{"id":69058,"date":"2007-07-27T00:00:00","date_gmt":"2007-07-27T00:00:00","guid":{"rendered":"https:\/\/new.dedefensa.org\/index.php\/2007\/07\/27\/effectivement-hollywood-goes-to-war\/"},"modified":"2007-07-27T00:00:00","modified_gmt":"2007-07-27T00:00:00","slug":"effectivement-hollywood-goes-to-war","status":"publish","type":"post","link":"https:\/\/new.dedefensa.org\/index.php\/2007\/07\/27\/effectivement-hollywood-goes-to-war\/","title":{"rendered":"Effectivement, \u201cHollywood goes to war<\/em>\u201d"},"content":{"rendered":"

Sans doute la gloire de Hollywood est-elle prudente et tardive par rapport \u00e0 ce que nous observons du conflit mais il faut signaler qu’elle semble se lever effectivement, et dans des conditions nouvelles. Nous parlons de la gloire toute morale de se pencher enfin avec gravit\u00e9 et alacrit\u00e9 sur ce conflit irakien qui n’en finit pas et dont les conditions de sauvagerie, connues de tout observateur un tant soit peu inform\u00e9, sont absolument extraordinaires, sans pr\u00e9c\u00e9dent par l’\u00e9talage qui en est fait et le syst\u00e9matisme glac\u00e9 qui les gouverne. La sauvagerie US en Irak, qui est la cause premi\u00e8re du reste et donc la responsabilit\u00e9 centrale, est la parfaite image de notre syst\u00e8me devenu fou dans son entreprise de pr\u00e9dation et de d\u00e9structuration de la civilisation. Cela m\u00e9rite qu’on s’y int\u00e9resse s\u00e9ance tenante. C’est en train d’\u00eatre fait. Aujourd’hui<\/a> le quotidien The Independent<\/em> nous signale que Hollywood a d\u00e9cid\u00e9 de partir en guerre. GW va la sentir passer.<\/p>\n<\/p>\n

\tD\u00e9crivant les projets en cours, The Independent<\/em> \u00e9crit ceci :<\/p>\n<\/p>\n

\t\u00abThe first of them is also the one with the highest profile, since it has been written and directed by Paul Haggis, the Canadian film-maker who wrote Clint Eastwood’s Academy Award-winning Million Dollar Baby, then walked away with the Best Picture Oscar for his directorial debut, Crash.<\/em><\/p>\n<\/p>\n

\t\u00bbHaggis’s film is called In the Valley of Elah (the Valley of Elah being the place where David slew Goliath), and it follows the story of Army Specialist Richard Davis whose mysterious death near his home base at Fort Benning, Georgia, in 2003 was covered up until Davis’s father took on the investigation and discovered he had been stabbed to death by members of his own platoon because he had witnessed atrocities they had committed in Iraq. The film, set for release in the United States in September, stars Tommy Lee Jones as the father and Susan Sarandon as the mother, and Charlize Theron as a (fictionalised) detective who helps the father’s investigation.<\/em><\/p>\n<\/p>\n

\t\u00bbAbout a month later, US cinemas will start showing Grace Is Gone, a melodrama first screened at the Sundance Film Festival (to a mixed reception) in which John Cusack stars as a bereaved husband who has to tell his two daughters that their mother has been killed in action in Iraq.<\/em><\/p>\n<\/p>\n

\t\u00bbAround the same time, Reese Witherspoon will be starring in Rendition, as an American woman whose Egyptian-born husband is suspected of involvement with international terrorism. Just before Christmas, Brian De Palma will be out with Redacted, about an Army squad that torments an Iraqi family.<\/em><\/p>\n<\/p>\n

\t\u00bbThe list goes on. Next year will see the release of Stop Loss, directed by Kimberly Peirce (who made Boys Don’t Cry), in which Ryan Philippe plays a soldier who defies an order to return to Iraq after his tour of duty is officially over. Greengrass, meanwhile, is adapting the non-fiction book Imperial Life in the Emerald City – which tells the story of what happened behind closed doors in Baghdad’s super-protected Green Zone – to provide us with what will presumably be a verit\u00e9-style account of all the mistakes and mis-steps made by the US occupying forces from 2003 to the present. His film is unlikely to come out before 2009.<\/em><\/p>\n<\/p>\n

\t\u00bbSeveral things about these projects come as a surprise. First, that they are being made at all while US service men and women are still fighting the war they concern themselves with. Second, that they all overwhelmingly focus on aspects of American failure military, political, diplomatic and also spiritual failure. (A seminal image in In The Valley of Elah, we are told, is a Stars and Stripes flag hung upside down somewhere in heartland America.) And third, that they are so close to the sorts of issues that continue to exercise the news and opinion pages of the world’s newspapers.<\/em>\u00bb<\/p>\n<\/p>\n

