorfismo tra popolo e territorio. L’identità nazionale e culturale come il risultato di molteplici costrutti culturali, sociali e storici. 1.1 Il malessere del cittadino contemporaneo, la vita nuda e i diritti negati. La figura attuale del rifugiato come punto di partenza per una riflessione sul concetto di “vita nuda” e sulle dinamiche di funzionamento della biopolitica. 1.2 Mondializzazione e differenza. Il fenomeno “glocal”: g lobalizzazione vs differenziazione culturale. 1.3 Cultura e culture dell’altro, una breve ricognizione. Un territorio artistico (teatrale e cinematografico) sotto il segno della “differenza”. Capitolo 2. La società francese di oggi e il suo cinema: traumi e ombre del passato coloniale. Il postcolonialismo come applicazione di schemi culturali coloniali a certe categorie della popolazione. 2.1 La questione della frattura coloniale e il suo impatto sull’immaginario attuale: un nuovo razzismo differenzialista. La costruzione dello sguardo e l’immaginario collettivo: immagini mediali e disuguaglianze sociali. Il razzismo“differenzialista” calato nelle pratiche sociali quotidiane: l’impossibilità di una convivenza tra culture diverse e la centralità della cultura nazionale dominante. 2.2 Rottura e legame con il contesto sociale esterno: sintomi di una tendenza del cinema francese contemporaneo. Una tendenza sovversiva del cinema francese, aperta alle possibilità di rappresentazione dell’altro e a tecniche di messa in scena meno“universalizzanti”. 2 Parte Seconda Capitolo 3. L’utopia del cambiamento e la fragilità delle istituzioni: Petits frères (1999) , L’Esquive (2004) , Entre les murs (2008). La crisi della famiglia e l’impasse della scuola francese rispetto alla questione della diversità culturale e ai conflitti sociali. Doillon, Cantet, Kechiche e la “fiction de gauche”: la “funzione critica prestabilita” 1 per un pubblico borghese. 3.1 Petits frères : la disgregazione del nucleo familiare e la geografia dell’esclusione. Il mondo dell’adolescenza e la perdita dei padri. L’assenza di psicologismi e la depurazione dell’immagine cinematografica, ridotta all’essenziale. 3.2 L’Esquive e Entre les murs : la scuola tra idealizzazione e riproduzione sociale. La scuola, la funzione educativa e l’“action pedagogique”. I limiti della scuola francese di fronte alla questione della disuguaglianza sociale. Capitolo 4. Inchiesta e contro-inchiesta: J’ai pas sommeil (1993) e Caché (2005). La questione dell’‘altro’’ come enigma da risolvere e svelare. I testi filmici e le loro latenze: il senso evidente e quello nascosto. L’impossibilità di una rappresentazione adeguata dell’“altro” attraverso le forme tradizionali della narrazione. 4.1 J’ai pas sommeil (1993): dalla ricerca del colpevole all’imperscrutabilità dell’essere umano. Contro le dicotomie culturali stabilite e le rappresentazioni stereotipate o unilaterali dell’“altro”. Il “terzo spazio” come dimensione dell’autonomia culturale. L’occhio ambiguo della macchina da presa e l’interrogazione sulla realtà. 4.2 Caché (2005): sotto la superficie delle apparenze: rimozione e occultamento. La guerra d’Algeria: un trauma storico e individuale. Il “tradimento” delle immagini e l’investigazione sul visibile: il confronto tra il mondo fenomenico, la sua riproduzione tecnica, lo sguardo umano e quello tecnologico. 1 L. Schifano, Olivier Assayas: un esempio di impegno politico nel cinema d’oggi , in: biancoenero, n.565, settembre- dicembre 2009. 3 Capitolo 5. Il cinema come urgenza politica: La Blessure (2004); Le silence de Lorna (2008); Welcome (2009). La dimensione politica attraverso una denuncia sociale esplicita sulle condizioni precarie degli immigrati, nelle società europee del benessere economico. Questioni di emergenza politica e sociale: dalla mancata integrazione degli stranieri alle espulsioni violente degli immigrati clandestini. La narrazione forte e la divisione maniche dei ruoli in vittime e carnefici. 5.1 La Blessure : i non- luoghi della metropoli contemporanea e le nuove frontiere della biopolitica. La ferita fisica e interiore della protagonista Blandine. Le linee di frontiera e l’anonimato dei non–luoghi: il doppio speculare della città dell’immaginario e del sogno. Lo ‘‘stato di eccezione’’come sospensione temporale del normale sistema politico e giuridico di uno Stato. 