Bibliographie
AGEL Henri, Un Art de la célébration, le cinéma de Flaherty à Rouch, Paris : Les Éditions du Cerf, 1987.
BALÀZS Béla, L’Homme visible et l’esprit du cinéma, Belval : Éditions Circé, 2010.
BARSAM Richard, The Vision of Robert J. Flaherty, the Artist as Myth and Filmaker, Bloomington : Indiana University Press, 1988.
BARTON Ruth, Irish National Cinema, Londres & New York: Routledge, 2004.
BRESCHAND Jean, Le Documentaire, l’autre face du cinéma, Paris : Scérén-CNDP, 2002.
CALDER-MARSHALL Arthur, The Innocent Eye: the Life of Robert J. Flaherty, New York : Harcourt, 1963.
COMBE Georges, « Parole de documentariste : Le cinéma d’Aran », Cinémas et Réalités, CIERAC, Université de St Etienne, 1984.
COMOLLI Jean-Louis, Cinéma contre spectacle, Lagrasse : Éditions Verdier, 2009.
COMOLLI Jean-Louis, Voir et pouvoir, Lagrasse : Éditions Verdier, 2004.
DELAVAUD Gilles & Pierre BAUDRY, La Mise en scène documentaire : Robert Flaherty, L’Homme d’Aran et le documentaire, Ministère de la Culture et de la Francophonie, Ministère de l’Education Nationale ; Magiemage, 1994.
GAUTIER Guy, Le Documentaire, Un Autre Cinéma, Paris : Armand Colin, 2005.
GILLESPIE Michael Patrick, The Myth of an Irish Cinema, New York: Syracuse University Press, 2008.
GRIFFITH Richard, The World of Robert Flaherty, Londres : Gollancz, 1953, 164-165.
LE CORFF Isabelle et Estelle EPINOUX, Cinemas of Ireland, Newcastle : Cambridge Scholars Publishing, 2009.
McFARLANE Brian (ed.), The Cinema of Britain and Ireland, Londres & New York : Wallflower Press, 2005.
McLOONE Martin, Irish Film: The Emergence of a Contemporary Cinema, Londres : British Film Institute, 2000.
McLOONE Martin, Film Media and Popular Culture in Ireland: Cityscapes, Landscapes, Soundscapes, Dublin : Irish Academic Press, 2008.
NICHOLS Bill, Representing Reality: Issues and Concepts in Documentary, Bloomington : Indiana University Press, 1991.
NICHOLS Bill, Introduction to Documentary, Bloomington& &Indianapolis : Indiana University Press, [2001], 2010.
O’BRIEN Harvey, The Real Ireland, The evolution of Ireland in Documentary Film, Manchester & New York: Manchester University Press, 2004.
PETTITT Lance, Screening Ireland, Manchester & New York: Manchester University Press, 2000.
PILARD Philippe, « Vie et mort du documentaire », La revue du Cinéma, n°348, mars 1980.
QUINTAR Fuad, « Robert Flaherty et Le Documentaire poétique », Études cinématographiques, vol. I, n°5, Automne 1960, 249-303.
ROCKETT Kevin, Luke GIBBONS et John HILL, Cinema and Ireland, Londres & New York : Routledge, 1987.
RUBY Jay, Robert J. Flaherty: A Biography, Philadelphia: University of Pennsylvania Press, 1983.
SONTAG Susan, « Fascinating Fascism », Movies and Methods, vol. I, University of California, 1976, 31-43.
WINSTON Brian, « The White Man’s Burden, the example of Robert Flaherty », Sight & Sound, vol. 54, n°1, Winter 1984-1985, 58-60.
Filmographie
Man of Aran / L’Homme d’Aran (UK, 1934) :Réal. : Robert FLAHERTY ; Prod. : Gainsborough Pictures ; Noir et blanc ; 76 min.
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Notes
Ruth Barton, Irish National Cinema, Londres & New York : Routledge, 2004, 3.
Le théoricien accuse les films primitifs d’avoir forgé ce mythe et nourri la fascination du public : « The remarkable accuracy of the image as an indexical representation of what the camera saw fascinated those who took the pictures. […] Even if they staged aspects of the action or decorated the scene, as Georges Méliès did in works such as his A Trip to the Moon (1902), a fascination of the photographic image to record whatever came before it and to present the result to an audience by means of the film strip, capable of projection over and over, took precedence over the niceties of story telling and character development. » Bill Nichols, Introduction to Documentary, Bloomington & Indianapolis : Indiana University Press, [2001], 2010, 122.
