{"id":60890,"date":"2021-10-20T21:57:24","date_gmt":"2021-10-20T21:57:24","guid":{"rendered":"https:\/\/villa-albertine.org\/magazine\/whos-operating-camera-about-mauvais-genres\/"},"modified":"2026-01-18T20:13:29","modified_gmt":"2026-01-18T20:13:29","slug":"whos-operating-camera-about-mauvais-genres","status":"publish","type":"app_magazine_article","link":"https:\/\/villa-albertine.org\/va\/magazine\/whos-operating-camera-about-mauvais-genres\/","title":{"rendered":"Who\u2019s Operating the Camera? About \u201cMauvais Genres\u201d"},"content":{"rendered":"

A film festival may be likened firstly to the solitary or even austere experience of movie editing, which involves watching countless disparate pieces of footage and slotting some together to bring forth a narrative. The festival curator, then, is like a self-styled supreme orchestrator, viewing dozens of films in the hopes of forging a narrative upon the strict, chronological path through the movie theater, from one screening to the next.<\/p>\n\n

\u00a0<\/p>\n\n

A festival can also be conceived of as the yearning, apprehensive beginning of a dialog with a broad audience whose voice and face are still unfamiliar to us. Meanwhile, we quietly hope that viewers will be transformed by the films, just as we have been. All of this year\u2019s films touch upon issues of transformation, of identities and their futures, of genders, of sexual orientation, of self and prospective selves, whether they be L, G, B, T, Q, A, or +.<\/p>\n\n

\u00a0<\/p>\n\n

In France, these films carry a transformative esthetic, intimate, and political power, but the challenge was to bring them to New York, where they remain virtually unknown. More specifically, we wanted to bring them to Columbia University, where young people from across the globe grapple with the end of their teenage years and the start of adulthood. In my thirst for renewed connections and encounters, I want to ask each viewer the same undoubtedly na\u00efve questions, at the end of each evening: did this film transform you, did it allow you to better grasp or accept a certain part of yourself, did it affect you as powerfully as it did me and the filmmaker(s)?<\/p>\n\n

\u00a0<\/p>\n\n

This edition marks the return of \u201creal cinema\u201d on the Columbia University campus, with the first actual screenings to take place in eighteen months. Yet, while viewers enjoy the big screen, red chairs and projector beaming through the darkness, this year\u2019s audiences lie beyond our visual field. Unable to travel to the US, neither I nor the Parisian filmmakers are able to see the audience. From our Zoom windows, we can only peer at the Columbia University emeritus professors speaking to us on stage, while hearing students\u2019 disembodied emotive voices from behind the webcam, posing questions to our hybridized presences. During viewers\u2019 New York evenings and our Parisian nights, our common domain is this darkened, dreamlike cocoon that brings us together as if we were starring in the films themselves<\/strong>. <\/strong><\/p>\n\n

\u00a0<\/p>\n\n

In spite of all this, the show must go on, and we gather before these projected beings, magnified on screen to become much larger than us. <\/strong>Each has sought to transmit their own images and words in order to survive and thrive, imposing their identity to build their own communities, and forcefully twisting their own fates to rescript their realities.<\/p>\n\n

\u00a0<\/p>\n\n

Delphine Seyrig films.<\/p>\n\n

Carole Roussopoulos films.Follow the stories of the nimble and ever-moving Women with a Movie Camera<\/em>, the true lady Vertovs who purchased the first-ever Sony camera, released in 1967. With inexhaustible verve, they have filmed their personal struggles, their American actress sisters, the workers of watch and clock manufacturing plant LIP, the sex workers of Lyon, and their comrades in the French Women\u2019s Liberation Movement (Callisto McNulty\u2019s Delphine et Carole, insoumuses<\/em>, 2019).<\/p>\n