5.2 Le silence de Lorna e Welcome : gli esclusi delle democrazie occidentali. Il Belgio e la Francia, due apparenti terre promesse per i moderni naufraghi del Terzo Mondo. La metamorfosi di due relazioni: dai pregiudizi culturali al riconoscimento reciproco, attraverso una prospettiva postcoloniale. Capitolo 6. Il corpo come portatore di significato e come marca di differenziazione. Il corpo che “fa problema”: da sede dei meccanismi di potere e di controllo, a dimensione in cui si giocano le dinamiche identitarie relative al genere. 6.1 La Blessure (2004) e Le silence de Lorna (2008): corpi feriti, corpi venduti. Il percorso di due donne. La condizione attuale delle società occidentali mostrata attraverso due figure di donne outsider. Vivere la marginalità: lo sfruttamento e la mercificazione del corpo. Guardare per resistere: traiettorie dello “sguardo oppositivo”. 6.2 J’ai pas sommeil (1993): il corpo transgender, il farsi e il “disfarsi” del genere. Il genere come direttrice del sapere e criterio per la distinzione e l’assoggettamento dei corpi. 4 Il personaggio di Camille e la figura del transgender, al di là del maschile e del femminile. La performance drag: lo spettacolo di travestitismo e i meccanismi di costruzione sociale del genere. Dalla performatività del genere, alla sua risignificazione collettiva. Considerazioni conclusive: Quale rappresentazione della diversità, quale politica delle immagini? Dall’analisi delle rappresentazioni della “differenza” (di chiunque sia al di fuori delle strutture e della cultura egemoniche), alla riscoperta della funzione politica delle immagini e del suo significato. L’antinomia tra rappresentabile e irrappresentabile e l’attività critica dello spettatore di fronte al medium cinematografico. Distinzione tra cineasti politici e politicamente corretti. L’immagine “politica” come riconfigurazione critica delle categorie del reale e abbandono del principio delle polarità vittima/carnefice o ex colonizzatore/nuovo colonizzato. Filmografia essenziale. Schede dei film e analisi delle macrosequenze. Bibliografia. 5 Sommaire raisonné : Introduction. Première Partie Chapitre 1. Identités fluctuantes dans une ère « post-nationale ». Les démocraties occidentales modernes traversent actuellement une crise socio- politique profonde, qui a renversé en partie ce qui était la forme traditionnelle de l’Etat-nation. Cette crise, qui s’est fait jour dans de nombreux pays européens parallèlement au phénomène des grandes vagues d’immigration, s’est traduite par la rupture, de plus en plus évidente, de l’isomorphisme présumé entre un peuple et un territoire. En conséquence, le concept même d’identité nationale et culturelle, déjà fortement ambigu, se soustrait encore plus aujourd’hui à des catégorisations fixes puisqu’il est le résultat de nombreuses constructions culturelles, sociales et historiques. 1.1 Le mal-être du citoyen contemporain, la vie nue et la négation des droits. La représentation actuelle du réfugié est le point de départ d’une réflexion critique sur le concept de “vie nue” proposé par G. Agamben, en relation avec les principales dynamiques de fonctionnement de la biopolitique et avec ses conséquences sur le tissu social dans les sociétés occidentales d’aujourd’hui. 1.2 Mondialisation et différence. Le phénomène de la globalisation unit des mondes différents et distants entre eux, il tente de les homologuer et crée ainsi les conditions mêmes d’une nouvelle production de “localité” et d’un élan vers une plus grande différenciation culturelle. Parler aujourd’hui d’identité culturelle signifie parler de quelque chose qui apparaît comme le résultat d’une série de fusions et de rencontres, de résistances et de conflits. 1.3 Culture et cultures de l’autre, une rapide reconnaissance. Il existe un vaste territoire artistique varié et caractérisé par l’intérêt pour l’« autre », qui a donné naissance à certaines des expériences culturelles les plus importantes du siècle dernier. Ce territoire a croisé souvent d’autres disciplines et a toujours été caractérisé par le respect voire par la nécessité de la « différence », considérée comme un stimulus important pour ouvrir l’art au monde et l’amener à s’interroger sur lui-même. 6 Chapitre 2 La société française d’aujourd’hui et son cinéma : traumatismes et ombres du passé colonial. Un des plus grands débats politiques apparu en France ces dernières années est celui lié à la situation du post-colonialisme, et en particulier aux répercussions actuelles de l’histoire coloniale
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