Hollywood en question : réflexivité filmique, ironie et parodie dans La Rose pourpre du Caire (Woody Allen, 1985), Hollywood Ending (Woody Allen, 2002) et Adaptation (Spike Jonze, 2002)

Gilles Menegaldo

Résumé :
The three films analysed in this article choose different angles to deal with the Hollywood myth. While Woody Allen In The Purple Rose of Cairo emphasizes the filmic apparatus and plays inventively with genre conventions, both deconstructing the stereotypes of classic cinema and celebrating, with a tinge of nostalgia its power of fascination, he simply focuses on a rather trite critique of the Hollywood studio system and nourishes his own myth in Hollywood Ending, posing as an eccentric and paranoid film maker. Spike Jonze on the other hand is far more daring than the later Allen at least, foregrounding script writing seen from the inside by a writer in crisis, but also proposing various adaptations of the same literary source, foregrounding the thematic and formal devices used and thus deflating also some aspects of the Hollywood myth.
Mots-clés : filmic genre, immersion, irony, metafilmic, parody, spectatorship, Spike Jonze, Woody Allen
Date de publication : 2015-06-02

Citer ce document

Gilles Menegaldo, « Hollywood en question : réflexivité filmique, ironie et parodie dans La Rose pourpre du Caire (Woody Allen, 1985), Hollywood Ending (Woody Allen, 2002) et Adaptation (Spike Jonze, 2002) », Cycnos, 2015-06-02. URL : http://epi-revel.univ-cotedazur.fr/publication/item/203