\n\t\"\"\n\t<\/figure>\n

Bambi<\/a><\/em> (2013), d\u2019Alger \u00e0 Paris, de Jean-Pierre, \u00e0 Bambi, puis Marie-Pierre Pruvot, se filme, avec une petite cam\u00e9ra Super8, et archive les changeantes \u00e9tapes de son existence. S\u00e9bastien Lifshitz tisse ces images pr\u00e9cieuses avec la voix de Marie-Pierre aujourd\u2019hui, comme il tisse d\u00e9licatement le visage de Th\u00e9r\u00e8se avec ses archives personnelles et familiales, et les Concerto pour Piano et Orchestre n\u00b05 de Bach au piano. Th\u00e9r\u00e8se, elle (Les vies de Th\u00e9r\u00e8se<\/a>, 2015<\/em>), a radicalement r\u00e9\u00e9crit sa longue vie au fur et \u00e0 mesure que les r\u00e9volutions f\u00e9ministes l\u2019appelaient, de m\u00e8re au foyer catholique en militante f\u00e9ministe et lesbienne ; lorsque, dans son grand \u00e2ge, elle voit le terme de sa vie arriver, elle appelle S\u00e9bastien Lifshitz pour confier \u00e0 sa cam\u00e9ra les derniers temps, sa sagesse, ses col\u00e8res, son humour. Connaissez-vous beaucoup de films documentaires qui passent plusieurs mois aupr\u00e8s d\u2019une femme de 89 ans en train de mourir, et filment avec amour et dignit\u00e9 un corps malade et vieillissant ?<\/p>\n\n

Genevi\u00e8ve, Floria, Isidro, Judith, Juliette, Kimberley, Luciana, Lydia, M\u00e9lina, Myl\u00e8ne, Florence, Paola, Pirina, Prya, Raquel, Vicky, Yohanni, Samantha (Au c\u0153ur du bois<\/a>, <\/em>de <\/em>Claus <\/em>Drexel, 2020), depuis la nuit du Bois de Boulogne et la marge de la marge, racontent leurs parcours pluriels, leur analyse implacable de la soci\u00e9t\u00e9 dans laquelle elles travaillent, leurs joies, leurs peurs et leurs espoirs, \u00e0 la cam\u00e9ra de Claus Drexel. A la premi\u00e8re du film \u00e0 Paris en septembre, quelques jours avant l\u2019ouverture de ce cycle, elles montent sur sc\u00e8ne avec le r\u00e9alisateur. Je ne peux me d\u00e9faire de la croyance animiste que la projection du film les d\u00e9place et les fait \u00e9tinceler \u00e0 New York, pendant les 90 minutes de la projection, puis au-del\u00e0.<\/p>\n\n

Abla et Samia (Adam<\/a><\/em>, de Maryam Touzani, 2019) bouleversent le destin verrouill\u00e9 des m\u00e8res marocaines c\u00e9libataires, pour faire d\u2019une naissance condamn\u00e9e une renaissance intime, donc sociale, possible. Adam constitue un jalon lumineux dans l\u2019histoire des repr\u00e9sentations cin\u00e9matographiques de la naissance et de l\u2019accouchement, qui en est encore \u00e0 ses balbutiements.<\/p>\n\n

Cayden, Luke, Loren, Dave, Adore Delano (depuis devenue une drag queen c\u00e9l\u00e8bre), Daniel, Ul\u00ffs se mettent en sc\u00e8ne au moment de leur \u00ab\u00a0coming out\u00a0\u00bb (Coming Out<\/a>, <\/em>Denis Parrot, 2018) en se filmant et en offrant leur courage au monde. Dans ces 1200 vid\u00e9os recueillies par le r\u00e9alisateur sur Youtube, l\u2019image mise en ligne est leur triomphe, leur don \u00e0 la communaut\u00e9, mais aussi leur bouclier contre les violences susceptibles de survenir pendant la sc\u00e8ne.
\n\u00a0<\/p>\n

\n\t\"\"\n\t\t\t
\n\t\t\t

Dryades Films_Upside Films<\/p>\n\t\t<\/figcaption>\n\t<\/figure>\n

Sasha, dans Petite fille<\/a><\/em> (2020), ne se transforme pas, elle ne se filme pas, mais elle se construit, fragile. Elle a sept ans. Elle clame ce qu\u2019elle est et ce qu\u2019elle a toujours \u00e9t\u00e9, en une \u00e9vidence frontale absolue. S\u00e9bastien Lifshitz l\u2019accompagne dans ce processus avec la douceur et la pudeur les plus empathiques qui soient.<\/p>\n\n

