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            <title xml:lang="en">Anatomy of Excess: An Aesthetic of the Extreme in the Spanish Cinema of Democracy</title>
            <title xml:lang="fr">Anatomie de l'outrance : une esthétique du débordement dans le cinéma espagnol de la démocratie</title>
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            <idno type="stamp" n="UNIV-BPCLERMONT" corresp="PRES_CLERMONT">Université Blaise Pascal - Clermont-Ferrand II</idno>
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                <title xml:lang="en">Anatomy of Excess: An Aesthetic of the Extreme in the Spanish Cinema of Democracy</title>
                <title xml:lang="fr">Anatomie de l'outrance : une esthétique du débordement dans le cinéma espagnol de la démocratie</title>
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                <term xml:lang="en">boundaries</term>
                <term xml:lang="en">democraty</term>
                <term xml:lang="en">extreme</term>
                <term xml:lang="en">aesthetic</term>
                <term xml:lang="en">excess</term>
                <term xml:lang="en">Spanish cinema</term>
                <term xml:lang="fr">frontières</term>
                <term xml:lang="fr">démocratie</term>
                <term xml:lang="fr">débordement</term>
                <term xml:lang="fr">esthétique</term>
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                <term xml:lang="fr">cinéma espagnol</term>
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              <p>Several films produced after the death of the dictator Franco and Spain’s entry into postmodernity show an undeniable penchant among some Spanish film-makers for excess and the extreme. Names like Pedro Almodóvar, Bigas Luna, Álex de la Iglesia, Santiago Segura and Juanma Bajo Ulloa, among others, spring to mind when we wonder about the impression of excess that emanates from part of the cinematographical production of democracy. This work aims to explore the mechanisms and stakes of excess through a collection of full-length films by these five directors. It will contemplate this notion, the keystone of a cinema that deforms and dissolves all limits which at first is elusive, based on the principles of distortion and the extreme. Because it is constantly manipulated, deformed, and even dissected, the body occupies a central place in the aesthetic of excess: the textual migrations and re-elaborations that take place within the filmic body respond to both the outpourings of the bodies of flesh and blood and the excesses of the social body in the different fictional universes. These operations of referential metamorphosis pertain to an eminently postmodern process of recycling, which involves the hybridisation of materials that come from Spanish tradition, on the one hand, with those from contemporary globalised culture on the other. Means of expression of a “Spanishness” that is subjected to the logical transformations of postmodernity, excess constitutes an aesthetic that tends to blur limits, to such a point that it crosses the boundaries of the film to contaminate the extra-cinematographical periphery.</p>
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              <p>Un certain nombre de films réalisés après la mort du dictateur Franco et l’entrée de l’Espagne dans la postmodernité témoignent d’une indéniable prédilection de certains cinéastes espagnols pour l’excès et le débordement. Des noms tels que Pedro Almodóvar, Bigas Luna, Álex de la Iglesia, Santiago Segura ou Juanma Bajo Ulloa, entre autres, s’imposent à l’esprit lorsqu’on s’interroge sur l’impression d’outrance qui émane d’une partie de la production cinématographique de la démocratie. Le présent travail a pour ambition d’explorer les mécanismes et les enjeux de l’outrance, à travers un corpus réunissant plusieurs longs-métrages de ces cinq réalisateurs. Pierre angulaire d’un cinéma qui déforme et dissout toutes les frontières, cette notion, à première vue difficile à saisir, sera envisagée comme véritable concept esthétique, fondé sur les principes du franchissement et de la distorsion. C’est en particulier autour du corps, constamment manipulé, déformé, voire disséqué, qu’elle se polarise : aux épanchements des organismes de chair et aux débordements du corps social dans les différents univers fictionnels, répondent, chez chaque cinéaste, les migrations et réélaborations textuelles qui se jouent au sein du corps filmique. Ces opérations de métamorphose référentielle relèvent d’un processus de recyclage éminemment postmoderne, qui suppose l’hybridation de matériaux provenant tout autant de la tradition espagnole que de la culture mondialisée contemporaine. Voie d’expression d’une « espagnolité » soumise aux logiques transformatrices de la postmodernité, l’outrance apparaît comme une esthétique qui tend définitivement à brouiller les frontières, à tel point qu’elle finit même par franchir celles du film pour contaminer la périphérie extracinématographique.</p>
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