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Ruptures Et Disjonctions Dans Le Cinéma De Djibril Diop Mambety : Le Film-Griot Ou L’Invention D’Une Oralité Moderne

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Ruptures Et Disjonctions Dans Le Cinéma De Djibril Diop Mambety : Le Film-Griot Ou L’Invention D’Une Oralité Moderne Université de Montréal Ruptures et disjonctions dans le cinéma de Djibril Diop Mambety : le film-griot ou l’invention d’une oralité moderne par Julie de Lorimier Département d’histoire de l’art et d’études cinématographiques Faculté des Arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de maîtrise en études cinématographiques août 2015 © Julie de Lorimier, 2015 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : Ruptures et disjonctions dans le cinéma de Djibril Diop Mambety : le film-griot ou l’invention d’une oralité moderne présenté par : Julie de Lorimier a été évalué par un jury composé des personnes suivantes : Germain Lacasse, président-rapporteur André Habib, directeur de recherche Silvestra Mariniello, membre du jury Mémoire accepté le 27 octobre 2015 iii Résumé Cette étude se penche sur le geste singulier se dégageant de l’œuvre du cinéaste sénégalais Djibril Diop Mambety. Une force de « mise en présence » y est identifiée, dont la présente recherche démontre qu’elle s’apparente à l’action médiatrice du griot des traditions orales d’Afrique de l’Ouest. Singulièrement, cette force tenant de l’oralité ne repose pas sur le récit ou la parole comme discours, mais relève au contraire de ruptures narratives et de disjonctions image-son qui mettent le récit en question, invitant le spectateur à fréquemment réviser son interprétation de ce qu’il voit et entend. C’est le film lui-même qui devient alors griot, actualisant un lien en constante transformation entre l’univers qu’il porte et son spectateur. En instaurant un rapport critique à l’égard du monde dans lequel s’inscrit le récit, les multiples ruptures dans le cinéma de Mambety sont également les brèches par lesquelles se crée un espace d’accueil pour la marginalité, qui habite tous ses films. La tradition orale et le griot sont présentés en premier lieu, de manière à poser les bases à partir desquelles peut se développer la réflexion. La description et l’analyse des films Parlons Grand-mère et Le franc démontrent en quoi ceux-ci sont des films médiateurs, qui se comportent en griots. Cette découverte ouvre la voie à une réflexion plus large sur la médiation au cinéma, où la portée éthique du film-médiateur est explorée, ainsi que la nature des relations possibles entre médiation et récit. Finalement, l’analyse du film Hyènes, eu égard à la différence qu’il présente en déployant un récit plus linéaire, est l’occasion d’approfondir une compréhension à la fois de ce que font les films de Mambety et de ce que peut la médiation au cinéma de façon plus large. Mots-clés : cinéma – cinéma africain – Mambety – griot – oralité – tradition orale – Afrique de l’Ouest – médiation audiovisuelle – rupture – non-linéarité – disjonctions image-son – marginalité – Parlons Grand-mère – Le franc – Hyènes iv Abstract This study examines how the mediatory action of the griot in West African oral traditions is at work in the films of Senegalese filmmaker Djibril Diop Mambety. This force of orality, of mise-en-présence, emerges in Mambety’s films from narrative disruptions and sound-image disjunctions. Instead of relying on narrative or speech as a discourse, this force of orality challenges the story’s consistency, inviting the viewer to frequently revise his or her interpretation of what is being seen and heard. The film itself becomes griot, a griot which links the world borne by the film and the spectator in a dynamic and ever-changing interplay. By fostering, through these disruptions, a critical stance toward the world on which depends the narrative, Mambety’s cinema makes room for marginality and exclusion, which inhabit all his films. Oral tradition and griot are first defined, followed by an analysis of how the films Parlons Grand-mère and Le franc are mediator films, functioning as griots. This opens the way for a broader reflection on the ethical significance of film-as-mediator, as well as the possible ties between mediation and narrative. Finally, an analysis of the film Hyènes, on account of its more linear narrative exposition, provides an opportunity to deepen our understanding of Mambety’s filmmaking, and to explore the greater implications of mediation in cinema. Keywords: cinema – African cinema – Mambety – griot – orality – oral tradition – West Africa – audio-visual mediation – breakages – nonlinearity – image-sound disjunctions – marginality – Parlons Grand-mère – Le franc – Hyènes v Table des matières Résumé .......................................................................................................................................... iii Abstract ......................................................................................................................................... iv Table des matières .......................................................................................................................... v Remerciements .............................................................................................................................. vi Introduction : Djibril Diop Mambety, le mauvais garçon du cinéma africain ......................... 7 1. Tradition orale, griot et cinéma .............................................................................................. 20 2. Du griot dans le film au film-griot .......................................................................................... 31 2.1 Parlons Grand-mère : l’évidence du griot ........................................................................................ 31 Introduction ............................................................................................................................................................... 31 2.1.1 Parler de Yaaba .............................................................................................................................................. 32 2.1.2 Description ...................................................................................................................................................... 35 2.1.3 Un effet bonimenteur .................................................................................................................................. 41 2.1.4 Parler avec Yaaba; cinéma chamanique et effet film de famille ................................................ 44 2.2 Le franc : quand le son met l’image en question ............................................................................ 48 Introduction ............................................................................................................................................................... 48 2.2.1 Description de l’ouverture du Franc ..................................................................................................... 50 2.2.2 À l’écoute des souffles ................................................................................................................................. 54 Conclusion : accueil de différents registres, circulation et transformation ................................... 64 3. La médiation et la place du récit ............................................................................................. 66 Introduction ................................................................................................................................................. 66 3.1 Médiation et événement ...................................................................................................................... 67 3.2 Au sujet la présence ............................................................................................................................. 71 3.3 Le cas particulier de Hyènes .............................................................................................................. 76 3.3.1 Récit linéaire et transmission .................................................................................................................. 76 3.3.2 Description de la finale de Hyènes ......................................................................................................... 80 3.3.3 Pardon et abnégation : l’impossible comme source de possibles ............................................ 84 3.3.4 Ruptures et rapport au tout – Le lien de l’homme et du monde .............................................. 86 Conclusion ..................................................................................................................................... 93 L’invention d’une oralité moderne ......................................................................................................... 94 Bibliographie ................................................................................................................................. 97 Filmographie ............................................................................................................................... 101 vi Remerciements Tout d’abord, je tiens à remercier mon directeur André Habib dont l’accueil, la confiance valorisante et le soutien indéfectible, ainsi que le regard critique toujours juste m’ont favorablement accompagnée tout au long de ce parcours. Je tiens également à remercier tous les professeurs qui m’ont grandement inspirée et activement encouragée au cours de cette recherche : Michèle Garneau, Marion Froger, Serge Cardinal. Un merci tout spécial à Silvestra Mariniello, qui m’a ouverte à des perspectives décisives; ce mémoire ne serait pas ce qu’il est sans cette précieuse rencontre.
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