{"id":661,"date":"2012-06-24T16:48:19","date_gmt":"2012-06-24T16:48:19","guid":{"rendered":"http:\/\/clarapacquet.com\/?p=661"},"modified":"2018-03-28T15:13:46","modified_gmt":"2018-03-28T15:13:46","slug":"siegfried-kracauers-american-writings-essays-on-film-and-popular-culture-note-de-lecture-pour-la-revue-critique-dart-critique-dart-41-printempsete-2013","status":"publish","type":"post","link":"https:\/\/clarapacquet.com\/?p=661&lang=fr","title":{"rendered":"[RECENSION] Siegfried Kracauer’s American Writings"},"content":{"rendered":"

\"siegfried-kracauer-cover\"<\/em><\/strong><\/p>\n

Siegfried Kracauer\u2019s American Writings. Essays on Film and Popular Culture,<\/em><\/strong> \u00e9d. Johannes von Moltke and Kristy Rawson, Berkeley, University of California Press<\/a>, 2011.<\/strong><\/h6>\n

Recension parue dans, Critique d’art en ligne, 2012.<\/strong><\/p>\n

[TEXTE INT\u00c9GRAL]<\/p>\n

Ce livre, co-\u00e9dit\u00e9 par Johannes von Moltke et Kristy Rawson, est l\u2019occasion de se plonger dans l\u2019\u0153uvre am\u00e9ricaine de l\u2019auteur du c\u00e9l\u00e8bre ouvrage\u00a0De Caligari \u00e0 Hitler\u00a0: une histoire psychologique du cin\u00e9ma allemand<\/em>\u00a0\u00e0 travers une s\u00e9rie de textes publi\u00e9s entre 1941 et 1961 dans diff\u00e9rentes revues am\u00e9ricaines\u00a0(Commentary, Hollywood Quarterly, Harper\u2019s Magazine, Films in Review<\/em>, etc.), mais aussi de notes de travail personnelles non publi\u00e9es, ou encore de textes publi\u00e9s en allemand dans la presse quotidienne\u00a0(Neue Z\u00fcrcher Zeitung)<\/em>\u00a0ici traduits en anglais.<\/p>\n

Ces \u00e9crits sont r\u00e9unis pour la premi\u00e8re fois et viennent documenter l\u2019activit\u00e9 \u00e9ditoriale de Siegfried Kracauer apr\u00e8s qu\u2019il a quitt\u00e9 l\u2019Allemagne en 1933 puis la France en 1941 pour New York. Ce recueil r\u00e9jouira les lecteurs familiers de son \u0153uvre comme ceux qui souhaitent la d\u00e9couvrir. Il offre \u00e0 la fois une belle introduction \u00e0 son travail et un aper\u00e7u fid\u00e8le aux nuances de sa pens\u00e9e, notamment dans son repositionnement par rapport au Marxisme du fait d\u2019un point de vue devenu am\u00e9ricain\u00a0: critiques de films et de livres qui sont l\u2019occasion d\u2019approfondir un regard aiguis\u00e9 sur la soci\u00e9t\u00e9 d\u2019apr\u00e8s-guerre (\u00ab\u00a0Why France Liked Our Films\u00a0\u00bb,<\/em>\u00a01942\u00a0; \u00ab\u00a0Hollywood\u2019s Terror Films\u00a0\u00bb,<\/em>\u00a01946\u00a0; \u00ab\u00a0Those Movies with a Message\u00a0\u00bb,<\/em>\u00a01948\u00a0; \u00ab\u00a0The Revolt against Rationality\u00a0\u00bb,<\/em>\u00a01947), remarques sur l\u2019\u00e9volution des sciences humaines vers un mod\u00e8le qui privil\u00e9gie le quantitatif au d\u00e9triment du qualitatif\u00a0(<\/em>\u00ab\u00a0About the State of the Humanities\u00a0\u00bb), int\u00e9r\u00eat croissant chez les cin\u00e9astes pour l\u2019inconscient (\u00ab\u00a0Filming the Subconscious\u00a0\u00bb,<\/em>\u00a01948\u00a0; \u00ab\u00a0Psychiatry for Everything and Everybody\u00a0\u00bb,<\/em>\u00a01948), \u00e9mouvante conversation philosophique avec Theodor W. Adorno sur le probl\u00e8me d\u2019une dialectique qui souhaiterait faire l\u2019\u00e9conomie d\u2019une ontologie (\u00ab\u00a0Talk with Teddie\u00a0\u00bb, 1960), ou encore, des articles inspir\u00e9s sur l\u2019\u0153uvre de Jean Vigo ou le cin\u00e9ma exp\u00e9rimental am\u00e9ricain (Maya Deren, Hans Richter).<\/p>\n

