La seringue et la gâchette
Although the movies of the second half of Jean-Pierre Melville’s career are often referred to in the literature as “men’s films”, Un flic (1972), his last work, is the one that most openly questions the issue of gender. The detective story becomes the pretext to present a gallery of characters with...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/cel, |
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| Format: | Article ou chapitre numérique |
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Les Cahiers de l'École du Louvre
2020
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:cel_8447 |
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openedition |
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openedition-oai:revues.org:cel_8447 https://doi.org/10.4000/cel.8447 urn:doi:10.4000/cel.8447 https://journals.openedition.org/cel/8447 2020-11-03T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/dpu3 https://creativecommons.org/licenses/by-nc-nd/4.0/ La seringue et la gâchette Les Cahiers de l'École du Louvre École du Louvre info:eu-repo/semantics/reference/issn/2262-208X URI:https://journals.openedition.org/cel Lequeu, Thomas genre Cinéma Jean-Pierre Melville femme fatale homosexualité transsexualité film noir Alfred Hitchcock Catherine Deneuve Alain Delon gender Cinema Jean-Pierre Melville femme fatale homosexuality transsexuality film noir Alfred Hitchcock Catherine Deneuve Alain Delon Although the movies of the second half of Jean-Pierre Melville’s career are often referred to in the literature as “men’s films”, Un flic (1972), his last work, is the one that most openly questions the issue of gender. The detective story becomes the pretext to present a gallery of characters with murky sexual identities and attributions. Thus, the dichotomy between the character of Cathy, a femme fatale and a murderer in a lab coat, and that of Gaby, a transsexual police informer made to suffer humiliation and beatings, matches the parallel between the cop and the mobster. This detailed study of the mechanisms of violence that underlie the film questions its ambiguity, while also ascribing it as an element of the gender-based morality that runs through the director’s filmography. Si dans la littérature les œuvres de la seconde moitié de la carrière de Jean-Pierre Melville sont souvent qualifiées de « films d’hommes », Un flic (1972), sa dernière réalisation, est celle qui interroge le plus ouvertement la question du genre. L’intrigue policière y devient le prétexte pour présenter une galerie de personnages aux identités et assignations sexuelles troubles. Ainsi, la dichotomie entre le personnage de Cathy, femme fatale et meurtrière en blouse blanche, et celui de Gaby, indic transsexuelle qui subit l’humiliation et les coups répond au parallèle entre la figure du flic et celle du truand. Cette étude détaillée des mécanismes de la violence qui fondent le film permet d’interroger son ambiguïté, tout en l’inscrivant dans la morale genrée qui parcourt toute la filmographie du cinéaste. |
| collection |
OpenEdition Journal |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
genre Cinéma Jean-Pierre Melville femme fatale homosexualité transsexualité film noir Alfred Hitchcock Catherine Deneuve Alain Delon gender Cinema Jean-Pierre Melville femme fatale homosexuality transsexuality film noir Alfred Hitchcock Catherine Deneuve Alain Delon |
| spellingShingle |
genre Cinéma Jean-Pierre Melville femme fatale homosexualité transsexualité film noir Alfred Hitchcock Catherine Deneuve Alain Delon gender Cinema Jean-Pierre Melville femme fatale homosexuality transsexuality film noir Alfred Hitchcock Catherine Deneuve Alain Delon Lequeu, Thomas La seringue et la gâchette |
| description |
Although the movies of the second half of Jean-Pierre Melville’s career are often referred to in the literature as “men’s films”, Un flic (1972), his last work, is the one that most openly questions the issue of gender. The detective story becomes the pretext to present a gallery of characters with murky sexual identities and attributions. Thus, the dichotomy between the character of Cathy, a femme fatale and a murderer in a lab coat, and that of Gaby, a transsexual police informer made to suffer humiliation and beatings, matches the parallel between the cop and the mobster. This detailed study of the mechanisms of violence that underlie the film questions its ambiguity, while also ascribing it as an element of the gender-based morality that runs through the director’s filmography. |
| author |
Lequeu, Thomas |
| author_facet |
Lequeu, Thomas |
| author_sort |
Lequeu, Thomas |
| title |
La seringue et la gâchette |
| title_short |
La seringue et la gâchette |
| title_full |
La seringue et la gâchette |
| title_fullStr |
La seringue et la gâchette |
| title_full_unstemmed |
La seringue et la gâchette |
| title_sort |
la seringue et la gâchette |
| publisher |
Les Cahiers de l'École du Louvre |
| publishDate |
2020 |
| container_title |
URI:https://journals.openedition.org/cel |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/cel.8447 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/cel/8447 |
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