Kevin Rockett explique : « [Flaherty’s] lifestyle on Aran contrasted severely with the island primitivism depicted in his ‘poetic’ documentary ». Kevin Rockett, Luke Gibbons, John Hill, Cinema and Ireland, Londres & New York : Routledge, 1987, 71. Luke Gibbons ajoute « The subtle equation of beauty and truth at the end of this quotation should perhaps alert us to the possibility that what passes for realism may often be little more than romanticism in disguise. […] Yet far from constituting a ‘realistic’ depiction of life on the western seaboard, it should be apparent that this represents the hard primitivist ideal at its most powerful, elemental level ». Ibidem, 194. Martin McLoone écrit quant à lui : « Flaherty manipulated reality, on its most mundane and banal level, for the sake of the camera and to dramatize and elevate their significance. […] At the 1934 Venice Film festival Man of Aran won the top prize for the best foreign film, ‘the Mussolini cup’… The Nazi filmmaker Leni Riefenstahl was to win the Mussolini Cup in 1938 for Olympia, her documentary about the 1936 Berlin Olympics, and Brian Winton has argued that her aesthetics of manipulation owed much to the pioneering work of Flaherty. […] (Flaherty’s) anthropological instincts and his celebration of a Rousseauesque primitivism made him vulnerable to the charge in the heated political context of the 1930’s. The particular confluence of his aesthetics and that of the Fascist art of the times seems to give the claim some legitimacy ». Martin McLoone in Brian McFarlane (ed.), The Cinema of Britain and Ireland, Londres & New York : Wallflower Press, 2005, 47-49.
Le mot « fabrication » correspond particulièrement bien à l’ouvrage du cinéaste.
Arthur Calder-Marshall, The Innocent Eye, The Life of Robert J. Flaherty, New York, Hartcourt : Brace and World, 1963, p 141. L’anecdote est également racontée par Frances Flaherty in Fuad Quintar, « Robert Flaherty et Le Documentaire poétique », Études cinématographiques, vol. I, n°5, Automne 1960, 268. Selon Martin McLoone, les raisons pour lesquelles Flaherty a choisi l’Irlande pour son nouveau film restent cependant assez mystérieuses. Martin McLoone, “Man of Aran” in Brian McFarlane (ed.), The Cinema of Britain and Ireland, Londres & New York : Wallflower Press, 2005, 41-51.
Jean-Louis Comolli, Voir et pouvoir, Lagrasse : Éditions Verdier, 2004, 223.
Lance Pettitt, Screening Ireland, Manchester & New York : Manchester University Press, 2000, 77.
David Noble, cité dans Hindesight, Dublin : Irish Museum of Modern Art, 1993, 38.
Lance Pettitt, Ibidem, 78.
« Moana a une valeur documentaire car il rend compte visuellement de la vie quotidienne des jeunes et de la famille en Polynésie. » Cité dans Pierre Baudry, La Mise en scène documentaire : Robert Flaherty, L’Homme d’Aran et le documentaire, Ministère de la Culture et de la Francophonie, Ministère de l’Education Nationale, Magiemage, 1994, 68.
Kevin Rockett, Luke Gibbons, John Hill, op. cit., 1987, 67.
« Following the international success of Man of Aran (1934) it was hardly surprising that O’Cahill’s choice of location, if not theme, was similar to Robert Flaherty. The Islandman (which is also known as West of Kerry), promoted a similar set of values… ». Ibidem.
« Irish documentary production did not follow the British route in the 1930s. There, an active group of film-makers presented an oppositional cinema through documentary production with their focus on the working class and social problems. Irish film-makers made little or no attempts to explore such a reality in the 1930s and chose to reproduce in the main both the a-historical ethnicity represented in Man of Aran and its economic off-shoots, the tourist-landscape film. » Ibid., 72, traduit par moi-même.
Paul Rotha, Documentary Film, Londres : Faber and Faber, 1952. Voir également « Documentary Diary » An Informal History of the British Documentary Film 1928-1939, Londres : Secker & Warburg, 1973, cite dans Guy Gautier, Le Documentaire, Un Autre cinéma, Paris : Armand Colin, 2005, 58.
« Il suffit de lire The Aran Islands de Synge ou, mieux encore, son Riders to the Sea, ainsi que The Landing de Liam O’Flaherty pour en mesurer toute la dimension tragique ». Gilles Delavaud & Pierre Baudry, op. cit., 31.
Ruth Barton, op. cit., 49.
« Le film de Flaherty avait lui aussi fait œuvre de destruction d’une réalité en perturbant à jamais la vie de l’île et en transformant Aran en île de cinéma ». Georges Combe, « Parole de documentariste : Le Cinéma d’Aran », Cinémas et Réalités, CIEREC, Université de St Etienne, 1984.
Richard Griffith, The World of Robert Flaherty, Londres : Gollancz, 1953, 164-165.