L\u2019ensemble de l\u2019ouvrage fait montre d\u2019une grande richesse et le propos de S. Kracauer s\u2019articule toujours sur fond de conflit entre lib\u00e9ralisme et Marxisme, Europe et Etats-Unis. Ces \u00e9crits exercent une analyse subtile de l\u2019\u00e9criture cin\u00e9matographique, image et son, fiction et documentaire pris \u00e0 \u00e9galit\u00e9. L\u2019int\u00e9r\u00eat de S. Kracauer se porte vers les st\u00e9r\u00e9otypes \u00e0 l\u2019\u0153uvre dans les productions de l\u2019industrie culturelle, comme les types \u00ab\u00a0nationaux\u00a0\u00bb par exemple, la figure du \u00ab\u00a0Juif\u00a0\u00bb, de \u00ab\u00a0l\u2019Allemand\u00a0\u00bb, du \u00ab\u00a0communiste\u00a0\u00bb ou du \u00ab\u00a0noir\u00a0\u00bb, terreaux des racismes et cat\u00e9gories symptomatiques d\u2019un climat de Guerre froide dont les n\u0153uds et les zones d\u2019ombre se retrouvent partout entre cin\u00e9ma hollywoodien et tradition russe (\u00ab\u00a0National Types as Hollywood Presents Them\u00a0\u00bb,<\/em>\u00a01949\u00a0; \u00ab\u00a0The Decent German\u00a0\u00bb,<\/em>\u00a01949\u00a0; \u00ab\u00a0The Eternal Jew\u00a0\u00bb, 1956\u00a0; \u00ab\u00a0The Russian Director\u00a0\u00bb, 1949\u00a0; \u00ab\u00a0The Teutonic Mind\u00a0\u00bb,1948). Ce qui rassemble ces \u00e9crits par-dessus tout, c\u2019est le d\u00e9sir de mieux comprendre l\u2019ordre du monde -qu\u2019il soit sociologique, psychologique ou esth\u00e9tique- \u00e0 travers ses productions culturelles, comme autant de petites parcelles qui viendraient peu \u00e0 peu former une philosophie de l\u2019histoire.<\/p>\n

Clara Pacquet<\/p>\n","protected":false},"excerpt":{"rendered":"

Siegfried Kracauer\u2019s American Writings. Essays on Film and Popular Culture, \u00e9d. Johannes von Moltke and Kristy Rawson, Berkeley, University of California Press, 2011. Recension parue dans, Critique d’art en ligne,…<\/p>\n","protected":false},"author":1,"featured_media":833,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[17,55],"tags":[38],"class_list":["post-661","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-publications","category-recensions","tag-note-de-lecture"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/clarapacquet.com\/wp-content\/uploads\/2016\/09\/siegfried-kracauer-portfolio-1.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7PUdz-aF","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/clarapacquet.com\/index.php?rest_route=\/wp\/v2\/posts\/661","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/clarapacquet.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/clarapacquet.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/clarapacquet.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/clarapacquet.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=661"}],"version-history":[{"count":16,"href":"https:\/\/clarapacquet.com\/index.php?rest_route=\/wp\/v2\/posts\/661\/revisions"}],"predecessor-version":[{"id":3280,"href":"https:\/\/clarapacquet.com\/index.php?rest_route=\/wp\/v2\/posts\/661\/revisions\/3280"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/clarapacquet.com\/index.php?rest_route=\/wp\/v2\/media\/833"}],"wp:attachment":[{"href":"https:\/\/clarapacquet.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=661"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/clarapacquet.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=661"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/clarapacquet.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=661"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}