\tLe dernier point signal\u00e9 est important. Il montre qu’effectivement l’Histoire est devenue tr\u00e8s proche de l’actualit\u00e9 jusqu’\u00e0 l’\u00e9pouser, ce qui est notre th\u00e8se, car le traitement de tels sujets par le cin\u00e9ma doit \u00eatre assimil\u00e9 \u00e0 la distance que n\u00e9cessite la vision historique par rapport \u00e0 l’actualit\u00e9, m\u00eame si c’est le plus souvent une vision manipul\u00e9e, m\u00e2chonn\u00e9e, orient\u00e9e, d\u00e9form\u00e9e. Ce dernier point, \u00e0 nouveau, est important, et signale les conditions nouvelles de l’\u00e9poque : Hollywood se rapproche de l’actualit\u00e9 en donnant sa vision historique qui, c’est une nouveaut\u00e9 importante, serait assez proche de la r\u00e9alit\u00e9 et ne craindrait nullement la pol\u00e9mique. Nouvelles conditions du monde l\u00e0 aussi. La r\u00e9alit\u00e9 est si forte malgr\u00e9 les tentatives de manipulation virtualistes, l’information officielle est si compl\u00e8tement d\u00e9grad\u00e9e jusqu’\u00e0 perdre la moindre l\u00e9gitimit\u00e9, qu’effectivement l’enseignement historique imm\u00e9diat tend \u00e0 \u00e9tablir une certaine vision r\u00e9aliste de la trag\u00e9die en cours. Par cons\u00e9quent, notre premier jugement doit \u00eatre nuanc\u00e9 radicalement: Hollywood a mis du temps \u00e0 s’int\u00e9resser \u00e0 l’Irak mais, de ce point de vue que nous exposons ci-dessus, il se montre au contraire tr\u00e8s rapide.<\/p>\n<\/p>\n

\tPour autant, l’auteur de l’article, Andrew Gumbel, ne perd pas le nord et il doit en \u00eatre lou\u00e9. En bon Britannique r\u00e9aliste qui conna\u00eet ses ouailles, il termine en nous signifiant que Hollywood reste Hollywood, c’est-\u00e0-dire compl\u00e8tement am\u00e9ricaniste, et que si l’actuelle campagne de r\u00e9alisme ne fait pas rentrer du fric, elle sera liquid\u00e9e pour autre chose. (Il aurait d’ailleurs pu ajouter que le risque pris par Hollywood est calcul\u00e9 selon des indices bien classiques; puisque deux tiers \u00e0 trois quarts de la population US est d\u00e9sormais contre la guerre, les films en question devraient trouver leur public, avec le fric qui va avec.)<\/p>\n<\/p>\n

\t\u00abDiehard Bush supporters (a dwindling band, these past couple of years) would no doubt argue \u00ac as they have argued for the past five years \u00ac that Hollywood is simply an unpatriotic hotbed of liberal political correctness unable to set any political issue in its proper context. One prominent veteran, Dennis Griffee, of the Iraq War Veterans Organization, has refused to have anything to do with In The Valley Of Elah because it stars Susan Sarandon, one of Hollywood’s most outspoken anti-war voices.<\/em><\/p>\n<\/p>\n

\t\u00bbThat argument, though, ignores Hollywood’s history of happily playing any side of the political fence as long as it fulfils the primal need of the entertainment industry, which is to make money.<\/em><\/p>\n<\/p>\n

\t\u00bbThat, in the end, will be the acid test of the new crop of movies. If they are hits, we will see more of them.<\/em><\/p>\n<\/p>\n

\t\u00bbIf they are not, Hollywood will doubtless change the subject very quickly indeed. To Paris Hilton. Or something.<\/em>\u00bb<\/p>\n<\/p>\n

<\/p>\n

\tMis en ligne le 27 juillet 2007 \u00e0 09H29<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"

Sans doute la gloire de Hollywood est-elle prudente et tardive par rapport \u00e0 ce que nous observons du conflit mais il faut signaler qu’elle semble se lever effectivement, et dans des conditions nouvelles. Nous parlons de la gloire toute morale de se pencher enfin avec gravit\u00e9 et alacrit\u00e9 sur ce conflit irakien qui n’en finit… <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[2],"tags":[3253,3554,6898,3518,3371,6899,857],"class_list":["post-69058","post","type-post","status-publish","format-standard","hentry","category-bloc-notes","tag-americanisme","tag-anti-guerre","tag-films","tag-histoire","tag-hollywood","tag-immediate","tag-irak"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/posts\/69058","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/comments?post=69058"}],"version-history":[{"count":0,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/posts\/69058\/revisions"}],"wp:attachment":[{"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/media?parent=69058"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/categories?post=69058"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/tags?post=69058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}