Cité dans Gilles Delavaud & Pierre Baudry, op. cit., 54.
Cité dans Paul Rotha, op. cit., 53.
Jean-Louis Comolli, « Lettre de Marseille sur l’auto-mise en scène », in Gilles Delavaud et Pierre Baudry, op. cit., 85.
Ibidem, 87.
Bill Nichols, Representing Reality: Issues and Concepts in Documentary, Bloomington: Indiana University Press, 1991, 140.
Guy Gautier, op. cit., 91.
« It is always a long and difficult process, this type finding, for it is surprising how few faces stand the test of the camera. » Kevin Rockett, Luke Gibbons, John Hill, op. cit., 91, note 3.
« Flaherty’s desire for photogenic faces arose from a mix of racial attitudes and commercial savvy. He knew what would look good cinematically and how his central theme of man versus sea needed to be realized in the scenarios that the archetypal Aran family and curragh (canoe) crew performed for the camera. » Lance Pettitt, op. cit., 78.
« To achieve his epic vision of the ‘noble savage’, Flaherty took considerable liberties with the objective reality of life on Aran as he found it. » Martin McLoone, Irish Film: The Emergence of a Contemporary Cinema, Londres : British Film Institute, 2000, 40 ; « In this respect, contemporary critiques of the film which charged that ‘romanticism…and “the noble savage” pervades the whole’ would appear to be nearer the mark than those reviews which praised it on account of its fidelity to the ‘stern and brutal realities’ of social conditions on the islands. » Luke Gibbons, Cinema and Ireland, op. cit., 201.
« Flaherty was an Irish-American adventurer, a self-styled cinematic poet, who unconsciously deployed a colonial discourse in representing native Irish people, undifferentiated from Inuits and Polynesians. » Lance Pettitt, op. cit, 80.
« His epic vision of the noble savage », in Martin McLoone, Irish Film: The Emergence of a Contemporary Cinema, op. cit., 40.
« Documentary film has a kinship with those other nonfictional systems that together make up what we may call the discourses of sobriety. Science, economics, politics, foreign policy, education, religion, welfare- these systems assume they have instrumental power. » Bill Nichols, Representing Reality: Issues and Concepts in Documentary, op. cit., 3.
Dorothy Macardle explique : « We have become almost resigned to being traduced in literature, whether under the guise of the comic ’Paddy’ of Victorian music halls, or the drunken swindler of some Irish farces or the ‘gunman’ of more sombre writers to-day. Not three generations of protesting could do as much to rehabilitate the Irish people in the imagination of the peoples of other countries as this faithful and beautiful picture will do. » Dorothy Macardle citée dans Kevin Rockett, Luke Gibbons, John Hill, op. cit., 195.
Brian Winston, « The White Man’s Burden, the example of Robert Flaherty », Sight & Sound, vol. 54, n°1, Winter 1984-1985, 58-60.
« Man of Aran is certainly guilty of most if not all of these traits… » Brian McFarlane, The Cinema of Britain and Ireland, Londres & New York : Wallflower Press, 2005, 49.
Philippe Pilard, « Vie et mort du documentaire », La Revue du cinéma, n°348, mars 1980.
Guy Gautier, op. cit., 191.
Cité dans Gilles Delavaud et Pierre Baudry, op. cit., 11.
Ibidem, 11.
Ibid., 20.
Ibid., 27.
Ibid., 16 et 29. Le scénario est traduit de l’anglais dans Gilles Delavaud & Pierre Baudry, op. cit., 1994. Il n’est pas précisé de nom de traducteur. C’est sans aucun doute la perception par les chercheurs irlandais de ce regard ethnique sur leur propre peuple qui les blesse, et les mots « primitivisme », « archétype », « noble sauvage », « combat héroïque » sont maintes fois répétés dans leurs écrits.
Kevin Rockett, Luke Gibbons, John Hill, op. cit., 200-203.
Brian McFarlane, op. cit., 47.
Fuad Quintar, op. cit., 275.
Kevin Rockett, Luke Gibbons, John Hill, op. cit., 198. Panofsky définit le primitivisme doux comme la vie primitive, conçue comme un âge d’or de plénitude, d’innocence et de bonheur.
Gilles Delavaud , « Héritages du direct », Revue Documentaires, n° 11, 1995, 18-22.
Gilles Delavaud et Pierre Baudry, op. cit., 100.
Jean Breschand, Le Documentaire, l’autre face du cinéma, Paris : Scérén-CNDP, 2002, 9.
Jean-Louis Comolli, Voir et pouvoir, op. cit., 227-228.
Béla Balàzs, L’Homme visible et l’esprit du cinéma, Belval : Éditions Circé, 2010, 9.
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