{"id":13359,"date":"2014-07-18T17:41:03","date_gmt":"2014-07-18T16:41:03","guid":{"rendered":"https:\/\/www.arte.tv\/sites\/olivierpere\/?p=13359"},"modified":"2014-07-24T07:16:00","modified_gmt":"2014-07-24T06:16:00","slug":"summer-of-the-90s-sur-arte","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2014\/07\/18\/summer-of-the-90s-sur-arte\/","title":{"rendered":"Summer of the 90’s sur ARTE"},"content":{"rendered":"

Chaque \u00e9t\u00e9 ARTE propose une programmation \u00ab Summer of\u00a0\u00bb autour de la culture populaire du XX\u00e8me si\u00e8cle. Cette ann\u00e9e nous avons d\u00e9cid\u00e9 de revisiter les ann\u00e9es 90, ses tendances musicales, ses \u00e9v\u00e9nements sociologiques et historiques et bien s\u00fbr son cin\u00e9ma, avec une programmation de neuf films embl\u00e9matiques de cette d\u00e9cennie. Coup d\u2019envoi dimanche soir avec la diffusion \u00e0 20h45 de Basic Instinct<\/em> de Paul Verhoeven, plus grand succ\u00e8s d\u2019un cin\u00e9aste qui aura indiscutablement marqu\u00e9 les ann\u00e9es 90 avec pas moins de quatre films formidables r\u00e9alis\u00e9s \u00e0 Hollywood, Total Recall<\/em>, Basic Instinct<\/em>, Showgirls<\/em> et Starship Troopers<\/em>.<\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

A l\u2019occasion de ce \u00ab\u00a0Summer of the 90\u2019s\u00a0\u00bb Viriginie Apiou, journaliste \u00e0 ARTE, revient pour nous sur le cin\u00e9ma des ann\u00e9es 90\u2026<\/p>\n

 <\/p>\n

 <\/p>\n

Le cin\u00e9ma des ann\u00e9es 90, qu\u2019est-ce que c\u2019est\u00a0?<\/strong><\/p>\n

 <\/p>\n

R\u00e9ponse\u00a0: The Big Lebowski<\/em>\u00a0(1998) ! Ce film bariol\u00e9 des fr\u00e8res Coen r\u00e9sume \u00e0 lui seul la d\u00e9cennie 90, pas toujours compr\u00e9hensible, d\u2019un mauvais go\u00fbt merveilleux, \u00ab\u00a0surgissante\u00a0\u00bb, in\u00e9dite et qui en fait trop, comme le cocktail trouble de Lebowski, cocktail dit du Russe Blanc, qui m\u00eale des trucs improbables\u00a0(vodka, liqueur de caf\u00e9 et cr\u00e8me de lait). Explosif jusqu\u2019\u00e0 l\u2019\u00e9c\u0153urement. Mais avec du talent\u00a0!<\/p>\n

 <\/p>\n

\"Jeff<\/a>

Jeff Bridges, son cocktail, The Big Lebowski<\/p><\/div>\n

Melting pot<\/strong><\/p>\n

 <\/p>\n

Ce cocktail 90 est d\u2019abord num\u00e9rique. Des films hybrides mi-hommes, mi-machines, qui sautent aux yeux. Un cin\u00e9ma de masse avec des s\u00e9quences cl\u00e9s entr\u00e9es dans l’histoire gr\u00e2ce \u00e0 des effets sp\u00e9ciaux jamais vus. Bienvenue dans l’\u00e8re du morphing (Terminator 2 : le jugement dernier<\/em> de James Cameron) et plus g\u00e9n\u00e9ralement du num\u00e9rique (Jurassic Park<\/em> de Steven Spielberg).<\/p>\n

 <\/p>\n

TOP 5 chronologique des s\u00e9quences hors-normes made in the 90’s<\/em> :<\/strong><\/p>\n

