{"id":298,"date":"2024-06-07T15:56:45","date_gmt":"2024-06-07T13:56:45","guid":{"rendered":"https:\/\/archifilm.fr\/wp\/?p=298"},"modified":"2024-06-10T10:27:56","modified_gmt":"2024-06-10T08:27:56","slug":"chiens-de-paille-les-sam-peckinpah-1971","status":"publish","type":"post","link":"https:\/\/archifilm.fr\/wp\/?p=298","title":{"rendered":"Chiens de paille (Les), Sam Peckinpah, 1971"},"content":{"rendered":"\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><strong>Bande annonce<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Official Trailer - STRAW DOGS (1971, Dustin Hoffman, Susan George, Sam Peckinpah)\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/P4sY8HteyX8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td class=\"has-text-align-center\" data-align=\"center\"><strong>Mots cl\u00e9s<\/strong><\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">Sam Peckinpah, Dustin Hoffman, Susan George, drame, thriller, village<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">ferme, maison isol\u00e9e, maison de famille, r\u00e9novation<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>R\u00e9sum\u00e9<\/strong><\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"682\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/les_chiens_de_paille-1024x682.jpg\" alt=\"\" class=\"wp-image-427 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/les_chiens_de_paille-1024x682.jpg 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/les_chiens_de_paille-300x200.jpg 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/les_chiens_de_paille-600x400.jpg 600w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/les_chiens_de_paille-1200x800.jpg 1200w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/les_chiens_de_paille.jpg 1772w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>(d&rsquo;apr\u00e8s wikipedia)<\/p>\n\n\n\n<p>Le film fait partie, avec <em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/D%C3%A9livrance_(film,_1972)\">D\u00e9livrance<\/a><\/em> de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/John_Boorman\">John Boorman<\/a> et <em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Orange_m%C3%A9canique\">Orange m\u00e9canique<\/a><\/em> de <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Stanley_Kubrick\">Stanley Kubrick<\/a>, des trois films embl\u00e9matiques de l&rsquo;ultra-<a href=\"https:\/\/fr.wikipedia.org\/wiki\/Violence\">violence<\/a> dans le <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Cin%C3%A9ma_am%C3%A9ricain_des_ann%C3%A9es_1970\">cin\u00e9ma am\u00e9ricain des ann\u00e9es 1970<\/a>. Il fut controvers\u00e9 \u00e0 sa sortie dans les salles, et fut censur\u00e9 au <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Royaume-Uni\">Royaume-Uni<\/a>.<\/p>\n\n\n\n<p>David Sumner, jeune math\u00e9maticien am\u00e9ricain, vient habiter avec sa femme britannique Amy dans l&rsquo;arri\u00e8re-pays anglais, dans le petit village de Wakely dans les <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Cornouailles\">Cornouailles<\/a>. David souhaite y travailler au calme, pour se concentrer sur ses recherches sur la <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Structure_stellaire\">structure stellaire<\/a> et les <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Math%C3%A9matiques_appliqu%C3%A9es\">math\u00e9matiques appliqu\u00e9es<\/a>.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p>Son arriv\u00e9e n&rsquo;est pas du go\u00fbt de Charlie Venner, ex-petit ami d&rsquo;Amy. Lui et ses amis Norman Scutt, Chris Cawsey et Phil Riddaway voient d&rsquo;un mauvais \u0153il qu&rsquo;un \u00e9tranger ait \u00e9pous\u00e9 l&rsquo;un des leurs. David engage de jeunes ouvriers du village pour r\u00e9parer la ferme, qui appartenait au p\u00e8re d&rsquo;Amy. Les ouvriers, Scutt et Cawsey, finissent par tourmenter le couple non violent. Ces agressions s&rsquo;intensifient lorsqu&rsquo;ils attaquent la ferme apr\u00e8s que David a pris la d\u00e9fense d&rsquo;Henry Niles, l&rsquo;idiot du village, accus\u00e9 de meurtre. David met toute son intelligence au service de sa survie ; retranch\u00e9 dans la ferme, il \u00e9labore des pi\u00e8ges qui font de lui l\u2019\u00e9gal de ses assaillants.