{"id":8026,"date":"2025-11-26T07:57:09","date_gmt":"2025-11-26T06:57:09","guid":{"rendered":"https:\/\/editionsjou.net\/?p=8026"},"modified":"2025-11-26T07:57:09","modified_gmt":"2025-11-26T06:57:09","slug":"196-crime-designer-de-bernard-joisten","status":"publish","type":"post","link":"https:\/\/revuetina.editionsjou.net\/?p=8026","title":{"rendered":"#196\/ Crime designer de Bernard Joisten"},"content":{"rendered":"\n<p class=\"has-white-color has-luminous-vivid-orange-background-color has-text-color has-background has-link-color wp-elements-e0a1964babd266e4f2dd1aaa39c79596 wp-block-paragraph\"><strong>\u00ab\u00a0Retour vers le futur\u00a0\u00bb  TINA vous propose de red\u00e9couvrir des textes \/\/\/<\/strong> <strong>20<\/strong>07<\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-280d2a77e14bf9ac77f81206936ba45f wp-block-paragraph\"><em>Crime designer,   Dario Argento et le cin\u00e9ma<\/em>, Bernard Joisten, publi\u00e9 aux \u00e9ditions \u00e8\u00aee en 2007.<br><\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"677\" height=\"1000\" src=\"https:\/\/revuetina.editionsjou.net\/wp\/app\/uploads\/2025\/11\/crime.jpg\" alt=\"\" class=\"wp-image-8028\" style=\"width:205px;height:auto\" srcset=\"https:\/\/revuetina.editionsjou.net\/app\/uploads\/2025\/11\/crime.jpg 677w, https:\/\/revuetina.editionsjou.net\/app\/uploads\/2025\/11\/crime-203x300.jpg 203w\" sizes=\"auto, (max-width: 677px) 100vw, 677px\" \/><\/figure>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-74298a255238db019f3ea37729568082 wp-block-paragraph\" style=\"font-size:clamp(14px, 0.875rem + ((1vw - 3.2px) * 0.455), 18px);\"><strong>Bande-annonce\u2028<\/strong><br>Les protocoles cin\u00e9matographiques d\u00e9finissent des mod\u00e8les introduits par les producteurs et les tendances. Le monde du spectacle favorise la mise en place de codes qui s\u2019\u00e9tablissent par \u00e0-coups. Les cahiers des charges d\u00e9terminent les orientations. Le succ\u00e8s ou l\u2019\u00e9chec fabrique le paysage culturel. Argento \u00e0 plong\u00e9 dans ces valeurs \u00e9lastiques. Il les a presque domin\u00e9es, le succ\u00e8s est venu. On comprendra pourquoi en s&rsquo;immergeant dans la mati\u00e8re de ses films et de leur design nourri par la beaut\u00e9 des ann\u00e9es 1970, m\u00eame s\u2019ils en \u00e9taient l\u2019anticorps subtil et carnassier. Car chez lui, la communication ne passe pas, et le charnel est mort, ce qui ne veut pas dire que l\u2019\u00e9rotisme en soit absent. Argento nous parle d\u2019une plan\u00e8te o\u00f9 l\u2019affect est noy\u00e9 dans l\u2019absurde plaisir de tuer. Le protocole du d\u00e9sir est donc situ\u00e9 sur la pente mortelle d\u2019une d\u00e9pression qui transforme l\u2019\u00e9change en un jeu de domination dramatique. Le sadique erre et se d\u00e9veloppe au gr\u00e9 de circonstances assez obscures, puis il passe \u00e0 l\u2019acte, et nous venons voir \u00e0 la fois ces actes brutaux et les espaces latents qui stagnent entre eux. Les deux moments ont leur charme propre, leur \u00e9l\u00e9gance, leur registre. Les films sont donc bipolaires, tic-tac, mouvement d\u2019horlogerie o\u00f9 la mort calcule toujours ses rendez-vous, ne tombe jamais par hasard. Le pouvoir est un monstre cach\u00e9 qui surgit \u00e0 travers des gestes styl\u00e9s, agrandis, sublim\u00e9s par le d\u00e9sir obsc\u00e8ne de montrer les interdits supr\u00eames, de les faire vivre, palpiter \u00e0 travers une imagerie cod\u00e9e, s\u00e9rie B, publicitaire, lumineuse et parfois flamboyante, mais jamais gratuite, jamais \u00ab\u00a0artistique\u00a0\u00bb.