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UNIVERSITÉ DU QUÉBEC À MONTRÉAL LE CONTE MERVEILLEUX (D’)APRÈS DISNEY LA RESÉMANTISATION D’UN GENRE THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN SÉMIOLOGIE PAR CARMÉLIE JACOB DÉCEMBRE 2020 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse 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.10-2015). 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 Mes premiers remerciements vont à mes directeurs de thèse, Johanne Villeneuve et Jean-François Côté, qui m’ont soutenue dans ce long parcours avec patience et bienveillance, et ont su croire en mon projet. Cette thèse ne serait pas la même sans leurs lectures attentives, leurs commentaires judicieux et les discussions éclairantes que nous avons eues. Plusieurs autres professeurs m’ont accompagnée au cours de ces années, et, quoique je ne puisse tous les nommer, je m’en voudrais de ne pas mentionner Anne Élaine Cliche et Robert Dion, dont les conseils, la confiance et l’amitié m’ont été précieux. Il me faut aussi souligner l’importance qu’ont eue mes collègues et amis au cours de ce cheminement. Je pense tout particulièrement à Marie-Noëlle Huet, à David Hébert, à Annie-Claude Boulianne et à Nelly Desmarais, qui ont été d’inestimables partenaires de discussion, de recherche et de rédaction. Merci aussi à Mathieu Charlebois et à Kevin Lalumière d’avoir si bien su comment être là pour moi dans les dernières étapes de cette thèse. Et surtout, merci de tout cœur à mes parents, Denis et Joanne Jacob, pour leur soutien indéfectible et leurs tentatives renouvelées de comprendre et d’expliquer ce qu’est la sémiologie. Ma mère, tout particulièrement, a été la lectrice la plus attentive de mes moindres articles, l’auditrice la plus captive de mes communications, et je lui suis reconnaissante d’avoir été pour moi ce public qu’on trouve rarement chez les non- initiés. C’est aussi grâce à mes parents que j’ai pu visiter un parc Disney pendant ce doctorat et y faire des observations qu’un travail de recherche n’aurait pas égalées. iii Enfin, je tiens à témoigner ma gratitude au Conseil de recherche en sciences humaines (programme des bourses d’études supérieures du Canada Joseph-Armand-Bombardier) et à la Faculté des Arts de l’UQAM (programme FARE) pour leur financement, sans lequel cette thèse n’existerait pas. AVANT-PROPOS Des passages de cette thèse, tirés du chapitre II, sont parus dans l’article suivant : Jacob, Carmélie. 2018 (printemps-été). « La reine est morte. Reflets de la filiation dans !"#$%&'"$()*%%*% de Guillaume Corbeil », +#$,&*-&./01*%, vol. XLIII, no 3, p. 57-73. TABLE DES MATIÈRES AVANT-PROPOS ....................................................................................................... iv! LISTE DES FIGURES ............................................................................................... viii! RÉSUMÉ ...................................................................................................................... ix! ABSTRACT ................................................................................................................. xi! INTRODUCTION ......................................................................................................... 1! CHAPITRE I Walter Elias Disney : L’emblème du conte de fées hollywoodien .... 39! 1.1! L’enfance de Walt .............................................................................................. 44! 1.2! L’avènement artistique ...................................................................................... 50! 1.3! Les premiers contes de Disney .......................................................................... 53! 1.4! Le nouveau départ hollywoodien ....................................................................... 58! 1.5! La genèse du 230%%$)&4$%(*5 ............................................................................. 65! 1.6! La fin de l’âge d’or ............................................................................................ 80! 1.7! L’exil du monde ................................................................................................. 83! CHAPITRE II La sélection, première étape de la transformation ............................ 91! 2.1! La diffusion du conte oral .................................................................................. 94! 2.2! Les transcriptions : une apparition dans la mémoire externe .......................... 109! 2.2.1! Straparola et Basile, les plumes de l’oralité .......................................... 112! 2.2.2! La naissance du conte de fées sous le Roi Soleil .................................. 117! 2.2.3! La subtile resémantisation des frères Grimm ........................................ 129! 2.3! Blanche Neige, Cendrillon et la Belle au bois dormant; persécutées et muses de Disney ....................................................................................................................... 133! 2.3.1! Un premier topos : l’héritage de Psyché ............................................... 134! 2.3.2! Origines et variantes de 630()7*&8*$1* (AT709) ................................. 144! vi 2.3.3! Origines et variantes de 2*(9"$33#( (AT510a) ...................................... 