By Jean Cléder
Entre littérature et cinéma, les family ont souvent été envisagées à travers le prisme de l’adaptation des textes littéraires, dont los angeles pratique a alimenté des débats – parfois très vifs. Mais les rapports entre les deux arts ne se limitent pas à cette problématique, dont on peut penser au contraire qu’elle a longtemps fait écran à d’autres échanges.
Sans négliger cette query, on essaiera donc ici de déséquilibrer les confrontations bipolaires traditionnelles afin d’examiner remark, dans l’intervalle entre littérature et cinéma, des transactions se négocient, et dans les deux sens, pour des enjeux qui n’appartiennent proprement ni au cinéma ni à los angeles littérature. C’est dans cette interplay que se reformulent aujourd’hui les enjeux de l. a. représentation cinématographique et littéraire.
En effet, sur le plan des langages comme du récit, de l’image ou de l’Histoire, des affinités électives déterminent un régime de déstabilisation réciproque extrêmement fécond pour chacun des deux arts.
Jean Cléder est maître de conférences en littérature comparée (Université Rennes 2). Il a publié de nombreux articles sur les kinfolk entre littérature et cinéma, et des ouvrages collectifs consacrés à Marcel Proust, Marguerite Duras, Éric Rohmer, Patrice Chéreau, Benoit Jacquot.
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Extra resources for Entre littérature et cinéma: Les affinités électives
None of this will work at a premodern moment. Consider this: In presenting his argument to President Bush that the United States should not pre-emptively attack Iraq, Secretary of State Colin Powell was advised to reduce his position to one page and then be prepared to further condense that one page into a five-minute oral presentation. Message? This is not a moment when reading and criticism are in flower. We, in fact, went to war in spite of what knowledge was readily available. No, this is not a time to experiment with boundaries between the discursive and the nondiscursive, between reason and imagination, between fact and fiction, between creativity and criticism.
But it doesn’t multiplex reality. The whole world has gone screwball in these comedies, and everybody in the audience is trying to put it back together and having no chance of doing that. But in the postmodern world, the whole world doesn’t stay whole. ——— ——— Off Camera: KEY GRIP: Break. Hey guys, meet our film editor. Favorite comedy of all time? FILM EDITOR: Naturally it’s a film I edited. The Coen brothers’ The Big Lebowski (1998), which these two characters should talk about as an example of a postmodern comedy, but they won’t get around to it until I edit all their chat down.
And your comic sense comes out of the reality you’re in. The awareness of all this is what I call the postmodern awareness. And all these worlds are in motion, some just emerging, some fading, some clashing, some so privileged we assume they represent the whole world. It’s like saying screwball comedy captures reality as it is. Not melodrama, or tales of the wild West, or sci-fi, or mystery, or romance. But screwball. In the postmod view, all of a sudden at a certain time Hollywood put on a screwball lens and began to filter the world in that way.