{"id":2937,"date":"2023-02-13T17:04:41","date_gmt":"2023-02-13T16:04:41","guid":{"rendered":"https:\/\/afea.fr\/news\/?p=2937"},"modified":"2023-02-13T17:14:01","modified_gmt":"2023-02-13T16:14:01","slug":"parution-le-studio-hammer-laboratoire-de-lhorreur-moderne","status":"publish","type":"post","link":"https:\/\/afea.fr\/news\/publication\/parution-le-studio-hammer-laboratoire-de-lhorreur-moderne\/2937\/","title":{"rendered":"Parution : Le Studio Hammer. Laboratoire de l’horreur moderne?"},"content":{"rendered":"

Chers coll\u00e8gues,<\/p>\n

Gilles Menegaldo, M\u00e9lanie Boissonneau, et moi-m\u00eame sommes tr\u00e8s heureux de vous faire part<\/p>\n

de la parution de notre dernier ouvrage collectif :<\/p>\n

Le Studio Hammer. Laboratoire de l’horreur moderne?<\/em> <\/strong><\/p>\n

M. Boisonneau, G. Menegaldo et A.-M. Paquet-Deyris, Dirs.<\/strong><\/p>\n

Le visage Vert: Cadillon, 2023<\/strong><\/p>\n

ISBN: 978-26918061-55-7<\/strong><\/p>\n

Vous en trouverez ci-dessous la premi\u00e8re et quatri\u00e8me de couverture ainsi que le sommaire d\u00e9taill\u00e9.<\/p>\n

Bien cordialement \u00e0 tous,<\/p>\n

AM Paquet-Deyris<\/p>\n

——————————————————————————————————–<\/p>\n

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Le studio Hammer. Laboratoire de l\u2019horreur moderne\u2009?<\/strong><\/p>\n

Sous la direction de M\u00e9lanie Boissonneau, Gilles Menegaldo et Anne-Marie Paquet-Deyris<\/strong><\/p>\n

Couverture de Nicolas Fructus<\/strong><\/p>\n<\/div>\n

BDC a5-pub Hammer 2023.pdf<\/a><\/p>\n

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Janvier 2023<\/strong><\/p>\n

isbn\u202f: 9782-918061-55-7<\/strong><\/p>\n

ean : 9782918061557<\/strong><\/p>\n

155 * 240 – 520 p.<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Vingt ans apr\u00e8s l\u2019\u00e2ge d\u2019or du cin\u00e9ma d\u2019horreur \u00e0 Hollywood, le studio britannique Hammer fait revivre les figures mythiques inspir\u00e9es de la litt\u00e9rature britannique et du folklore europ\u00e9en (Dracula, Frankenstein, Jekyll et Hyde, le Loup-Garou, etc.) et leur offre de nouvelles incarnations ancr\u00e9es dans un contexte victorien. Le studio produit entre\u00a01955 et\u00a01979 pr\u00e8s de 150 films\u2009: horreur gothique, science-fiction, aventures exotiques, policiers ou thrillers psychologiques distillant un climat d\u2019angoisse et de terreur aux lisi\u00e8res du fantastique.<\/strong><\/p>\n

Cet ouvrage propose des \u00e9clairages nouveaux et met en relief des productions moins famili\u00e8res. Il pose la question de la modernit\u00e9 paradoxale de films qui traitent de sujets transgressifs, convoquent violence et \u00e9rotisme et dont les partis pris esth\u00e9tiques sont surprenants et provocateurs, mais qui tentent de perp\u00e9tuer une tradition gothique et offrent un discours plut\u00f4t conformiste, s\u2019effor\u00e7ant aussi de satisfaire les attentes du public dans une Angleterre en pleine mutation soci\u00e9tale et culturelle. Le studio a laiss\u00e9 son empreinte singuli\u00e8re sur le cin\u00e9ma de genre, fa\u00e7onn\u00e9 l\u2019imaginaire et marqu\u00e9 la m\u00e9moire de g\u00e9n\u00e9rations de spectateurs. D\u00e9sormais mythique, la Hammer n\u2019est pas seulement une fabrique de monstres \u00e9voluant dans des d\u00e9cors gothiques, mais un laboratoire de l\u2019horreur moderne qui exerce une fascination puissante et continue d\u2019inspirer de nombreuses ic\u00f4nes de la pop culture et des cin\u00e9astes contemporains comme Tim Burton, Dario Argento, John Carpenter ou Mike Flanagan (The Haunting<\/em>, Netflix, 2018).<\/strong><\/p>\n