155! 2.3.4! Origines et variantes de :0&6*33*&0;&<#$%&9#"/0(- (AT410) ................ 164! CHAPITRE III Les transformations narratives ....................................................... 171! 3.1! Une mise en valeur des hypotextes littéraires .................................................. 173! 3.1.1! De « Sneewittchen » à =(#>&?7$-*&0(9&-7*&=*@*(&4>0"A% ................... 178! 3.1.2! 2*(9"$33#(, de l’élite française au cinéma populaire ............................ 190! 3.1.3! =3**'$(1& 6*0;-5, à mi-chemin entre « La Belle au bois dormant » et « Dornröschen » ................................................................................................. 196! 3.2! Une destinée à accomplir ................................................................................. 202! 3.3! Un décentrement des personnages ................................................................... 210! CHAPITRE IV Les transformations formelles ...................................................... 219! 4.1! L’avènement du conte animé filmique ............................................................ 224! 4.2! Raconter à l’écrit; raconter à l’écran ............................................................... 230! 4.3! Le dessin animé : parfait médium du merveilleux ........................................... 244! 4.4! Des films en peaux de mille bêtes ................................................................... 249! 4.5! L’esthétique disneyenne .................................................................................. 273! 4.6! Les effets musicaux et sonores ........................................................................ 280! CHAPITRE V Les transformations matérielles ...................................................... 288! 5.1! La synergie et la thématisation : nécessaires clés de l’univers disneyen ......... 291! 5.2! Les produits dérivés ......................................................................................... 303! 5.3! Une actualisation grandeur nature : les parcs d’attraction ............................... 319! CHAPITRE VI Les transformations culturelles ..................................................... 343! 6.1! L’B/*"$)0(&4"*0/&de trois princesses ............................................................ 345! 6.2! Peut-on parler d’impérialisme? ........................................................................ 359! 6.2.1! Exporter l’B/*"$)0(&4"*0/ .................................................................. 359! 6.2.2! Exporter l’B/*"$)0( ?05&#A&:$A* .......................................................... 364! 6.2.3! Exporter l’Amérique : Disneyland au-delà de ses frontières ................ 377! CONCLUSION ......................................................................................................... 402! vii BIBLIOGRAPHIE .................................................................................................... 420! LISTE DES FIGURES Figure Page 4.1 Illustration d’Arthur Rackham pour « The Old Woman in the Woods » .... 255 4.2 Illustration de Heinrich Kley tirée de son =C$DD*(<;)7 ............................... 257 4.3 Illustration de Wilhelm Busch tirée de E0,&;(9&E#"$-D ............................. 257 4.4 Illustration de Helen Beatrix Potter tirée de !7*&!053#"&#A&F3#;)*%-*" ......
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  • FRANTIŠEK VYSTRČIL Režisér Kresleného Filmu

    FRANTIŠEK VYSTRČIL Režisér Kresleného Filmu

    UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická fakulta Katedra divadelních a filmových studií FRANTIŠEK VYSTRČIL Režisér kresleného filmu FRANTISEK VYSTRCIL The director of cartoon films Bakalářská diplomová práce MARKÉTA POHŮNKOVÁ (Teorie a dějiny dramatických umění) Vedoucí Práce: Doc. PhDr. Vladimír Suchánek, Ph.D. Olomouc 2016 ABSTRAKT V Předložené bakalářské Práci se zabývám osobností Františka Vystrčila, animátora, výtvarníka, scenáristy a režiséra kreslených filmů. Práce bude vedle osobních dat nahlížet Především na profesní etapu čtyřicátých až devadesátých let 20. století. Součástí jsou i analýzy vybraných Vystrčilových kreslených filmů. Tyto filmy jsem vybírala na základě osobního Postoje, a také z hlediska prezentace jednotlivých dekád profesní éry autora. Cílem mé Práce je Představit osobnost a tvorbu Františka Vystrčila jako oPomíjeného významného tvůrce v Československu Klíčová slova: Kreslené filmy, animace, František Vystrčil, O místo na slunci, Kosmodrom r. 1999, Citáty, Jak Bzuk a Ťuk Putovali za sluníčkem ABSTRACT In the attached bachelor work I deal with the animator, artist, screenwriter and director of cartoon films, Frantisek Vystrcil. I deal with his Personal life and his Professional era from the 1940s to the 1990s of the 20th Century. The subject of this work is an analysis of four of Vystrcil’s films. I chose these films on the basis of my oPinion and also as a Presentation of individual decades of his work. The purpose of this work is to introduce personality and work of Frantisek Vystrcil as the forgotten author of cartoon films in Czechoslovakia. Keywords: Cartoons films, animation, Frantisek Vystrcil, A Place in the sun, Kosmodrome 1999, Quotations, How Bzuk and Tuk traveled in the sun Děkuji vedoucímu mé bakalářské Práce Doc.