ANNEES 70, LES CINEASTES DE LA CONTROVERSE.
Le XXème siècle restera le siècle de l'image. Au fil des années, elles ont marqué, fasciné. A travers elles, certains films nous sont devenus familiers et sont entrés dans nos vies, notamment la période des années seventy who personified the conflict of generations. And some films released during this period were the subject of scandals, censorship exerted, ia nt following the reactions of certain political or religious associations, watching the screens of a eil o attentive. As we know, between censorship and filmmakers, has widened throughout the history of the 7th art, a gap, an abyss of incomprehension. What some disapproved the name of public morality, others celebrated as an art form. But over time, laws m oral and movies have changed na nt remained. Examples:
In 1971, "ORANGE
MECHANICS" Stanley Kubrick with Malcolm Mac Dowell , brings scene boy ances where violence reigns everywhere in England e near future. To escape a long prison sentence after committing a murder, Alice agrees to undergo treatment revolutionary, to remove any trace of violence in him. Reinserted, it is overtaken by one of his victims who torture. Released on British screens in December of that year, the film caused a scandal e t this historic ire of violence gave nce born to a bitter debate about the limits to which the film was required to comply. The intellectuals went to the plate to defend the film, but "Orange Mécaniq eu" was removed from the poster by Kubrick himself, following death threats and an intense campaign by the conservative press the time, accusing him of devoting youth. Through this film, Kubrick shocked and touched the heart a whole generation of teenagers in need of rebellion against society. And despite the censorship, the film will continue its operations in certain foreign countries, including France . Twenty-seven years after its completion, the film will again be allowed out on British screens by the British Board of Film Classificatio n ", the control body of film distribution. In 1972, Paris December
opens in preview, the last production of Bernardo Bertol ucci "THE LAST TANGO IN PARIS" starring my main rlon Brando and the young Maria Schneider, who was then a mere nineteen years. Paul, a fifth U.S. beef "between two ages but still attractive, visits a winter morning, a large empty apartment in the French capital there made the acquaintance of a young woman. Their eyes meet, they decide to have sex without knowing one another, not even the owers names. Despite a unanimous international criticism, acknowledging the cinematic qualities of this film, the censorship Italy immediately and decides to ban mainly because of the famous scene between Marlon sodomy Brando and Maria Schneider. This performance is traumatising it, telling reporters: "I was young, innocent, I do not understand what I was doing. Today, I refuse." All the fuss around me freaked me she said ten years later. e Learning the death of Maria Schneider, follows e generalized to cancer on February 3 in Paris - Bernardo Bertolucci said he wanted to ask forgiveness! "Maria accused me of him stealing his youth and today only, I wonder if it was not partly true. In reality, she was too young to able to support the impact the "unpredictable and brutal film's success," he acknowledged. " 1973, output
movie" NIGHT PORTER "of Lialiana Cavani, with Charlotte Rampling and Dirk Bogarde in the lead roles. We somm 're in Vienna in 1957, a former SS officer Max, night porter in a big hotel downtown, one day finds himself face to Lucia, the wife of a conductor. During the war, Max kept in a concentration camp a sadomasochistic love with Lucia, one of the prisoners then just sixteen years old. Irresistibly attracted to one another, all two will eventually resume their affair. This film about the lonely people, projected the Italian director overnight in the spotlight of notoriety. Film e xigeant and reserved for an informed public, "Night Porter" tells the disturbing fascination as "Stockholm Syndrome" from an ancient Jewish deported for his Nazi executioner. This work hard and raise up radical attraction and repulsion from the public. 1975, output f
ilm "SALO OR THE 120 DAYS OF SODOM" the famous Italian director Pier Paolo Pasolini. Dura nt Fascist Republic of Salo, four lords develop a perverse regulations which they will comply. They select eight representatives of both sexes who become victims of their most degrading practices. All locked up in a villa to spend 120 days in complying with the rules of their code terrifying. Pasolini adapts a novel by the Marquis de Sade, in the atmosphere of déliquessence of the "Republic of Salo" on late Mussolini in 1944. This film by Pasolini certainly be s trying, at the time was misunderstood by the authorities of censorship and deemed pornographic. The man reveals the darker side of his baser instincts, revealing Pasolini enjoyment in horror. "Salo or the 120 Days of Sodom," debauchery and mixes Nazism and causes quite a stir. As at the end of the director, it is nonetheless sulfur. Three months before the premiere in Paris, Pier Paolo Pasolini died, his body was found beaten on a beach on the outskirts of Rome, murdered in circumstances that remain unsolved today and always waving Italy. Finally 1976, "THE EMPIRE OF
ES SENSE" by Nagisa Oshima. Japan In the early twentieth century, a waitress and his master lived a voracious sexual passion. Oshi my depicts a love story mad lived and which had passed in the 30s in Japan. A woman strangled her lover at the mom ent orgasm then emasculated. When the police come to arrest him, she arbor e his bloody trophy, smiling radiantly. "The Realm of the Senses" is about the destructive power of sexuality and murderous and Oshima uses symbols to tell this terrible subject. Censorship was the effect of filling the rooms where the film was projected, better than if she had abstained. Even today, "The Realm of the Senses" is banned in Japan. It is obvious that through these few examples scandals film highlight the conflict between public order and depth of our instincts kind of chaos of the unconscious. This dichotomy between what a company would be and what's shocking is revealed fully in the art of film, because of the strength and impact of the image on our subconscious. Finally we release two kinds of emotion, facing the seventh art, "positive" when it blossomed, happy and joyful and "negative" when we are uncomfortable, annoys us while we thought provoking ... Certainly, the film did not stop surprising us!
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