Du tueur en série au terroriste : de quelques méchants sans visage dans le cinéma américain des années 2000
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23 juillet 2018
- handle: 10670/1.xz0zu4
info:eu-repo/semantics/openAccess
Mots-clés
detective film Broken Flowers framing irresolution The Pledge serial killer subjective camera terrorism villains The Zodiac ZodiacSujets proches
Photographic film Films Feature films--History and criticism Movies Films Moving-pictures Cinema Films Identity Film strips Slidefilms Films Film slidesCiter ce document
GuieuJulien, « Du tueur en série au terroriste : de quelques méchants sans visage dans le cinéma américain des années 2000 », Cycnos, ID : 10670/1.xz0zu4
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The Pledge (Sean Penn, 2001), The Zodiac (Alexander Bulkley, 2005) and Zodiac (David Fincher, 2007) are unusual among serial-killer films in that the face and identity of the evildoer is never revealed, either to the films’ detectives or even to the spectators. The filmmakers make full use of the mise en scène’s resources to whet the latter’s desire of discovering who the culprit is without ever satisfying it. This incomplete representation of the serial killer turns him into a rather abstract figure, which allows the post-9/11 films by Bulkley and Fincher to reach beyond their apparent subject and to comment on the ill-effects of the fear of terrorism on the national unity and identity of the United States – as does, more unexpectedly, Jim Jarmusch’s Broken Flowers (2005), in which the face and identity of the antagonist remain similarly mysterious.