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Pour Une Poétique Des Effets Spéciaux Dans Les Films De Fantasy De 1990 À 2010 : Un Nouvel Art De Raconter ? Guillaume Dulong

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Pour Une Poétique Des Effets Spéciaux Dans Les Films De Fantasy De 1990 À 2010 : Un Nouvel Art De Raconter ? Guillaume Dulong Pour une poétique des effets spéciaux dans les films de fantasy de 1990 à 2010 : un nouvel art de raconter ? Guillaume Dulong To cite this version: Guillaume Dulong. Pour une poétique des effets spéciaux dans les films de fantasy de 1990 à2010: un nouvel art de raconter ?. Musique, musicologie et arts de la scène. Université Michel de Montaigne - Bordeaux III, 2012. Français. NNT : 2012BOR30056. tel-00994442 HAL Id: tel-00994442 https://tel.archives-ouvertes.fr/tel-00994442 Submitted on 21 May 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Université Michel de Montaigne Bordeaux III École Doctorale Montaigne Humanités (ED 480) THÈSE DE DOCTORAT EN « ETUDES CINEMATOGRAPHIQUES ET AUDIOVISUELLES » Pour une poétique des effets spéciaux dans les films de fantasy de 1990 à 2010 Un nouvel art de raconter ? Présentée et soutenue publiquement le 12 Mars 2012 par Guillaume DULONG Sous la direction de Pierre Beylot Membres du jury M. Pierre BEYLOT, Professeur des Universités, Université Michel de Montaigne Bordeaux III. Mme Réjane Hamus‐Vallée, Maître de conférences, Université d’Evry. Mme Raphaëlle Moine, Professeur des Universités, Université Paris III Sorbonne Nouvelle. Mme Geneviève Sellier, Professeur des Universités, Université Michel de Montaigne Bordeaux III. M. Guillaume Soulez, Maître de conférences habilité à diriger des recherches, Université Paris III Sorbonne nouvelle. 1 Remerciements, To the happy few comme dirait l’autre (en fait les autres) et plus précisément à ceux qui m’ont soutenu et ont surtout supporté mon enthousiasme mélancolique durant ce long long long parcours. J’exprimerai ma gratitude en premier lieu à ma famille… À ma mère et à mon père, ceux d’où je viens dans tous les sens du terme. À mon frère Arnaud, mon petit frère (d’une tête, voire deux, de plus que moi) de qui, oui, oui, je sais, je suis responsable… même si d’aucun pense que c’est l’inverse. À mon frère Olivier, dont les fines analyses sur le numérique et la passion pour l’I.A. (en vue de la destruction de l’humanité bien entendu) m’ont été précieuses, ce dont il peut n’être pas peu fier. À mon frère Aymeric et son épouse Gaëlle, lui me prouve qu’on peut être un mauvais perdant caractériel, elle, que, pour autant, on peut être aimable, les deux pour leur amour « présidentiel » d’EuroDisney. À ma sœur Aude, la petite personne, de m’avoir tanné le cuir en regardant un million de fois Le Seigneur des Anneaux et d’avoir fidèlement suivi Lost pendant 6 ans. Le reste du clan étant légion je les remercie de manière groupée et plus particulièrement mes grands‐parents, Germaine, Marguerite, Xavier et Jacques, mon parrain, Guy, ma parraine, Isabelle, et mon cousin, Laurent, ma marraine, Joëlle, et ma tante Frédérique. … À mes amis À Matthieu et Lise‐Marie (et Gaspard) qui sont toujours là, accueillants, bienveillants et patients. Et également aux tivoliens que je croise chez eux dans les grandes occasions, c’est cool ça me donne un semblant de vie sociale. À Boris, Bogui, pour la légèreté et l’insouciance apportée pendant mes passages à vides lors de nos joutes philosophiques dans le quartier St Pierre. À Marie (qui se reconnaîtra si, par hasard, il lui prenait l’envie d’ouvrir cette somme) d’avoir daigné m’écouter sans fausse commisération, ni déni agressif. 2 Aux membres du jury qui me font l’honneur de m’accorder leur attention, avec tout mon respect. À mon directeur de recherche, M. Pierre Beylot qui a su canaliser par ses conseils ma frénésie échevelée pour faire de ce travail quelque chose de présentable. À Mme Réjane Hamus‐Vallée dont le concours des études sur les effets spéciaux et leur archéologie me fut indispensable. À Mme Raphaëlle Moine dont les travaux sur les genres narratifs m’ont offert des pistes de recherches plus qu’appréciables. À Mme Geneviève Sellier d’avoir bien voulu siéger dans ce jury. À M. Guillaume Soulez d’avoir l’obligeance de juger mon travail. 