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L'écosystème Narratif Des Beatles Université de Montréal De personae à personnages Fictionnaliser les stars : l’écosystème narratif des Beatles par Emmelyne Péault Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté en vue de l’obtention du grade de M.A. en Études Cinématographiques Août 2018 © Emmelyne Péault, 2018 Résumé Ce projet de recherche-création explore le processus de fictionnalisation de la star de musique populaire au cinéma et dans les médias à travers l’exemple des Beatles. Nous observerons comment ces figures musicales iconiques, au fil de leurs multiples mises et remises en scène, se transformeront en quatre personnages transfictionnels autour desquels se développe un univers narratif transmédiatique entre réalité et fiction que nous tenterons de cartographier. Un univers dont nous décrirons la genèse, les principes et le fonctionnement et dont nous interrogerons les limites. Une exploration à la fois conceptuelle et créative qui s’accompagnera de la réalisation d’un long-métrage documentaire, Without the Beatles. Une symphonie d’incarnations et de variations autour des personnages de John, Paul, George et Ringo. Mots-clés : The Beatles, cinéma, musique, world-building, transfictionnalité, écosystème narratif, performance, personnificateur, tribute artist. i Abstract This research-creation project is a study on the fictionalisation of pop stars in the context of cinema and media in general, focusing on The Beatles as an example. We observe how The Beatles, from iconic musical figures, transformed into four transfictional characters through their iterative transmedial storytelling. This process resulted in the formation of a narrative universe which blurred the lines of reality and fiction. A universe which we will attempt to map and explore while describing its genesis, principles and functioning as well as by questioning its limits. This study is both conceptual and creative and accompanies the production of a feature length documentary, Without the Beatles. A symphony of embodiments and variations centered around the personalities of John, Paul, George and Ringo. Keywords: The Beatles, music, film, world-building, transfictionality, narrative ecosystem, performance, impersonator, tribute artists. ii Table des matières Résumé .................................................................................................................................... i Abstract .................................................................................................................................. ii Table des matières ................................................................................................................. iii Liste des illustrations .............................................................................................................. v Remerciements ...................................................................................................................... ix Introduction ............................................................................................................................ 1 1. De personae à personnages : les Beatles au cinéma ............................................................. 9 1.1. La naissance des personnages Beatles : image, identité et autofiction ......................... 11 1.2. Les réactualisations cinématographiques des personnages Beatles .............................. 22 2. ‘Telling the tale of The Beatles’ ........................................................................................ 35 2.1. La construction d’un univers narratif : entre fiction et non-fiction, histoires et Histoire ......................................................................................................................................... 40 2.2. Cartographier l’univers narratif des Beatles : le modèle de l’écosystème .................... 49 3. Without the Beatles : variations autour de John, Paul, George et Ringo. ............................ 55 3.1. ‘Let’s pretend’ : trois portraits de jeux ........................................................................ 58 3.1.1. Ringer Star : ‘embodied impersonation’ ou la stratégie mimétique du caméléon . 60 3.1.2. The McCartney Years : ‘the star performance’ ou la stratégie narcissique du paon ..................................................................................................................................... 61 3.1.3. The Fab Four : ‘stylized suggestion’ ou la performance analogique .................... 64 3.2. Une symphonie de la référence ................................................................................... 66 3.2.1. Un travail de l’intertexte ..................................................................................... 67 iii 3.2.2. Un essai transfictionnel ....................................................................................... 69 Conclusion............................................................................................................................ 71 Bibliographie ........................................................................................................................... i Filmographie .......................................................................................................................... v Œuvres inclues dans l’écosystème narratif ............................................................................. vi iv Liste des illustrations Fig. 1 : John célèbre ses vingt et un ans à Paris avec Paul. Fiona Fu, Beatle Kindergarten ‘Lesson Four’, 2012............................................................................................................................. 4 Fig. 2 : Caricature réalisée lors de ce dit concours. Jeanne Moulins, John & Yoko, 2010. ........ 5 Fig. 3 : Photogramme du film The First U.S. Visit (Apple, 1991), un remontage du film originel des Maysles (1964).. ............................................................................................................. 11 Fig. 4 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964)............................ 11 Fig. 5 : Photogramme du film The First U.S. Visit (Apple, 1991), un remontage du film originel des Maysles (1964). .............................................................................................................. 12 Fig. 6 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964)............................ 12 Fig. 7 : Photogramme du film The First U.S. Visit (Apple, 1991), un remontage du film originel des Maysles (1964). .............................................................................................................. 12 Fig. 8 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964)............................ 12 Fig. 9 : Photogramme du film The First U.S. Visit (Apple, 1991), un remontage du film originel des Maysles (1964). .............................................................................................................. 12 Fig. 10 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964).......................... 12 Fig. 11 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964).......................... 17 Fig. 12 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964).......................... 17 Fig. 13 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964). Lors de la scène d’ouverture, les Beatles se ‘cachent’ afin d’échapper aux hordes de fans. .............................. 18 Fig. 14 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964). Lorsqu’une scène de Beatlemania attend le groupe à la sortie du train, ceux-ci déjoueront les fans en traversant une rangée de taxis afin d’atteindre leur voiture. ................................................................... 18 Fig. 15 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964). George versus le directeur artistique. ............................................................................................................... 20 Fig. 16 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964). John versus la maquilleuse posh. ................................................................................................................. 20 v Fig. 17 : Photogramme du film A Hard Day’s Night (Richard Lester, 1964). Ringo versus le grand-père de Paul. ............................................................................................................... 20 Fig. 18 : Paul McCartney et Isla Blair lors de sa scène individuelle dans A Hard Day’s Night (Richard Lester, 1964). ......................................................................................................... 21 Fig. 19 : Photogramme du film Help! (Richard Lester, 1965). Ext. : les ‘two-up-two-down’, foyer des Beatles, inchangés par leur succès.......................................................................... 26 Fig. 20 : Photogramme du film Help! (Richard Lester, 1965). Int. : la supercherie se révèle. 26 Fig. 21 : Photogramme du film Help! (Richard Lester, 1965). George ordonne à son jardinier de tondre son tapis-pelouse ; ce dernier utilisera un dentier mécanique. ..................................... 26 Fig. 22 : Photogramme du film Help! (Richard Lester, 1965). Paul et son orgue rétractable. 26 Fig. 23 : Photogramme du film Help! (Richard Lester, 1965). Les Beatles arrivent aux Bahamas. ............................................................................................................................................
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