 <\/p>\n

\"90_2\"<\/a><\/p>\n

1 Forrest Gump<\/em> (Tom Hanks) rencontre JFK (Robert Zemeckis, 1994).<\/p>\n

\"04_independence_day_bluray\"<\/a><\/p>\n

2 Des Aliens envahissent la Terre le jour de l\u2019Independance Day<\/em> (Roland Emmerich, 1996).<\/p>\n

\"90_4\"<\/a><\/p>\n

3 Le naufrage du Titanic<\/em> (James Cameron, 1997).<\/p>\n

\"90_5\"<\/a><\/p>\n

4 Le D-Day reconstitu\u00e9 dans Il faut sauver le soldat Ryan<\/em> (Saving Private Ryan<\/em>, 1998) de Steven Spielberg.<\/p>\n

\"90_6\"<\/a><\/p>\n

5 L\u2019univers cyber de Matrix<\/em> (Lana et Andy Wachowski, 1999).<\/p>\n

 <\/p>\n

Carnet rose <\/strong><\/p>\n

Pas seulement technologique, le cin\u00e9ma 90 f\u00eate aussi la naissance d\u2019individualit\u00e9s issues de la g\u00e9n\u00e9ration vid\u00e9o club et MTV. A sa t\u00eate quatre Beatles am\u00e9ricains\u00a0: Quentin Tarantino (Reservoir Dogs<\/em>, 1992; Pulp Fiction<\/em>, 1994), David Fincher (Se7en<\/em>, 1995; Fight Club<\/em>, 1999, ), Bryan Singer (Usual Suspects<\/em>, 1995, sur ARTE le 17 ao\u00fbt)<\/strong> et Paul Thomas Anderson (Boogie Nights<\/em>, 1997; Magnolia <\/em>1999)\u00a0; \u00a0des europ\u00e9ens\u00a0: Jacques Audiard (Regarde les hommes tomber<\/em>, 1995), Mathieu Kassovitz (La Haine<\/em>, 1996), Tom Tykwer (Cours, Lola, cours<\/em>, 1998), et le hongkongais Wong Kar Wai (Nos ann\u00e9es sauvages<\/em>, 1990; Chungking Express<\/em>, 1994). Ces cin\u00e9astes de films de genre imposent une forme cool, sexy, tendue, agit\u00e9e, un nouveau sens du rythme infernal et tape-\u00e0-l\u2019\u0153il pour d\u00e9crire un monde o\u00f9, pour vivre ensemble, il ne faut pas se fier aux apparences. La r\u00e9alit\u00e9 de cette d\u00e9cennie est effectivement beaucoup plus tordue.<\/p>\n

\""Pulp<\/a>

Pulp Fiction<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\""Magnolia"\"<\/a>

Magnolia<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

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

\"Fight<\/a>

Fight Club<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\""La<\/a>

La Haine<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\""Regarde<\/a>

Regarde les hommes tomber<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\""Lola<\/a>

Cours, Lola, cours<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\""Nos<\/a>

Nos ann\u00e9es sauvages<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

A \u00e9chelle humaine<\/strong><\/p>\n

De genre ou pas, le cin\u00e9ma 90 na\u00eet du monde 90. The Truman show<\/em> (Peter Weir, 1998, sur ARTE le 3 ao\u00fbt)<\/strong> montre que l\u2019univers num\u00e9rique est un jeu o\u00f9 la G\u00e9n\u00e9ration 90<\/em> (Reality Bites<\/em>, Ben Stiller, 1995, sur ARTE le 20 juillet)<\/strong> cherche son identit\u00e9\u2026 Ralentir, r\u00e9fl\u00e9chir, proposer d\u2019autres visions\u00a0: Arizona Dream<\/em> (Emir Kusturica, 1993, sur ARTE le 24 ao\u00fbt),<\/strong> Ghost Dog, la voie du samoura\u00ef<\/em> (Jim Jarmusch, 1999, sur ARTE le 17 ao\u00fbt), <\/strong>Hana-bi<\/em> (Takeshi Kitano, 1997), My Own Private Idaho<\/em> (Gus Van Sant, 1991), La Vie de J\u00e9sus<\/em> (Bruno Dumont, 1998) ou Les Amants du Pont-Neuf<\/em> (Leos Carax, 1991, sur ARTE en septembre) sont une alternative po\u00e9tique et chor\u00e9graphi\u00e9e pour filmer une \u00e9poque pr\u00e9 connect\u00e9e, qui ne peut plus ignorer ses probl\u00e8mes.<\/p>\n

