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William Klein Par Marie-Ève Fortin

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William Klein Par Marie-Ève Fortin Parodies satiriques et documentaires expressionnistes : la représentation critique de la célébrité dans l'œuvre cinématographique de William Klein par Marie-Ève Fortin Thèse de doctorat effectuée en cotutelle au Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Université de Montréal et à l’Institut de recherche sur le cinéma et l'audiovisuel (IRCAV) Arts et Médias ED 267 Université Sorbonne Nouvelle – Paris 3 Thèse présentée à la Faculté des études supérieures et postdoctorales de l’Université de Montréal en vue de l’obtention du grade de Philosophiæ Doctor (Ph. D.) en Études cinématographiques et à l’École doctorale Arts et Médias de l’Université Sorbonne Nouvelle – Paris 3 en vue de l’obtention du grade de docteur ès Cinéma et audiovisuel Décembre 2014 © Marie-Ève Fortin, 2014 Université de Montréal Faculté des études supérieures et postdoctorales et Université Sorbonne Nouvelle – Paris 3 École doctorale Arts et Médias Cette thèse intitulée : Parodies satiriques et documentaires expressionnistes : la représentation critique de la célébrité dans l'œuvre cinématographique de William Klein présentée et soutenue à l’Université de Montréal par : Marie-Ève Fortin a été évaluée par un jury composé des personnes suivantes : Président-rapporteur : Silvestra Mariniello, professeure titulaire et directrice du Département d’histoire de l’art et d’études cinématographiques, Université de Montréal Directeur de recherche : Olivier Asselin, professeur titulaire, Université de Montréal Directeur de recherche : Philippe Dubois, professeur des universités, Université Sorbonne Nouvelle – Paris 3 Examinateur externe : Thomas Waugh, professeur titulaire, Concordia University Examinateur externe : Jerry White, professeur associé, Dalhousie University Membre du jury : Bruno Nassim Aboudrar, professeur des universités, Université Sorbonne Nouvelle – Paris 3 6 Résumé L’œuvre de William Klein est reconnue pour ses stratégies formelles innovatrices et avant-gardistes qui attireront l'attention des artistes et des professionnels de sa génération, non sans provoquer au passage quelques scandales ni sans subir les contrecoups de la censure. La trentaine de courts, moyens et longs métrages réalisés par Klein, forme un corpus hétérogène qui affiche à première vue des incohérences sociologiques, politiques, économiques et culturelles potentiellement discutables. Dans ces conditions, la position critique de Klein paraît ambiguë, inconséquente voire, contradictoire, parce que les films diffèrent également par leur thème, leur cible, leur mode de production et leur genre. Nous croyons cependant que l’engagement politique de Klein est le fil d'Ariane qui unit son œuvre cinématographique et dissipe toute idée de rupture que ses contemporains pourraient lui reprocher. Au cours de cette période cruciale qui s'étend de 1965 et 1970, alors que le libéralisme en tant qu’idéologie officielle du système capitaliste cherche à vaincre le communisme pour s'imposer à l'échelle mondiale, Klein pose son regard sur les célébrités en tant que figures médiatiques et identitaires comme autant de moyens des pouvoirs politiques, économiques et religieux. À l'ère de la guerre froide, de la guerre du Vietnam et des combats pour la décolonisation, il prend le parti des mouvements de droits civils et de libération et se range du côté des révolutionnaires qui les défendent. Il brosse notamment le portrait de personnalités associées à la contre-culture américaine; il remet en question les modèles qui s'étaient jusque- là imposés dans la culture de masse et les idéologies dont ils étaient investis et va jusqu'à critiquer le concept même de célébrité. En procédant notamment à une démystification des moyens de la représentation de l'American Dream et de l’American way of life, William Klein s'en prend aux faux-semblants issus de ces industries (du divertissement) et de ce champ (politique) qui mettent en place des systèmes de production et d’exploitation de la célébrité en tant que symbole, destiné à orienter les goûts esthétiques, les comportements commerciaux et/ou les opinions politiques des individus. Il dénonce ainsi les injustices raciales, les inégalités sociales, les abus de pouvoir et 7 les débordements des gouvernements attribuables à l’impérialisme occidental qui est à l'époque sous l'influence des États-Unis. Le corpus qui nous permettra de développer notre argumentation comprend quatre films, soit deux films de fiction et deux films documentaires. Qui êtes-vous, Polly Maggoo? (1966) et Mister Freedom (1968) sont les deux films de fiction que nous avons qualifiés de « parodies satiriques ». En ces termes, le film Polly Maggoo parodie les contes de fées pour faire la satire de l’industrie