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Copyright by Audrey Doussot 2017 Copyright by Audrey Doussot 2017 The Dissertation Committee for Audrey Doussot certifies that this is the approved version of the following dissertation: MEDIATED AUTHORITY: PORTRAITS OF THE WRITER IN THE AGE OF MECHANICAL REPRODUCTION FROM BAUDELAIRE TO BEIGBEDER Committee: Alexandra Wettlaufer, Supervisor Hervé Picherit Alisa Perren Lynn Wilkinson MEDIATED AUTHORITY: PORTRAITS OF THE WRITER IN THE AGE OF MECHANICAL REPRODUCTION FROM BAUDELAIRE TO BEIGBEDER by Audrey Doussot, MA; PhD Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2017 Mediated Authority: Portraits of the Writer in the Age of Mechanical Reproduction from Baudelaire to Beigbeder Audrey Doussot, PhD The University of Texas at Austin, 2017 Supervisor: Alexandra Wettlaufer With the advent of what Charles Baudelaire called “a civilization of the image”, the interaction between literature and visual culture has intensified since the nineteenth century. Accordingly, the depiction of real literary figures in visual media like photography or the cinema has become more and more frequent, leading writers to take part, more or less voluntarily, in modern celebrity culture. Through the study of visual artefacts created around French writers between the 1850s and the present, this project seeks to examine the role of visual culture in the fashioning of writers’ artistic and social identities. The writers considered, Charles Baudelaire, Colette, Romain Gary and, to a lesser extent, Frédéric Beigbeder, lived through times when the world of visual media was undergoing major changes due to the advent of new technologies, respectively, photography, cinema and television. As a way to reflect these changes and the successive phases of media history, paintings, photographs, films, but also extracts of TV shows will therefore be taken into account. They will testify to various discursive and non-discursive phenomena at work in the paratextual depiction of the cultural figure of the author, such as the staging of a public auctorial identity, the construction of a persona for marketing purposes, or the fictionalization of personal history, but they will demonstrate as well that literature may have entered a new stage in its history when words and writing are no longer the only essential feature of a literary career. iv Table of Contents List of Illustrations ............................................................................................... viii Introduction: Genealogy of the writer. .................................................................... 1 A text like any other? ..................................................................................... 1 The writer and his double: birth, death and resurrection of the author .......... 4 Beyond the text, a visual image ................................................................... 16 Chapter 1. Portraying the writer in time of crisis: Baudelaire and photography .. 29 Identifying Baudelaire ................................................................................. 29 A curious apparition ............................................................................ 29 Making sense of an incongruity .......................................................... 33 Identity in the age of photography ...................................................... 36 The Baudelaire paradox ............................................................................... 44 “Tout pour l’oeil” ................................................................................ 44 Theorizing the cult of images ............................................................. 50 “Un homme accord de contraires” ...................................................... 59 Baudelaire on photography: an essay and a misconception ................ 65 The end of a myth: “En photographie, Baudelaire s’y connaît” ......... 75 “Le monde va finir”: confronting a media crisis ......................................... 81 Twenty years of photography – and still an indefinite status ............ 81 Photography and the sister arts: disrupting signifying systems .......... 87 “Arts de la main” vs. “arts de la technique”: finding the photographer’s imprint in the photograph ........................................................... 91 The writer, the portrait and the economy of the self ......................... 103 The reluctant model ................................................................................... 108 The destabilizing of authority and the weakening of auctority ......... 108 A prolongation of the Baudelaire paradox: collaborating by resisting or resisting by collaborating? ....................................................... 116 Split identity: Baudelaire’s multifaceted personae ........................... 127 v Chapter 2. Colette and the cinema, or the appropriation of visual media for the celebration of the self ................................................................................. 136 Iconic Colette ............................................................................................. 136 Colette and the cinema: “un attachement chronique … divers et multiforme” .............................................................................. 136 Colette in pictures or the fragmentation of public image ................. 143 “The peculiar nature of literary celebrity” (Moran 9): Colette and the rise of modern celebrity culture ...................................................... 155 Colette at the movies: the author as spectator and critic ............................ 166 Chronicling the beginnings of a medium .......................................... 166 Divine Colette: “J’aimerais aussi faire du cinéma” ................................... 187 Reclaiming authorship ...................................................................... 187 Divine or “l’envers du music-hall” ................................................... 193 Creating Colette: the autobiographical impulse ................................ 201 Colette, a filmic portrait ............................................................................. 209 Biographical pictures ........................................................................ 209 Locating auctority in Colette ............................................................ 219 Chapter 3. Media visibility, designation and masquerade: Romain Gary and television .................................................................................................................... 226 Romain Gary and television: four emblematic moments .......................... 226 1956. Baptism of fire in Lectures pour tous ..................................... 226 1969. The confined writer in Actualité littéraire .............................. 230 1973. The multifaceted writer in Italiques ........................................ 235 1981. The writer in absentia in Apostrophes .................................... 245 Television and the author in the 1950s-1970s ........................................... 253 Romain Gary and television: A simultaneous coming of age ........... 253 “Saisir Romain” (Blanch 6): Portrait of a protean author in post-war France ....................................................................................... 265 The encumbrance of one’s own image ............................................. 275 Establishing a new television genre ........................................................... 286 The literary talk show as a site of media convergence ..................... 286 vi What place for television in French literary culture? ........................ 295 “La télévision a inventé son langage, il est réducteur et stimulant” . 304 As a conclusion: And then what? Frédéric Beigbeder, convergence culture and “la surenchère médiatique” (“media insatiability”) ......................................... 320 References ........................................................................................................... 331 vii List of Illustrations fig.1. Pop Art Proust ............................................................................................... 4 fig.2. The Arnauldet portrait by Carjat ................................................................. 29 fig.3. Portrait with a bow (Carjat) fig.4. Head and shoulder picture (Carjat) .............................................................. 39 fig.5. Baudelaire aux gravures .............................................................................. 44 fig.6. “Nouveau procédé pour obtenir des poses gracieuses” by Daumier ........... 62 fig. 7. Portrait with hidden hand (Nadar) fig.8. Portrait in an armchair (Nadar) ......................................................... 76 fig.9. Bracquemond’s frontispiece for Les Fleurs du mal .................................... 78 fig.10. Portrait with cigar (Neyt) fig.11. “Ridentem ferient ruinae” (Neyt) .............................................................. 95 fig.12. Portrait with crossed hands (Carjat) .......................................................... 96 fig.13. Baudelaire’s last portrait ............................................................................ 97 fig.16. Out-of-focus portrait (Nadar) .................................................................. 120 fig. 17. Colette as Claudine ................................................................................
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