Les Diables (2002) Vk
Alana Fekety
Le ralisateur Christophe Ruggia, accus d'"attouchements" sur l'actrice Adle Haenel lorsqu'elle tait adolescente, va tre prsent un juge d'instruction jeudi en vue d'une ventuelle mise en examen, a-t-on appris auprs du parquet de Paris.
Le cinaste de 55 ans, qui conteste cette mise en cause, avait t interpell mardi matin avant d'tre plac en garde vue pendant prs de deux jours. Le parquet a prcis qu'une information judiciaire devait tre ouverte dans la matine.
Ces agissements se seraient notamment produits durant le tournage du film "Les Diables" (2002) ralis par M. Ruggia et dans lequel, alors ge de 13 ans, elle incarne une fillette autiste qui fugue sans arrt pour retrouver ses parents.
Aprs avoir tmoign auprs de Mediapart et refus dans un premier temps de saisir la justice, Adle Haenel avait finalement port plainte quelques jours aprs l'ouverture par le parquet de Paris d'une enqute pour "agressions sexuelles" sur mineure de moins de 15 ans "par personne ayant autorit", et "harclement sexuel".
Entendue par les enquteurs le 26 novembre et le 2 dcembre, elle avait alors expliqu dans un communiqu avoir dcid de "s'engage(r) activement dans cette procdure, considrant qu'il est de sa responsabilit de justiciable comme de personnalit publique d'y prendre part, au regard de la gravit des faits dnoncs et des consquences pour chacun".
Christophe Ruggia, peu connu du grand public, s'est dfendu plusieurs reprises dans les mdias, assurant par exemple avoir "commis l'erreur de jouer les pygmalions avec les malentendus et les entraves qu'une telle posture suscite".
Ces accusations ont provoqu un sisme dans le milieu du cinma franais, jusque-l rest assez impermable au mouvement #MeToo. Dans le sillage de l'affaire Haenel, de nouvelles accusations de viol portes par une photographe franaise contre le clbre ralisateur franco-polonais Roman Polanski avaient toutefois branl de nouveau le milieu du 7e art.
O presente trabalho busca promover uma aproximao terica entre a inconicidade, capacidade dos signos de transmitirem qualidades de um objeto, e uma perspectiva complexa da comunicao hipntica. Essa discusso desenvolvida em torno de trs tpicos principais. O primeiro a heterogeneidade semitica dos processos comunicacionais da hipnose; o segundo consiste numa articulao entre o individual e o coletivo; e o terceiro, nas relaes entre a noo de ethos e sentimento. O trabalho concludo destacando que, malgrado as dificuldades conceituais, as relaes entre iconicidade e complexidade proporcionam grandes contribuies no que diz respeito a temas importantes da comunicao hipntica, como a subjetividade, a experincia do terapeuta, a pesquisa e o pertencimento.
It is also worth mentioning that these signs somehow correspond to three general categories of the human experience, i.e., on how the mind captures what the world brings to it. According to (Peirce 1989Peirce, C. (1989). Writings of Charles Peirce: A chronological edition. Indianapolis: Indiana University Press.) these would be: firstness, experience of the possibility, of the qualitative, feelings, eternal present; secondness, the reaction, conflict, interaction, concrete, existing and singular phenomena; thirdness, the thinking, mediation, general, the symbolic plan. Therefore, signs recall these logical universes of human experience, establishing important links of research between the object they represent and what they produce in the minds of those under their influence.
In hypnotic terms, the gesture, the mime and the relational role, just like analogies, metaphors, words games and stories, have this subliminal capacity of transmitting the similitude of objects, reaching these dimensions of firstness. The quote below refers to a hypnotic induction performed (Erickson & Rossi, 1977Erickson, M. & Rossi, E. (1977). Hypnotic realities. New York: Irvington.) with a student interested in studying hypnosis, and is very illustrative:
When you attended the kindergarten, the task of learning letters and numbers seemed impossible... recognized letter A, differentiate a Q from an O was really, really hard. But you learned to draw some kind of mental images. You did not know by that time, but there was a permanent mental image. And later at school you developed other mental images of words or phrases. You developed more and more mental images, unaware that you were developing mental images... and you can retrieve all these images. (pp. 6 - 7).