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Contributions de<\/strong>\u2009: Jean-Fran\u00e7ois Baillon \u2022 C\u00e9cile Carayol \u2022 Alain Chareyre-M\u00e9jan \u2022 Christian Chelebourg \u2022 Florence Ch\u00e9ron \u2022 Rapha\u00eblle Costa de Beauregard \u2022 Simon Daniellou \u2022 Xavier Daverat \u2022 Jean-Michel Durafour \u2022 Ga\u00efd Girard \u2022 Tristan Gr\u00fcnberg \u2022 Pierre Jailloux \u2022 Isabelle Labrouill\u00e8re \u2022 Jean-Marie Lecomte \u2022 Stella Louis \u2022 Sophie Mantrant \u2022 Philippe Met \u2022 Jean-Pierre Naugrette \u2022 Michel Porret \u2022 Jean-Fran\u00e7ois Rauger \u2022 David Roche \u2022 Nicolas Stanzick \u2022 H\u00e9l\u00e8ne Valmary<\/p>\n

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<\/div>\n

Introduction<\/em><\/p>\n

M\u00e9lanie Boissonneau, Gilles Menegaldo et Anne-Marie Paquet-Deyris<\/p>\n

<\/div>\n

\u00c0 LA D\u00c9COUVERTE DE LA HAMMER<\/p>\n

<\/div>\n

Pourquoi devrait-on aimer les films de Terence Fisher\u2009?<\/p>\n

Jean-Fran\u00e7ois Rauger 25<\/p>\n

<\/div>\n

Et les Fran\u00e7ais d\u00e9couvrirent Frankenstein, Dracula & Co<\/p>\n

Nicolas Stanzick\u00a0 33<\/p>\n

<\/div>\n

Les classes sociales dans l\u2019horreur de la Hammer<\/p>\n

Xavier Daverat 57<\/p>\n

<\/div>\n

LE DESIGN DE L\u2019HORREUR<\/p>\n

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Terence Fisher avec paysage lacustre<\/p>\n

Jean-Michel Durafour\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 79<\/p>\n

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Pas du sang\u2009: du rouge. Les d\u00e9bordements color\u00e9s de la Hammer<\/p>\n

Pierre Jailloux\u00a0\u00a0 94<\/p>\n

<\/div>\n

La figure du vampire\u2009: principes r\u00e9currents dans la musique symphonique de film de la Hammer \u00e0 Twilight\u2009: New Moon<\/p>\n

C\u00e9cile Carayol\u00a0 109<\/p>\n

<\/div>\n

Le feuilleton Hammer\u2009: les lieux du crime<\/p>\n

Florence Ch\u00e9ron\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 127<\/p>\n

<\/div>\n

Le regard de M\u00e9duse\u2009: les visages horrifiques de la Hammer comme autant d\u2019attractions spectaculaires<\/p>\n

Simon Daniellou\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 149<\/p>\n

<\/div>\n

Love That Horror\u2009! La Hammer et ses vampires ou la photo\u00adg\u00e9nie de l\u2019horreur<\/p>\n

Stella Louis\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 17<\/p>\n

<\/div>\n

FRANKENSTEIN : \u00c9TUDE DE CAS<\/p>\n

<\/div>\n

Frankenstein. Le moment Hammer<\/p>\n

Michel Porret\u00a0\u00a0\u00a0 209<\/p>\n

<\/div>\n

La d\u00e9figuration comme geste de re\/cr\u00e9ation : figures en miroir et trouble des formes dans Stolen Face, Four Sided Triangle et The Curse of Frankenstein de Terence Fisher<\/p>\n

Isabelle Labrouill\u00e8re 231<\/p>\n

<\/div>\n

Le premier film couleurs du studio Hammer apr\u00e8s le noir et blanc\u2009: The Curse of Frankenstein (Terence Fisher, 1957)<\/p>\n