Cl\u00e9o, (<\/u>Cl\u00e9o de 5 \u00e0 7<\/a><\/em>, 1963) elle, op\u00e8re une bascule du regard dans le premier long-m\u00e9trage d\u2019Agn\u00e8s Varda : de chanteuse vaine et regard\u00e9e, elle devient regardeuse. Un cas d\u2019\u00e9cole \u2013 en histoire de la peinture, on parlerait d\u2019un Primitif \u2013 de passage du \u00ab\u00a0male gaze\u00a0\u00bb au \u00ab\u00a0female gaze\u00a0\u00bb, ant\u00e9 autour de ce qu\u2019on pourrait appeler les performances de genre oblig\u00e9es d\u2019une Parisienne des ann\u00e9es 1960, puis de son \u00e9mancipation. Cl\u00e9o voit<\/em> enfin : Paris, les \u00eatres qui l\u2019habitent, la guerre d\u2019Alg\u00e9rie, sa subjectivit\u00e9, et, avec elle, sa propre mortalit\u00e9. Comme l\u2019expliquait Rosalie Varda, sa fille, dans une vid\u00e9o qu\u2019elle nous a confi\u00e9e pour introduire la projection : \u00ab\u00a0Dans Cl\u00e9o de 5 \u00e0 7<\/em>, ma m\u00e8re d\u00e9livrait un message f\u00e9ministe clair, celui de l\u2019autonomie. La presse de l\u2019\u00e9poque, \u00e9tonn\u00e9e de l\u2019audace qui consistait \u00e0 placer une femme au centre de l\u2019intrigue, n\u2019avait pas manqu\u00e9 de le souligner. Elle me disait toujours: dans la voiture, c\u2019est toi qui doit tenir le volant.\u00a0\u00bb<\/p>\n\n

Il aurait fallu accoler \u00e0 ces anc\u00eatres qui veillent sur nous (on les appelle \u00ab\u00a0films de patrimoine\u00a0\u00bb, parlons ici de matrimoine<\/em>), et dont il ne faut jamais croire la gloire acquise tant une \u00e9criture institutionnalis\u00e9e de l\u2019histoire du cin\u00e9ma continue d\u2019invisibiliser les cin\u00e9astes femmes, Germaine Dulac (qui eut une r\u00e9trospective<\/a> au Lincoln Center en 2018), Alice Guy (r\u00e9cemment honor\u00e9e<\/a> \u00e0 Columbia University)<\/u>, Chantal Akerman<\/a> (dont la pr\u00e9sence plane sur Delphine et Carole<\/em>, mais dont l\u2019\u0153uvre est assez bien distribu\u00e9e aux Etats-Unis). La tentation d\u2019une programmation encyclop\u00e9dique n\u2019est jamais loin\u2026Mais dans le cas de celle-ci, il s\u2019agit de donner acc\u00e8s \u00e0 des films qui, pour l\u2019immense majorit\u00e9, sont r\u00e9cents et quasi introuvables aux Etats-Unis, et d\u2019initier ainsi leur cheminement am\u00e9ricain. A ce titre, les films de S\u00e9bastien Lifshitz, d\u00e9sormais justement mis en lumi\u00e8re en France, ont \u00e9t\u00e9 excessivement peu montr\u00e9s aux Etats-Unis \u2013 le titre de la s\u00e9rie, port\u00e9 au pluriel, rend hommage \u00e0 sa collection de photographies queer et son exposition embl\u00e9matique en 2015, Mauvais Genre<\/a><\/u>.<\/p>\n\n

Hy\u00e8nes<\/a><\/em> (Djibril Mamb\u00e9ty Diop, 1992) fait figure d\u2019exception : r\u00e9cemment restaur\u00e9 et ressorti, le film est bien \u00e9dit\u00e9 et distribu\u00e9<\/a> aux Etats-Unis. Il \u00e9tait difficile de passer outre une occasion de projeter ce chef-d\u2019\u0153uvre s\u00e9n\u00e9galais \u00e9tincelant, dont l\u2019intrigue nous am\u00e8ne plus loin encore dans le sc\u00e9nario souterrain de ce cycle. Pour tous les protagonistes des films, la mort r\u00f4de. Sasha risque l\u2019effondrement psychique face \u00e0 la violence transphobe d\u00e8s qu\u2019elle sort du cocon familial.<\/p>\n\n