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"678\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/chiens-de-paille-1971-01-g-1024x678.jpg\" alt=\"\" class=\"wp-image-428 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/chiens-de-paille-1971-01-g-1024x678.jpg 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/chiens-de-paille-1971-01-g-300x199.jpg 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/chiens-de-paille-1971-01-g.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"603\" height=\"327\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/FBDAtF7TrGwGFCzHkHmha8ZFVu4.png\" alt=\"\" class=\"wp-image-429 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/FBDAtF7TrGwGFCzHkHmha8ZFVu4.png 603w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/FBDAtF7TrGwGFCzHkHmha8ZFVu4-300x163.png 300w\" sizes=\"(max-width: 603px) 100vw, 603px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Le film provoque la controverse lors de sa sortie en 1971, principalement \u00e0 cause de la longue s\u00e9quence du viol qui constitue la sc\u00e8ne centrale du film. Les critiques ont accus\u00e9 le r\u00e9alisateur Sam Peckinpah d&rsquo;id\u00e9aliser le viol et de s&rsquo;engager dans un sadisme misogyne, notamment \u00e0 cause du caract\u00e8re ambigu de la sc\u00e8ne \u2014 apr\u00e8s avoir d&rsquo;abord r\u00e9sist\u00e9 Amy semble ensuite bienveillante envers son agresseur, cependant elle ressent des flash-back traumatisants. Les d\u00e9fenseurs de Peckinpah affirment que la sc\u00e8ne est sans ambigu\u00eft\u00e9, et que le traumatisme d&rsquo;Amy est trait\u00e9 avec v\u00e9racit\u00e9.<\/p>\n\n\n\n<p>Le film a suscit\u00e9 de vives r\u00e9actions, plusieurs critiques y ont vu une conception de la violence comme une forme de r\u00e9demption, et comme la c\u00e9l\u00e9bration fasciste de la violence et de l&rsquo;autod\u00e9fense, tandis que d&rsquo;autres le consid\u00e8rent comme anti-violent, soulignant la fin pessimiste comme la cons\u00e9quence de cette violence. Peckinpah d\u00e9fend son film et le pr\u00e9sente comme une exploration, et non une approbation de la violence, o\u00f9 il expurge ses obsessions.<\/p>\n<\/div><\/div>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Extrait du film<\/strong> VO<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Straw dogs (1971) - Sam Pekinpah\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/QST0ZghO4mk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><a href=\"http:\/\/www.archifilm.fr\/wp\/?redirect_to=random\">Consulter une autre fiche tir\u00e9e au hasard<\/a><\/h2>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>_ Bande annonce _ Mots cl\u00e9s Sam Peckinpah, Dustin Hoffman, Susan George, drame, thriller, village ferme, maison isol\u00e9e, maison de famille, r\u00e9novation _ R\u00e9sum\u00e9 (d&rsquo;apr\u00e8s wikipedia) Le film fait partie, avec D\u00e9livrance de John Boorman et Orange m\u00e9canique de Stanley Kubrick, des trois films embl\u00e9matiques de l&rsquo;ultra-violence dans le cin\u00e9ma am\u00e9ricain des ann\u00e9es 1970. Il &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/archifilm.fr\/wp\/?p=298\" class=\"more-link\">Lire la suite de<span class=\"screen-reader-text\">\u00ab\u00a0Chiens de paille (Les), Sam Peckinpah, 1971\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-298","post","type-post","status-publish","format-standard","hentry","category-ressources"],"featured_media_urls":[],"_links":{"self":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/298","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=298"}],"version-history":[{"count":8,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/298\/revisions"}],"predecessor-version":[{"id":430,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/298\/revisions\/430"}],"wp:attachment":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=298"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=298"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=298"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}