\""Les<\/a>

Les Amants du Pont-Neuf<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\""La<\/a>

La Vie de J\u00e9sus<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

\"Hana-Bi<\/a>

Hana-Bi<\/p><\/div>\n

\""My<\/a>

My Own Private Idaho<\/p><\/div>\n

Sex, videotape and transgression<\/strong><\/p>\n

Car les ann\u00e9es 90 ce sont aussi les ann\u00e9es SIDA. Faire l\u2019amour c\u2019est s\u2019exposer \u00e0 mourir des mains couteaux d\u2019Edward<\/em> aux mains d\u2019argent<\/em> (Edward Scissorhands<\/em>, Tim Burton, 1990), ou du pic \u00e0 glace de Basic Instinct<\/em> (Paul Verhoeven, 1992, sur ARTE le 20 juillet)<\/strong>. Alors on regarde mais on ne touche pas. On fantasme. Beaucoup. Jusqu\u2019au dernier mot de Eyes Wide Shut<\/em> (Stanley Kubrick, 1998)\u00a0: \u00ab\u00a0Fuck\u00a0\u00bb. <\/em>Pour un retour au sexe, \u00e0 la vie, quand m\u00eame.<\/p>\n

\""Edward<\/a>

Edward aux mains d\u2019argent<\/p><\/div>\n

 <\/p>\n

\""Eyes<\/a>

Eyes Wide Shut<\/p><\/div>\n

Com\u00e9dies nouvelles et \u00e9ternelles<\/strong><\/p>\n

Il faut plus que jamais s\u2019amuser. Alors que les anglo-saxons r\u00e9ussissent une s\u00e9rie de com\u00e9dies\u00a0pince-sans-rire et intemporelles : Quatre Mariages et un enterrement<\/em> (Four Weddings and A Funeral,<\/em> Mike Newell, 1994), Coup de foudre \u00e0 Notting Hill<\/em> (Notting Hill<\/em>, Roger Michell, 1998), The Full Monty<\/em> (Peter Cattaneo, 1997), Un jour sans fin<\/em> (Groundhog Day<\/em>, de Harold Ramis, 1993, sur ARTE le 10 ao\u00fbt), <\/strong>le divertissement sp\u00e9cifiquement 90 vient des Allemands qui jouent avec l\u2019Histoire in\u00e9dite, celle de la chute du mur de Berlin, Good Bye, Lenin!<\/em> (Wolfgang Becker, 2003, sur ARTE le 27 juillet)<\/strong>, ou l\u2019exploration de territoires jusqu\u2019alors peu visit\u00e9s, le Cuba de Buena Vista Social Club<\/em> (Wim Wenders, 1999, sur ARTE le 10 ao\u00fbt).<\/strong><\/p>\n

Virginie Apiou<\/p>\n

\"Un<\/a>

Un jour sans fin<\/p><\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Chaque \u00e9t\u00e9 ARTE propose une programmation \u00ab Summer of\u00a0\u00bb autour de la culture populaire du XX\u00e8me si\u00e8cle. Cette ann\u00e9e nous\u2026<\/p>\n","protected":false},"author":66,"featured_media":13385,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[8],"tags":[],"yoast_head":"\nSummer of the 90's sur ARTE - Olivier P\u00e8re<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arte.tv\/sites\/olivierpere\/2014\/07\/18\/summer-of-the-90s-sur-arte\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Summer of the 90's sur ARTE - Olivier P\u00e8re\" \/>\n<meta property=\"og:description\" content=\"Chaque \u00e9t\u00e9 ARTE propose une programmation \u00ab Summer of\u00a0\u00bb autour de la culture populaire du XX\u00e8me si\u00e8cle. 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