Les adolescent\u00b7e\u00b7s de Coming<\/em> Out<\/em> sont confront\u00e9es \u00e0 des situations o\u00f9 leur sant\u00e9 mentale, leur vie mat\u00e9rielle, voire leur vie tout court sont menac\u00e9es. Denis Parrot, \u00e0 ce sujet, rappelle le risque de suicide d\u00e9multipli\u00e9 chez les personnes LGBT, le nombre de pays o\u00f9 l\u2019homosexualit\u00e9 est p\u00e9nalis\u00e9e (69), et celui o\u00f9 elle peut conduire \u00e0 la peine de mort (11) \u2013 continents qui sont, par cons\u00e9quent, absents du corpus de vid\u00e9os recueillies, donc de son film.<\/p>\n\n

\u00a0<\/p>\n

\n\t\"\"\n\t<\/figure>\n

Les femmes du Bois vivent dans le risque d\u2019agressions graves, et portent le deuil de leurs <\/u>camarades assassin\u00e9es, port\u00e9es d\u2019ailleurs en \u00e9pigraphe du film (Vanesa Campos, en 2019). Delphine et Carole filment des avortements clandestins, avant la l\u00e9galisation de novembre 1974, \u00e0 une \u00e9poque o\u00f9 des centaines de milliers d\u2019IVG se font chaque ann\u00e9e sans accompagnement m\u00e9dical, avec les risques de mutilation et de mort que cela entra\u00eene. Samia, enceinte de huit mois, finit dans les rues de Casablanca, coupable \u00e0 mort d\u2019une relation hors-mariage, infiniment vuln\u00e9rable.<\/p>\n\n

Ramatou, dans Hy\u00e8nes<\/em>, prend sa revanche \u2013 prend notre<\/em> revanche peut-\u00eatre. La mise \u00e0 mort sociale et symbolique qu\u2019elle a subie alors qu\u2019elle \u00e9tait une jeune m\u00e8re non-mari\u00e9e, elle la retourne comme un gant lors de son retour triomphal au village. C\u2019est d\u00e9sormais elle qui, face \u00e0 une communaut\u00e9 patriarcale, archa\u00efque et ali\u00e9n\u00e9e par la colonialit\u00e9 (critique acerbe de Diop \u00e0 l\u2019endroit du S\u00e9n\u00e9gal contemporain), affirme son droit \u00e0 prononcer une mise \u00e0 mort. L\u2019h\u00e9t\u00e9ropatriarcat, deadname<\/em> d\u2019une soci\u00e9t\u00e9 qui aspire \u00e0 la justice!<\/p>\n\n

Les \u00eatres combattifs des films de \u00ab\u00a0Mauvais genres\u00a0\u00bb, transform\u00e9s et transformateurs, nous questionnent et nous requi\u00e8rent depuis leur naissance sur \u00e9cran en 1963, 2013, 2015, 2018, 2019, 2020, et enfin, 2021. Ils continuent aussi de vivre leur vie hors-\u00e9cran, et ont transmis leur combats \u00e0 leurs descendant\u00b7e\u00b7s : nous.<\/p>

“Mauvais Genre<\/a>“, du 7 octobre au 11 novembre, \u00e0 la Maison fran\u00e7aise de l’Universit\u00e9 de Columbia. Cycle de films avec les cin\u00e9astes invit\u00e9\u00b7e\u00b7s\u00a0S\u00e9bastien Lifshitz, Claus Drexel,\u00a0 Denis Parrot, Callisto McNulty, Maryam Touzani, et les professeurs de Columbia University: Ronald Gregg, Madeleine Dobbie, Marianne Hirsch, Souleymane Bachir Diagne, Christia Mercer. Introductions et mod\u00e9ration sur sc\u00e8ne par Shanny Peer, directrice de la Maison fran\u00e7aise. En partenariat avec les Services culturels de l\u2019Ambassade de France.<\/em><\/p>","protected":false},"featured_media":60888,"menu_order":0,"template":"","app_discipline":[219],"app_city_tax":[217],"app_magazine_category":[],"class_list":["post-60890","app_magazine_article","type-app_magazine_article","status-publish","has-post-thumbnail","hentry","app_discipline-cinema","app_city_tax-nyc"],"acf":[],"yoast_head":"\nWho\u2019s Operating the Camera? 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