By Jocelyn Lachance, Hugues Paris, Sébastien Dupont
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Additional resources for Films cultes et culte du film chez les jeunes : Penser l'adolescence avec le cinéma
Example text
Ces espaces intermédiaires apparaissent comme des représentations de l’espace transitionnel décrit par Donald Winnicott (1971) : un espace entre-deux qui permet la séparation. Les lieux publics et anonymes occupent une place particulière à l’adolescence, à la fois hors de toute propriété individuelle et intégrés à l’environnement social : la rue, les parcs, les halls d’immeubles, etc. (Lesourd, 2005). Les espaces publics ont une grande importance dans plusieurs films cultes. Ainsi, la majorité des scènes de West Side Story (Jerome Robbins et Robert Wise, 1961) se jouent dans les rues d’une banlieue de New York que se disputent deux bandes rivales.
Tome II : La configuration dans le récit de fiction, Paris, Le Seuil, 233 p. Page laissée blanche intentionnellement Les représentations adolescentes de l’espace dans les films cultes : l’immensité, le vide, les espaces enfouis, intermédiaires… Sébastien Dupont À l’adolescence, les représentations psychiques du monde et notamment de ses dimensions temporelles (Lachance, cet ouvrage) et spatiales sont profondément modifiées. En effet, un bouleversement d’ampleur agit chez les adolescents dans leur rapport psychique à l’espace.
L’espace humanisé, quant à lui, devient souvent indéterminé, intermédiaire (lieux abandonnés et squattés, routes…). Les représentations cinématographiques de ces espaces sont un accès privilégié aux fantasmes et angoisses les plus obscurs de l’adolescence. L’immensité, le vide Le monde, que l’adolescent voit d’un regard nouveau, lui apparaît souvent comme un espace immense, infini. Cette soudaine sensation d’immensité peut tout autant susciter chez lui des sentiments d’exaltation envers ces espaces nouveaux qu’il rêve d’explorer, que des angoisses, une sensation de vertige.