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Roy Julie 2009 Memoire.Pdf (2.780Mb) Direction des bibliothèques AVIS Ce document a été numérisé par la Division de la gestion des documents et des archives de l’Université de Montréal. L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. 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Université de Montréal LE CORPS ET L'INCONSCIENT COMME ÉLÉMENTS DE CRÉATION DANS LE CINÉMA D'ANIMATION DE MICHÈLE COURNOYER Par Julie Roy Histoire de l'art et études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des arts et des sciences en vue de l'obtention du grade de maîtrise en études cinématographiques Mars, 2009 ©, Julie Roy, 2009 Université de Montréal Faculté des études supérieures et postdoctorales Ce mémoire intitulé: LE CORPS ET L'INCONSCIENT COMME ÉLÉMENTS DE CRÉATION DANS LE CINÉMA D'ANIMATION DE MICHÈLE COURNOYER présenté par: Julie Roy . a été évalué par un jury composé des personnes suivantes: Président rapporteur: Silvestra Mariniéllo Directeur de recherche: Michèle Garneau Membre du jury: Germain Lacasse RÉSUMÉ FRANÇAIS Michèle Cournoyer est une des figures phares du cinéma d'animation contemporain. Ses films sont caractérisés par leur forc~ d'évocation et par la présence fréquente de métamorphoses surréalisantes. C'est à partir de la problématique suivante que nous avons élaboré notre plan de travail: comment Michèle Cournoyer, à travers différents dispositifs introspectifs (autofiction), créatifs (automatisme) et techniques (photographie, rotoscopie, dessin) cherche à faire du corps et de l'inconscient deux dimensions fondamentales de son cinéma? Notre analyse démontrera en quoi les films de la cinéaste relèvent d'une vision très personnelle, marquée par le recours à une forme d'écriture cinématographique féminine s'inscrivant dans une démarche d'autofiction. De plus, il sera question de la récurrence d~s thèmes abordés dans ses courts métrages ainsi que de l'influence de plusieurs courants artistiques modernes sur son œuvre, et plus particulièrement du surréalisme. Enfin, notre réflexion se 'poursuivra à partir de l'observation suivante: les films de Cournoyer se distinguent, à l'intérieur même du cinéma d'animation d'auteur, par une volonté manifeste de contrer le déficit corporel qui caractérise en général ce cinéma. Au terme de notre recherche, nous constaterons que de nos trois axes d'analyse - cinéaste de l'a~tofiction, cinéaste de l'inconscient, cinéaste du corps - resurgit la psychanalyse, agissant comme le ciment qui réunit la pratique cinématographique de l'artiste à ses préoccupations les plus intérieures. MOTS CLÉS Écriture féminine; Autofiction; Surréalisme; Écriture automatique; Métamorphose ii ENGLISH SUMMARY Michèle Cournoyer is a pioneering figure in contemporary animated film. Her work is highly evocative and frequently contains surrealizing metamorphoses. We have based our work plan on the following core question: Through her use of various introspective (autofiction), creative (automatism) and technical (photography, rotoscopy, drawing) devices, how does Michèle Cournoyer seek to make the body and the subconscious two fundamental dimensions of her filmmaking? Our analysis will demonstrate the manner in which the filmmaker's works stem from a highly personal vision, marked by a feminine form of cinematographic writing that is grounded in an autofiction process. Additionally, our analysis will focus on recurring themes in her short films as weil as on the influence several modern artistic movements, particularly surrealism, have had on her work. Lastly, our study will address the following observation: Cournoyer's films are unique, even within the auteur animated film genre, owing to an explicit desire to go counter to the corporeal deficit which generally characterizes this form of cinema. At the conclusion of our research, we will see that our three main areas of analysis - autofiction filmmaker, filmmaker of the subconscious, filmmaker of the body - point to the re-emergence of psychoanalysis, which acts as the cement that binds the artist's filmmaking to her innermost concerns. KEYWORDS Feminine writing; Autofiction; Surrealism; Automatic writing; Metamorphosis iii TABLE DES MATIÈRES RÉSUMÉ FRANÇAIS .........................................................................................................................1 MOTS CLÉS ••••••••••••••••••••••••••••••••.••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 1 ENGLISH SUMMARY .......................................................................................................................11 KEY WORDS ...................................................................................................................................11 TABLE DES MATIÈRES ••••••.••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••...•.••..••.••• 111 LISTE DES FIGURES ........................................................................................................................ V DÉDiCACE •••••••••••••••••••••••••••••••••••••••••••••••••...••••••••••••••••••••• ; •••••••••••••••••••••••••••••...••••••••••••••••••••••••••• IX REMERCiEMENTS .......................................................................................................................... X AVANT-PROPOS ........................................................................................................................... XI INTRODUCTION .............................................................................................................................1 CHAPITRE 1 .................................................................................................................................... 5 CINÉASTE D'ANIMATION .......•......................................•.......•...•.•.•...............•.......................................... 5 FEMME CINÉASTE D'ANIMATION ........................................••.•••••••••••••.....•.....•.................................••.•••• 10 CINÉASTE DE L'INTIME .•.•.....•..............................................•.•.•.•.•...............•.....................................•.• 17 CINÉASTE DE L' AUTOFICTION .•.......................................•••••.•..•...•..........•......•...............................•.•••.•.. 27 CHAPITRE 2 - CONTEXTE ARTISTIQUE: SURRÉALISME •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 37 NAISSANCE DU SURRÉALISME •••..•..•............•........•........•.•.....•.•.•.•..........•.•.••.•••..........•.•......................... 38 SURRÉALISME ET CINÉMA .•..................•................•...........................•..................................•.....•..........40 SURRÉALISME ET CINÉMA D' ANIMATION .............................•.•••••••••••••••••••.•.....•..................................•.•••• 41 L'ESPRIT SURRÉALISTE COMME INSPiRATION ...•••••••••••••••.•.....................•...............•.••••.••••......•.•................ 51 Un processus créateur singulier................................................................................................. 51 La scénarisation ......................................................................................................................... 53 La métamorphose ............................................................................................. : ........................ 68 Le rêve ........................................................................................................, .............................. 79 Le désir ...................................................................................; .................................................. 82 Humour noir et jeux de langage ................................................................................................ 90 CHAPITRE 3 - LA QUESTION DU CORPS ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••.•••••••••••••••••••••••••••••• 95 LE CORPS CHEZ MICHÈLE COURNOYER ....•..........•.•.••••••••.....•.......•..........•..................•..•••.....................
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