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| 005 | 20250125123943.0 | ||
| 041 | _afre | ||
| 042 | _adc | ||
| 100 | 1 | 0 |
_aFoubert, Frédéric _eauthor |
| 245 | 0 | 0 | _aRevoir Le Parrain |
| 260 | _c2006. | ||
| 500 | _a72 | ||
| 520 | _aRésuméEn adaptant Le Parrain, le best-seller de Mario Puzo, Francis Ford Coppola est confronté à plusieurs récits – l’histoire de la Mafia américaine, son imagerie mythique, l’interrogation identitaire italo-américaine –, auxquels il mêle des souvenirs personnels et l’héritage culturel légué par sa communauté. Dépassant la simple commande commerciale, il réussit à établir à l’écran, via la fiction, sa part de vérité. Le premier film sera complété par deux suites. Le temps de constitution de cette trilogie, près de vingt ans, renvoie à deux autres durées exceptionnellement longues : la durée du métrage final des trois films (près de neuf heures) et celle de la période décrite (quatre-vingt ans de l’histoire des États-Unis). Brisant la linéarité classique, la trilogie du Parrain souligne la pertinence de l’outil cinématographique dans la construction d’un récit aux temporalités multiples. Ces temporalités concernent aussi bien le spectateur que le cinéaste lui-même, comme nous l’indique l’édition DVD, outil précieux pour une analyse historienne. Face à ses propres images, Coppola transforme la « re-vision » en travail de mémoire : manière supplémentaire de surmonter l’apparent paradoxe entre le film hollywoodien et le récit intime. | ||
| 520 | _aWhilst adapting The Godfather, Mario Puzo’s bestselling novel, Francis Ford Coppola was faced with several stories – the history of the American Mafia, the mythical image associated with it, the questioning of Italian-American identity – which he managed to combine with his own life experiences and the cultural legacy inherited from his own community. Going beyond a simple commissioned film, he succeeds in transposing onto screen, through fiction, his very own truth. This first installment was complemented by two sequels. The twenty-year time-frame within which this trilogy was made is echoed by two other remarkably long periods: the full running-time of the three films when viewed consecutively (close to nine hours) and the historical period within which the trilogy is set (which covers eighty years of American history). By disrupting conventional linear narrative, the Godfather trilogy emphasizes how successful the film-making process can be as a mean of building up a story that develops over a range of different time-scales. This temporal complexity affects the audience as much as the filmmaker himself, a fact clearly demonstrated by the DVD edition, which provides a invaluable mean for an historical analysis of these pictures. Confronting his own images, Coppola turns this “re-viewing” into a re-evaluation of memories: an additional way of overcoming the paradox between Hollywood depiction and intimate story. | ||
| 690 | _acinéma | ||
| 690 | _arécit | ||
| 690 | _aCoppola | ||
| 690 | _atemporalités | ||
| 690 | _aParrain | ||
| 690 | _acinema | ||
| 690 | _atime-scales | ||
| 690 | _aCoppola | ||
| 690 | _anarrative | ||
| 690 | _aGodfather | ||
| 786 | 0 | _nVingtième Siècle. Revue d'histoire | 92 | 4 | 2006-10-01 | p. 141-157 | 0294-1759 | |
| 856 | 4 | 1 | _uhttps://shs.cairn.info/revue-vingtieme-siecle-revue-d-histoire-2006-4-page-141?lang=fr&redirect-ssocas=7080 |
| 999 |
_c978391 _d978391 |
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