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L'interférence Musicale Au Cinéma, À La Télévision Et Dans Le Jeu Vidéo

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L'interférence Musicale Au Cinéma, À La Télévision Et Dans Le Jeu Vidéo Université de Montréal L’interférence musicale au cinéma, à la télévision et dans le jeu vidéo par Andréane Morin-Simard Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de Maître ès arts (M.A.) en études cinématographiques Août, 2014 © Andréane Morin-Simard, 2014 Résumé L’omniprésence de la musique populaire dans le paysage médiatique contemporain fait en sorte qu’il est fréquent de retrouver la même chanson dans plusieurs trames sonores. En s’appuyant sur des théories de l’intertextualité et de la communication, ce mémoire cherche à définir la relation qui s’établit entre deux ou plusieurs oeuvres narratives et / ou interactives partageant une chanson, ainsi qu’à appréhender les effets de ces recontextualisations multiples sur l’expérience spectatorielle et vidéoludique. Le premier chapitre examine les principales fonctions narratives et ludiques de la musique à l’aide d’une synthèse des principaux travaux sur la musique de film, de télévision et de jeu vidéo. Le deuxième chapitre interroge la notion de référence dans le contexte des usages répétés d’une même chanson populaire. Le concept d’interférence musicale est proposé à partir de différentes déclinaisons du terme « interférence » issues des travaux de Michel Serres, Sébastien Babeux et Philip Tagg. Les assises théoriques sont appliquées à l’analyse des trajectoires médiatiques respectives de deux chansons aux chapitres trois et quatre. La figure du réseau est finalement déployée afin d’illustrer la complexité des relations entre les œuvres intégrant une même chanson à leur mise en scène. Mots-clés : intertextualité; interférence; musique; chanson populaire; cinéma; télévision; jeu vidéo i Abstract Given the pervasiveness of popular music in the contemporary media landscape, it is not unusual to find the same song in multiple soundtracks. Based on theories of intertextuality and communication, this thesis seeks to define the relationship which develops between two or more narrative and / or interactive works that share the same song, and to understand the effects of such recontextualizations on the spectator’s and gamer’s experience. The first chapter reviews the narrative and ludic functions of music with a summary of major works on film, television and video game music. The second chapter questions the notion of reference in the context of repeated uses of the same popular song. The concept of musical interference is proposed using different variations on the term « interference » derived from the works of Michel Serres, Sébastien Babeux and Philip Tagg. The theoretical framework is applied to the analysis of the media trajectories of two songs in chapters three and four. Finally, the complex relationships between works incorporating the same song to their narrative are illustrated with the figure of the network. Keywords: intertextuality; interference; music; popular song; film; television; video game ii Table des matières Introduction ............................................................................................................................ 1 Chapitre 1: La musique dans les médias narratifs et interactifs ............................................. 5 1.1 Musique et cinéma narratif ............................................................................................... 6 1.1.1 La question de l’audibilité ......................................................................................... 6 1.1.2 Les fonctions de la musique dans le film ................................................................... 8 1.1.3 La musique populaire comme trame sonore ............................................................ 11 1.2 Musique et télévision ...................................................................................................... 16 1.2.1 Contexte de réception .............................................................................................. 16 1.2.2 Structure de diffusion ............................................................................................... 17 1.2.3 Format ...................................................................................................................... 20 1.3 Musique et jeu vidéo ...................................................................................................... 22 1.3.1 Les fonctions narratives et ludiques de la musique de jeu vidéo ............................. 23 1.3.2 Le jeu vidéo comme outil de circulation de la musique populaire .......................... 25 1.4 Synthèse .......................................................................................................................... 26 Chapitre 2 : De l’interférence sémantique à l’interférence musicale ................................... 28 2.1 L’intertextualité ............................................................................................................... 29 2.2 L’interférence .................................................................................................................. 35 2.2.1 Le schéma communicationnel .................................................................................. 38 2.2.2 Le parasitage sonore ................................................................................................ 41 2.3 La communication musicale ........................................................................................... 42 2.3.1 L’interférence codale : l’affectif et le cognitif ......................................................... 45 2.4 L’interférence musicale .................................................................................................. 48 Chapitre 3 : « In Dreams » ................................................................................................... 50 3.1 Signification originale et importance culturelle .............................................................. 51 3.1.1 Circulation populaire et trajectoire médiatique ........................................................ 51 3.1.2 Description et message ............................................................................................ 53 3.2 Première utilisation significative : Blue Velvet (David Lynch, 1986) et l’interférence codale .................................................................................................................................... 57 3.3 Utilisations interférentes subséquentes ........................................................................... 65 iii 3.3.1 In Dreams (Neil Jordan, 1999) ................................................................................ 65 3.3.2 Dollhouse : « Omega » (saison 1, épisode 12, 2009) ............................................... 68 3.3.4 Alan Wake (Remedy Entertainment / Microsoft Game Studios, 2010) ................... 72 3.4 Retour au sens premier? .................................................................................................. 76 Chapitre 4 : « Don’t Fear the Reaper » ................................................................................ 79 4.1 Circulation culturelle ...................................................................................................... 79 4.2 Le message de « Don’t Fear the Reaper » et ses utilisations médiatiques : incompétence ou interférence? ..................................................................................................................... 81 4.3 Le réseau de « Don’t Fear the Reaper » .......................................................................... 85 4.3.1 Facteurs qui jouent sur la position dans le réseau .................................................... 87 4.3.1.1 Le parasitage sonore ......................................................................................... 88 4.3.1.2 L’effet d’accumulation ...................................................................................... 88 4.3.1.3 L’intensité de l’affect suscité par la chanson dans un contexte narratif ou vidéoludique .................................................................................................................. 93 4.3.1.4 La reprise .......................................................................................................... 95 4.3.1.5 La « visibilité » ou l’importance culturelle ..................................................... 100 4.4 Modalités de reconfiguration du modèle ...................................................................... 100 Conclusion .......................................................................................................................... 103 Bibliographie ...................................................................................................................... 107 Annexe 1: Paroles d’« In Dreams » (Roy Orbison, 1963) ...................................................... i Annexe 2: Paroles de « Don’t Fear the Reaper » (Blue Öyster Cult, 1976) .......................... ii iv Liste des figures Figure 1: Schéma de la transmission d’information (Warren et Weaver 1969, p. 7) .......... 38 Figure 2: Schéma de l’intertextualité et de l’interférence (Babeux 2007, p. 96) ................. 39 Figure 3: Modèle de la communication musicale (Tagg 2013, p. 121) ............................... 43 Figure 4: Réseau interférentiel et intertextuel de « Don’t Fear the Reaper » ...................... 86 v Remerciements J’aimerais remercier tous ceux et celles qui ont
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