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La Matière Du Passé : Une Analyse Du Film Edvard Munch De Peter Watkins

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La Matière Du Passé : Une Analyse Du Film Edvard Munch De Peter Watkins UNIVERSITÉ DU QUÉBEC À MONTRÉAL LA MATIÈRE DU PASSÉ: UNE ANALYSE DU FILM EDVARD MUNCH DE PETER WATKINS MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN COMMUN! CATION PAR ARIANE AUBIN-CLOUTIER AVRIL 2018 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.0?-2011 ). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire .» REMERCIEMENTS Elle est parfois sinueuse, la route de la rédaction. Elle s'étire sur des kilomètres et mène à une destination toujours changeante. J'aimerais prendre un temps pour remercier les personnes, nombreuses et nécessaires, qui ont parcouru un bout de chemin à mes côtés. Il y a tout d'abord mon professeur de philosophie, Frédérik Dufour, qui m'a initiée il y a de cela huit ans au film Punishment Park, d'un obscur cinéaste nommé Peter Watkins. Je me rappelle avoir été à la fois émerveillée et horrifiée par la puissance de ces images. Deux années plus tard, Diane Poitras me confrontait aux enjeux éthiques et esthétiques de la reconstitution historique, me transmettant alors sa passion pour le cinéma du réel. Fort heureusement, elle acceptait, quelques années plus tard, d'endosser la direction de ce mémoire. Martin Petitclerc se joignit alors à l'aventure, m'ouvrant l'esprit aux enjeux liés à la mémoire et à la connaissance du passé. Sa participation à mon jury, tout comme celle de Gilles Coutlée, alimenta considérablement mes réflexions. Il me serait impossible de passer sous silence mes complices de tous les jours, Fanie Pelletier et Balint Demers, avec qui je partage depuis des années un désir ardent de comprendre et de fixer sur image la beauté des luttes quotidiennes. Je franchis aujourd'hui cette étape grâce à vos critiques rigoureuses et à vos encouragements constants. Plusieurs des idées présentées dans ce mémoire ont germé aux suites des discussions colorées et animées que j'ai partagées avec mes camarades de classe, Sarah St-Denis, Marc Boulanger, Jean-Sébastien Morency et Marylin Chevrier. À vous et à celui qui a su guider ces échanges avec finesse, Mouloud Boukala, je suis particulièrement reconnaissante. J'aimerais ensuite remercier certaines personnes qui, par leur simple présence, contribuèrent à éloigner la grisaille du quotidien. Je pense aux colocataires et amis, Eugénie Loslier-Pellerin, Frédéric Legault, Claude Hurtubise et Isabelle Cadieux-Landreville, qui transformèrent l'austérité de mon bureau en un repère chaleureux. Je pense également à mon ami précieux, Martin Robert, qui eut la iii patience de commenter mes demandes de bourses et qui attisa mon intérêt pour l'histoire. Finalement, je pense à mes deux alliés de tous les jours, qui m'ont écoutée patiemment exposer mes incertitudes et hésitations, m'offrant quotidiennement leur présence, leur réconfort et un peu de leur folie. Merci à ma sœur Florence Aubin­ Cloutier et à mon copain Arnaud Dumas ; votre amour fut le meilleur carburant qui soit pour mener à bien ce voyage. Cette recherche a bénéficié du soutien fmancier du Conseil de recherche en sciences humaines du Canada (CRSH) et du Fonds de recherche du Québec- société et culture (FRQSC). TABLE DES MATIÈRES LISTE DES FIGURES.......... ...... ............. ...... .. ...... ... ... ..... ... ..................... ....... vt RÉSUMÉ....... .. ........................ .... ........................... ........ .. ... .............. ......... ...... Vll INTRODUCTION ................................... ..... .......... ............ ................ ......... .... ' CHAPITRE I PROBLÉMATIQUE : ÉTAT DES LIEUX, REVUE DE LITTÉRATURE ET OBJECTIFS VISÉS 1.1. État des lieux................ .. ........................................................................ 9 1.1.1 . D'une histoire-mémoire à une histoire de la mémoire............... 10 1.1.2 La révolution mémorielle.. .......................................... ............... 14 1.1.3. La mémoire à 1' écran................................................ ........ .... .. ... 16 1.2. Revue de littérature.. .. ..... ... ............................ .... .. .... ..... .......... ............... 21 1.3. Objectifs visés.. ................................. ................ .. ...... ............................. 26 CHAPITRE II CADRES THÉORIQUE ET CONCEPTUEL 2.1. Histoire et mémoire............................................ .................................. .. 30 2.2. Paul Ricœur et l'opération historiographique.................................. ........ 34 2.2.1. Documentation: à l'école du soupçon.. .................. ..................... 35 2.2.2. Explication/compréhension : découper le vécu temporel............ 37 2.2.3. Représentation: les pouvoirs de l'image................................ ...... 39 2.3 . Frank Ankersmit et l'esthétisme historiographique................................ 42 2.3.1. Sublime Historical Experience (Ankersmit, 2005).......... .. .. ....... 43 2.3.2. Johan Huizinga et The Waning ofthe Middle Ages (1919)......... 46 2.3.3. Traduire l'expérience en mots et en images.. .. .. .......................... 48 2.4. Georges Didi-Huberman........................................................................... 51 2.5. Pertinence communicationnelle................................................................ 57 CHAPITRE III CADRE MÉTHODOLOGIQUE............... ... .......... .............. .................... ... ........ 60 v CHAPITRE IV ANALYSE DES CONDITIONS DE PRODUCTION : LA MATIÈRE MÉMORIELLE À L' ŒUVRE DANS EDVARD MUNCH 4.1. L'élaboration d'Edvard Munch : une démarche historienne ? . .. ... ... ... .. 65 4.2. La fusion des expériences : une mémoire partagée.................... ............ 71 4.2. 1. La mémoire de Munch.... .... ............... .. .. .................... .. ... ............ 71 4.2.2. L'expérience historique de Watkins... .. ...................... .. .. .......... .. 73 4.2.3. L'expérience des participants..... ............................ .................... 80 CHAPITRE V ANALYSE FORMELLE : TRADUIRE L'EXPÉRIENCE SOUS FORME FILMIQUE 5.1. Un film à couleur expressionniste....................... .. .. ......... ..................... 83 5.2. Une structure fragmentée et anachronique... .... .................. ............. .. .... 91 5.3 . Figurer l'émotion.............................. .. ......... ... ... ................................... 99 CONCLUSION................ ... ... ... ...... .... .. .... ... .......... .. .. .. .. ... .. .............. ...... .. .... .... 108 APPENDICE A FICHE TECHNIQUE EDVARD MUNCH, LA DANSE DE LA VIE... ............. 116 BIBLIOGRAPHIE.................................. ... .. .......... .. ... .............. ...... .... .............. 117 FILMOGRAPHIE.............................................. .......... ....... .. .... ..... ... .. .............. 124 LISTE DES FIGURES Figure Page 2.1. Reproduction du pan de La Madone des ombres (Fra Angelico, environ 1450) 52 2.2. Arcade with a Lantern (Guardi, environ 1765) 54 5.1. Les toiles intégrées au récit I 85 5.2. Les toiles intégrées au récit II 86 5.3. Les regards caméra 89 5.4. Les premières apparitions de Mme Heiberg 103 RÉSUMÉ Ce travail de recherche vise, par l'analyse du film Edvard Munch (Watkins, 1974), 1' engagement d'un dialogue entre la discipline historique et ses représentations filmiques. Plus précisément, il s'agit d'étudier le lien complexe entre expérience, mémoire et temporalité sous la lunette des études cinématographiques. Si 1'histoire écrite fixe le temps et permet au lecteur de le remonter à sa guise, l'histoire imagée infiltre cette brèche temporelle et permet au spectateur d'expérimenter le passé. Or, comment traduire un tel contact historique sous forme intelligible? Et si 1'écriture cinématographique, avec ses images chargées affectivement, était plus propice à la découverte et à la transmission des sentiments et humeurs du passé ? Partant des acquis de la New Philosophy of History, il s'agit donc d'envisager le lieu filmique comme un territoire donnant accès à l'expérience historique, c'est-à-dire au repli d'une part du passé sur le présent du spectateur. L'analyse ainsi proposée se déploie en deux temps : il y a d'abord le choc vécu par Watkins au contact des œuvres de Munch. Il s'agit ici de cerner les liens qui unissent les deux artistes, tant au niveau affectif que politique, puis d'entrevoir leur implication dans l'élaboration du film. Vient ensuite l'analyse esthétique qui, en tirant profit des chocs mémoriels et temporels, étudie la transmission de l' expérience de Watkins aux spectateurs qui y sont réceptifs.
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