3 Résumé de la thèse Notre étude repose sur la mise en rapport de deux phénomènes qui ont marqué la production cinématographique anglo‐saxonne et française de ces vingt dernières années. L'un économique et technique, est l'avènement de l'imagerie numérique remplaçant peu à peu le support argentique bouleversant les modes de composition, de diffusion et de réception des films. L’autre, esthétique et poétique, est la recrudescence et la popularité d’œuvres appartenant à un genre de récit de fantasy – ou de merveilleux. Comment comprendre la corrélation de l’innovation technique et du conservatisme narratif sans n’y voir que la manifestation d’un raidissement idéologique de la culture occidentale ? Celle‐ci nous apparaîtra comme un rapport de forces essentiel entre les images cinématographiques et numériques, une hybridation. Si l’art du récit gagne en hyperréalisme grâce au potentiel de simulation de l’informatique, il réinjecte le sens de la durée, du temps traditionnel, dans l’image quand l’intelligence de l’imagerie numérique est régie par l’urgence d’un temps réitératif amnésique. Nous nous attacherons donc à définir le genre de la fantasy et ses propriétés dans le langage cinématographique poétique. Déterminant la différence spécifique de ce genre comme étant un certain usage des effets spéciaux, nous étudierons ceux‐ci et leur emploi dans la fantasy comme effets de merveilleux. Enfin nous montrerons comment la mutation numérique de l'industrie et de l'imaginaire cinématographique met en crise le récit filmique et pourquoi nous pouvons considérer le retour de ce type de narrations comme une forme de résistance face à la nouvelle image, le néotraditionnalisme. 4 Table des matières Introduction.........................................................................................................10 Première partie: Le merveilleux au cinéma ...........................................31 I‐ Les genres narratifs ...................................................................................................32 1‐ Une notion problématique : propédeutique à l’étude du genre narratif ................. 33 a‐ Amphibologie du critère de classification...................................................................................................... 33 b‐ Le genre historique et le genre théorique ..................................................................................................... 35 c‐ La solution herméneutique................................................................................................................................... 49 2‐ La mise en intrigue .......................................................................................................................... 51 a‐ La discordance­concordance................................................................................................................................. 51 b‐ Le thème, la composition et le mode d’exposition de l’intrigue........................................................... 54 c‐ Histoire et fiction : vérité et mensonge ? ........................................................................................................ 55 d‐ L’exemple de la classification aristotélicienne et de son prototype tragique ................................ 57 3‐ Le niveau de vraisemblance du genre..................................................................................... 59 a‐ Le niveau de réception du récit .......................................................................................................................... 60 b‐ Le niveau de composition ..................................................................................................................................... 63 II‐ Le récit cinématographique....................................................................................65 1‐ « Un art sans avenir » ..................................................................................................................... 65 a‐ Le septième art .......................................................................................................................................................... 66 b‐ Opsis et muthos : un nouveau mode de narration ?.................................................................................... 69 c‐ Des genres originaux ............................................................................................................................................... 71 2‐ La syntaxe du récit cinématographique................................................................................. 73 a‐ L’image ou plan.......................................................................................................................................................... 74 §1 : Le cadre .................................................................................................................................................................... 75 §2 : Les angles de prise de vue................................................................................................................................ 76 §3 : Les mouvements
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