de la mode, tandis que le film Mister Freedom parodie les super-héros de bande dessinée et autres justiciers des films hollywoodiens, pour faire la satire de la politique étrangère américaine. Les documentaires politiquement engagés sont à notre avis expressionnistes, comme le propose le critique américain Jonathan Rosenbaum. Muhammad Ali, The Greatest (1964-1974) ; Eldridge Cleaver Black Panther (1970) mettent en scène ceux que William Klein appelle les « Super Noirs américains » et par des moyens réflexifs, ils démontrent de l’inter-subjectivité entre le cinéaste et ses sujets. Mots-clés : William Klein, parodie, satire, célébrité, politique, expressionisme, réflexivité, film, documentaire, États-Unis, France 8 Abstract Satirical parodies and expressionist documentaries: The Critical Representation of the Celebrity in the Films of William Klein The films of William Klein are still little known. His filmography includes thirty titles which appear at first sight heterogeneous, while their sociological, political, economic, and cultural inconsistencies seem questionable. As such, and because the themes of his films, their targets, their production modes and their genres are constantly moving, Klein’s critical position seem ambiguous, inconsistent if not contradictory. Yet, we believe that the political commitment of William Klein is at the core of all of his films and dissipates all discrepancies. Between 1965 and 1970, while liberalism as the official ideology of the capitalist system is fighting against communism to expand its power around the world, Klein is looking at celebrities as vectors of the political, the economical and the religious powers. While the Cold War, the Vietnam War and the anti-colonial armed struggles are shaking the world, he associates with the counter-culture and youth culture movements and questions the role models advertised in the mass media, and the ideologies they represent. Portraying the modes of representation that shapes the American Dream and the American Way of Life, William Klein criticises the makes-believes found in the entertainment industry and the political field that aim at shaping our identities, our commercial behaviours and our political opinions. We propose to analyse two fiction films and two documentaries in the course of our argumentation in order to demonstrate how he condemns racism, social inequalities and abuses of power associated with Western imperialism. Qui êtes-vous, Polly Maggoo? (1966) and Mister Freedom (1968) are what we have called after Daniel Sangsue, satirical parodies. Accordingly, Polly Maggoo parodies fairy tales to satirize the fashion industry, while Mister Freedom parodies the superheroes of the comic books to satirize American foreign policies. Based on Jonathan Rosenbaum thesis, we consider Muhammad Ali, The Greatest (1964-1974) and Eldridge Cleaver Black Panther (1970) as expressionist 9 documentaries. The reflexive strategies found in these films are symptomatic of an inter- subjectivity between the filmmaker and his subjects. Keywords : William Klein, parody, satire, celebrity, politics, expressionism, reflexivity, documentary, Film, United States, France 10 Table des matières Résumé ....................................................................................................................................... 7 Abstract ...................................................................................................................................... 9 Table des matières ................................................................................................................... 11 Remerciements ........................................................................................................................ 19 I. Introduction. Positionnement de l’œuvre cinématographique de William Klein ......... 21 I.I. Le parcours et l'œuvre de Klein....................................................................................... 24 I.II. Parodies satiriques et documentaires expressionnistes : continuité et rupture d'une œuvre cinématographique hétérogène .................................................................................. 30 I.III. Le vaste monde de la célébrité : définitions préliminaires ........................................... 36 I.IV. Fonctions politiques des figures médiatiques : la célébrité et la propagande .............. 56 Chapitre 1. Éthique et esthétique : retour sur les concepts de la parodie et de la satire 61 1.1. Premiers regards sur l'ironie : les albums de photographies .......................................... 61 1.2. Théorie de l'hypertextualité de Gérard Genette ............................................................. 65 1.3. Les techniques et les formes de la satire selon Matthew Hodgart ................................
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