Le comique de Nanni Moretti étudié à travers les films : Bianca, La messe est finie, Palombella rossa
Institution:
Toulouse 2Disciplines:
Directors:
Abstract EN:
This going through nanni moretti's humour proposes a reading grid aiming at assessing its complexity; focused on the problem of communication his cinema questions the part audio-vusial techniques should play in our society. This analysis comes in five chapters. The first one, dealing with the inheritance of italian humour, shows how much the italians take pleasure in laughing and highlights how much la commedia dell'arte, neorealism, italian comedy, and above all film makers of the sixties have influenced nanni moretti's cinematographic maturity. The second part seeks the tragical basis of this humour through the reasons for the character's existentialist suffering : it is due as much to his narcissistic schizophrenic particularity, to his being an inflexible moralizer as to society no longer bringing happiness to mankind because of the breaking-down of couple family school and news values. Despite his trying to protect himself, the charact er undergoes a tragedy. Chapter three deals with the character's comical expression through his personality, his behaviour as well as through the countless gags he generates. The fourth one centred on the nature of his humour studies the method (parody, irony, s atire, humour) the essence (pain, substraction, surprise, transgression) and the specificities of this humour (burlesque , fantastic and surrealist). Section five called fonction and meaning looks into the following relations : film marker a ctor, character spectator, film makar character to deal finally with the film maker's role and the meaning of the film materpiece.
Abstract FR:
Cette traversee du comique de moretti propose une grille de lecture visant a en mesurer la complexite ; centre sur le probleme de la communication, son cinema s'interroge finalement sur le role que devrait jouer les moyens audio-visuels dans notre societe. Cette analyse s'articule en cinq chapitres. Le premier, consacre a l'heritage comique italien, montre comment le rire est une propension de l'italien et met en evidence les influences qu'ont eu la commedia dell'arte , le neorealisme, la comedie italienne et surtout les cineastes des annees 60 dans la maturation cinematographique de nanni moretti. La seconde partie cherche les fondements tragiques de ce comique a travers les raisons de la souffrance existentielle du personnage : elle est due tant a sa singularite de narcissique, de schizophrene, et de moralisateur rigide, qu'a la societe qui n'apporte plus le bonheur a l'homme en raison de l'eclatement des valeurs dans le couple, la famille, l'ecole, l'information. Malgre ses tentatives de se proteger, le personnage vit une tragedie. Le troisieme chapitre traite de l'expression comique du personnage a travers sa personnalite, son comportement et les innombrables gags qu'il engendre. La quatrieme axee sur la nature de ce comique etudie les procedes (parodie, ironie, satire, humour) , l'essence (douleur, soustraction, inattendu, transgression) et les specificites de ce comique (burlesque, fantastique et surrealiste). Le cinquieme volet intitule fonction et signification examine les rapports cineaste-acteur, personnage -spectateur, cineaste-personnage pour s'interesser finalement au role du cineaste et a la signification du film comme oeuvre d'art.