This discussion brings about the importance of devising the hypnotic communication through complex forms of signs of different logics that intertwine in the relational process, weaving a very heterogeneous semiotic fabric. Generally speaking, in the example above we could consider that the emotional content evoked by iconicity is present in images, diagrams and metaphors, making up a diversified semiotic mesh that appeals to different dimensions of human experience. This perspective is particularly important to overcome a polarization typical to the hypnosis-related psychotherapy field (Michaux, 2002Michaux, D. (2002). Hypnose, langage et communication. Paris: Imago.), where some therapists tend to consider the suggestion as an eminently symbolic process (meaning), while others tend to conceive it as patterns of behavior or information.
The semiotic forms favor much smoother and fruitful transit between the notions of patterns and meanings, so as to favor not only an interchange between these, but also a discussion about their theoretical and clinical pertinence in terms of the capacity of addressing a given dimension of secondness or thirdness in a therapeutic process. The urgent clinical needs of a person screaming on the hospital hallways because she has her leg broken, may be purely oriented to a secondness dimension, through techniques that trigger analgesia and anesthesia. On the other hand, the grievance of a person that has just widowed may be more oriented to a thirdness dimension, where the symbolic reconstruction is crucial.
Both in metaphors and diagrams, the proposed similitude is also crossed by small differences to favor the therapeutic change. For diagrams, an element is included to change the order of difficulties, i.e., the creation of mental images that helped overcoming the obstacles. For the metaphor, this change implies a set of meanings or main messages that enable substantive changes on the story told by the subject. In both cases, these differences evoke experiences of the student herself, highly colored by emotional processes (firstness) on the baseline of her configurations about the topic being worked on.
Because of its appeal to the core dimensions of experience, iconicity brings about very helpful issues related to hypnotic communication. First, because this clinic of showing, i.e., characterized by iconicity in its semiotic forms, brings remarkable radicality regarding the access to the unconscious universe of the subject. To some extent the images, diagrams and metaphors organized in complex semiotic forms communicate something to other experience agencies beyond the self (Neubern, 2014Neubern, M. (2014). Subjetividade e complexidade na clnica psicolgica: superando dicotomias. Fractal, Revista de Psicologia, (26), 3, 835 - 852.), engaging them in processes on the baseline of identity, defenses, modes of relationship, production of suffering (including symptoms) and therapeutic possibilities (Schore, 2016Schore, A. (2016). Affect regulation and the origin of the self. New York: Routledge.).
It is like as if this show present, for example, in the actions of a role taken on by the therapist could (re)launch a way of communication and experience familiar to the subject, but not at a conscious level, that could be implied in different ways in deep firstness experiences. This process can promote changes on his/her life thematic that, through ordinary conscious ways, would never be possible. It is like as if to communicate with this unconscious universe of spiritual beings (Nathan, 2004Nathan, T. (2004). Du commerce avec les diables. Paris: Synthlabo.), ideas, wisdoms, dreams (Morin, 1991Morin, E. (1991). Les ides. La mthode IV. Paris: Seuil.), the therapist needed a semiotic array deeply intertwined by iconicity in the condition of what is first, previous and fundamental.
This setting enables a conceptual vagueness not inconsiderable in this effort of attachment, because there must be much more attachment and refinement in the relationships between a body of thought and the empirical field (Morin, 1991Morin, E. (1991). Les ides. La mthode IV. Paris: Seuil.). The iconicity itself, part of the broad range of the communication process, could easily promote this inaccuracy, becoming a sort of passe-partout conception of little usefulness to a clinical hypnosis survey. However, similar obstacles do not hinder tracing out potential paths where iconicity is thought in its limitations and potentials regarding the complex comprehension of communication in clinical hypnosis.
This would allow hypothesizing significant qualitative differences regarding the legitimacy provided by feeling to the role of this self-medium in trance in relation to the communities that represent, for its first truths, and regarding other filiations would tell little or nothing about its ethos. At the same that this self-medium represents a community that can learn how to reconnect with its roots in the ethos, its condition as active, creative subject with capacity of decision and negotiation (Morin, 1996Morin, E. (1996). A noo de sujeito. In D. Fried-Schnitman (org). Novos paradigmas, cultura e subjetividade. (J. Rodrigues, Trad). (pp. 45 - 58). Porto Alegre: Artmed. ), playing an outstanding role in the hypnotic process, both to the patient and to the therapist. In this light, it may open possibilities to clarify the debate between dissimulation and legitimacy in trance (Midol, 2010Midol, N. (2010). cologie des transes. Paris: Teraedre.) such as, for the therapist, in the decision of a theoretical school which can be close or far from his/her first references.
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