<\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-41db035f80eefe7c0b4e3ffd381cdc63 wp-block-paragraph\" style=\"font-size:clamp(14px, 0.875rem + ((1vw - 3.2px) * 0.455), 18px);\">On a dit qu\u2019Argento venait de Bava\u00a0: une erreur de plus. Ce n\u2019est pas parce que ma m\u00e8re m\u2019a fait que je lui ressemble. Je me fous des histoires de famille, et Argento, ce n\u2019est pas une histoire de famille, mais une histoire contre la famille, contre ce qui vous colle par nature, par h\u00e9r\u00e9dit\u00e9, dans l\u2019\u00e9vidence. La famille est le logo de la relation. En jetant ce logo aux orties, Argento fabrique de la solitude et, dans la foul\u00e9e, se fabrique une solitude de cin\u00e9aste suspect, tout en cuir, qui joue de la cam\u00e9ra avec des gants de criminel endurci. Il a d\u00e8s le d\u00e9part tu\u00e9 Bava, parce que c\u2019\u00e9tait son p\u00e8re. Il suffit de voir quelques plans d\u2019un Bava pour comprendre que les manuels d\u2019histoire se trompent. Ils enrobent les individus avec la nonchalance d\u2019un repr\u00e9sentant de la classe moyenne qui pousse un landau dans le m\u00e9tro en vous \u00e9crasant les pieds. Argento refuse tous ces landaus, toutes ces farces qui pendent aux fen\u00eatres de la litt\u00e9rature comme des draps mal lav\u00e9s. Et m\u00eame s\u2019il dira lui-m\u00eame tout son respect pour Bava, c\u2019est \u00e0 nous de d\u00e9tecter combien c\u2019est diff\u00e9rent, pas du m\u00eame registre, \u00e0 l\u2019\u00e9cart des signes. Argento c\u2019est l\u2019anti-famille cin\u00e9matographique. M\u00eame Leone est loin, autre cosmos, autre registre. Leone fabrique de la violence, dans un sens esth\u00e9tique d\u2019abstraction, proche d\u2019Antonioni\u2026 Jamais pour nous introduire dans son monde, mais pour nous en \u00e9carter. Pour que l\u2019ennui soit tellement palpable qu\u2019il devienne chair, d\u00e9sir, sensualit\u00e9. Leone, c\u2019est la cage de chastet\u00e9 du cin\u00e9ma. Le jouir y est toujours refoul\u00e9, prescrit pour plus tard, accident\u00e9 dans les errances d\u2019une immobilit\u00e9 min\u00e9rale. Alors qu\u2019Argento produit de la violence en virtuose de la manipulation de l\u2019attention, en attracteur de forces psychiques. Il ne tombe jamais dans le pi\u00e8ge du beau, \u00e0 l\u2019inverse de son confr\u00e8re sp\u00e9cialis\u00e9 dans la d\u00e9cadence du western.<br><br>Argento, s\u00fbrement, est un styliste des apparences, qui avance dans le sens de la s\u00e9duction publicitaire. Moins pour des envies d\u2019argent qu\u2019\u00e0 des fins immorales, pour rendre beau le drame et ses connivences avec le crime. Pour rendre s\u00e9duisante la nonchalance du cynique n\u00e9 pour buter. Dans le film d\u2019horreur il y a ce plaisir du vice, apr\u00e8s tout essentiel. Tout l\u2019art consiste \u00e0 ne pas l\u2019\u00e9viter, \u00e0 le rendre superbe, fou, capital, et presque justifi\u00e9. Si l\u2019on sent le besoin de regarder, c\u2019est qu\u2019on est scotch\u00e9 au trouble de la pulsion, \u00e0 ses vertiges, et qu\u2019Argento en a trouv\u00e9 la forme exacte. L\u2019ad\u00e9quation de la pulsion et de la situation film\u00e9e d\u00e9termine notre satisfaction. On ne rentre pas dans <em>T\u00e9n\u00e8bres<\/em> ou <em>Phenomena<\/em> comme dans un man\u00e8ge, train fant\u00f4me ou autre attraction sensationnelle, mais comme dans une situation criminelle exag\u00e9r\u00e9e, qui vient se frotter \u00e0 notre propre capacit\u00e9 de faire le mal, qui s\u2019installe dans notre propre jardin de meurtre et de saccage. Jeter \u00e0 la poubelle ce qui nous relie \u00e0 la raison du social, du communicationnel, de l\u2019amical et du d\u00e9sir m\u00eame\u00a0: cette envie glace et s\u00e9duit dans le m\u00eame mouvement, et Argento nous l\u2019apporte sur un plateau.