Rapha\u00eblle Costa de Beauregard\u00a0 257<\/p>\n

<\/div>\n

Forme, discours et \u00ab\u2009para-doxa\u2009\u00bb dans The Curse of Frankenstein (1957) Le modernisme au cin\u00e9ma et le film gothique des ann\u00e9es 50<\/p>\n

Jean-Marie Lecomte<\/p>\n

<\/div>\n
<\/div>\n

\u00c0 LA LOUPE<\/p>\n

<\/div>\n

Pourquoi Sherlock Holmes prend-il la tour noire du Dr\u00a0Mortimer dans The Hound of the Baskervilles (1959) de Terence Fisher ?<\/p>\n

Jean-Pierre Naugrette\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 308<\/p>\n

<\/div>\n

Les trois visages de Carmilla : le d\u00e9sir f\u00e9minin au prisme de la Hammer<\/p>\n

Tristan Gr\u00fcnberg\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 333<\/p>\n

<\/div>\n

Le d\u00e9clin du h\u00e9ros masculin britannique dans le cin\u00e9ma d\u2019horreur et de science-fiction du studio Hammer : la trilogie Quatermass<\/p>\n

Ga\u00efd Girard\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 353<\/p>\n

<\/div>\n

Christopher Lee\/Peter Cushing : l\u2019horreur (c\u2019est mieux) \u00e0 deux<\/p>\n

H\u00e9l\u00e8ne Valmary 373<\/p>\n

<\/div>\n
<\/div>\n

MUTATIONS, HYBRIDATIONS, R\u00c9SURRECTION<\/p>\n

<\/div>\n

\u00ab\u2009Hammer Motel\u2009\u00bb : tensions des nerfs et torsions des intrigues dans les thrillers psychologiques britanniques post-Psychose<\/p>\n

Jean-Fran\u00e7ois Baillon\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 389<\/p>\n

<\/div>\n

Mettre \u00e0 jour le canon : Carmilla, Dracula et le docteur Jekyll en eaux troubles (1970-1973)<\/p>\n

David Roche\u00a0\u00a0\u00a0\u00a0 411<\/p>\n

<\/div>\n

La Belle est la B\u00eate. L\u2019horreur selon John Gilling<\/p>\n

Christian Chelebourg 437<\/p>\n

<\/div>\n

Les enfants de la Hammer, entre visualit\u00e9 et auralit\u00e9<\/p>\n

Philippe Met\u00a0\u00a0\u00a0\u00a0\u00a0 453<\/p>\n

<\/div>\n

La Dame en Noir (James Watkins, 2012) : un retour \u00e0 l\u2019\u00e2ge d\u2019or?<\/p>\n

Sophie Mantrant\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 473<\/p>\n

<\/div>\n

Postface<\/em><\/p>\n

Note sur l\u2019\u00c9thos Hammer (pourquoi nous sommes les amis du comte Dracula)<\/p>\n

Alain Chareyre-M\u00e9jan\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 491<\/p>\n

<\/div>\n

Bibliographie g\u00e9n\u00e9rale\u00a0\u00a0\u00a0\u00a0\u00a0 495<\/p>\n

Index des films [501], des notions [505], des noms propres [516]<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Chers coll\u00e8gues, Gilles Menegaldo, M\u00e9lanie Boissonneau, et moi-m\u00eame sommes tr\u00e8s heureux de vous faire part de la parution de notre […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[103],"tags":[123,1204,450,1205],"class_list":["post-2937","post","type-post","status-publish","format-standard","hentry","category-publication","tag-cinema","tag-horreur","tag-science-fiction","tag-studio"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"Admin","author_link":"https:\/\/afea.fr\/news\/author\/yanb\/"},"uagb_comment_info":0,"uagb_excerpt":"Chers coll\u00e8gues, Gilles Menegaldo, M\u00e9lanie Boissonneau, et moi-m\u00eame sommes tr\u00e8s heureux de vous faire part de la parution de notre […]","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2937"}],"collection":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/comments?post=2937"}],"version-history":[{"count":2,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2937\/revisions"}],"predecessor-version":[{"id":2949,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2937\/revisions\/2949"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/media?parent=2937"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/categories?post=2937"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/tags?post=2937"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}