<br><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"510\" height=\"789\" src=\"https:\/\/revuetina.editionsjou.net\/wp\/app\/uploads\/2025\/11\/tournage_argento.png\" alt=\"\" class=\"wp-image-8030\" srcset=\"https:\/\/revuetina.editionsjou.net\/app\/uploads\/2025\/11\/tournage_argento.png 510w, https:\/\/revuetina.editionsjou.net\/app\/uploads\/2025\/11\/tournage_argento-194x300.png 194w\" sizes=\"auto, (max-width: 510px) 100vw, 510px\" \/><\/figure>\n\n\n\n<p class=\"has-black-color has-text-color has-link-color wp-elements-c1014c8f06ad9dc6b4949ba820c93b21 wp-block-paragraph\">Sur le tournage de <em>Mothers of tears<\/em>, photographie d&rsquo;Alexandre Gaita, 2006, \u00e0 l&rsquo;arri\u00e8re plan Bernard Joisten.<\/p>\n\n\n\n<p class=\"has-white-color has-text-color has-background has-link-color wp-elements-4838f691414d099d8e1b4fe165e9fb89 wp-block-paragraph\" style=\"border-radius:13px;background-color:#517ba4\"><br><\/p>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-20959078 wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-white-color has-text-color has-background has-link-color wp-element-button\" href=\"https:\/\/revuetina.editionsjou.net\/wp\/revue_tina_online\/\" style=\"border-radius:13px;background-color:#517ba4\">sommaire<\/a><\/div>\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-white-color has-text-color has-background has-link-color wp-element-button\" href=\"https:\/\/revuetina.editionsjou.net\/wp\/tina-online-sommaire-par-categories\/\" style=\"border-radius:13px;background-color:#517ba4\">par cat\u00e9gories<\/a><\/div>\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-white-color has-text-color has-background has-link-color wp-element-button\" href=\"https:\/\/revuetina.editionsjou.net\/wp\/tina-online-sommaire-par-nom\/\" style=\"border-radius:13px;background-color:#517ba4\">par noms<\/a><\/div>\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-white-color has-text-color has-background has-link-color wp-element-button\" href=\"https:\/\/revuetina.editionsjou.net\/wp\/newsletter_tina\/\" style=\"border-radius:13px;background-color:#517ba4\">newsletter<\/a><\/div>\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-white-color has-text-color has-background has-link-color has-text-align-right wp-element-button\" href=\"https:\/\/www.helloasso.com\/associations\/association-jou\/formulaires\/2\" style=\"border-radius:13px;background-color:#517ba4\" target=\"_blank\" rel=\"noreferrer noopener\">dons<\/a><\/div>\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-white-color has-text-color has-background has-link-color wp-element-button\" href=\"https:\/\/revuetina.editionsjou.net\/wp\/tina\/\" style=\"border-radius:13px;background-color:#517ba4\">infos<\/a><\/div>\n<\/div>\n\n\n\n<p class=\"has-text-align-center has-white-color has-vivid-green-cyan-background-color has-text-color has-background has-link-color wp-elements-08e82caffa1462fc88d827caf89f7ea8 wp-block-paragraph\" style=\"border-radius:22px\">Sans pub, sans subvention, en acc\u00e8s libre, TINA online est financ\u00e9 par les dons \u00e0 partir de 1\u20ac sur cette page <a href=\"https:\/\/www.helloasso.com\/associations\/association-jou\/formulaires\/2\">&gt;&gt;&gt;&gt;&gt;<\/a> merci<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rubrique Retour vers le futur, 2007<\/p>\n","protected":false},"author":2,"featured_media":8031,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20,4],"tags":[],"class_list":["post-8026","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-retour-vers-le-futur","category-revue-tina"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - 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