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L'audiovision Dans Le Cinéma D'animation

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L'audiovision Dans Le Cinéma D'animation L’audiovision dans le cinéma d’animation : contribution à la sémiotique Juan Alberto Conde Aldana To cite this version: Juan Alberto Conde Aldana. L’audiovision dans le cinéma d’animation : contribution à la sémiotique. Linguistique. Université de Limoges, 2016. Français. NNT : 2016LIMO0094. tel-01877580 HAL Id: tel-01877580 https://tel.archives-ouvertes.fr/tel-01877580 Submitted on 20 Sep 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE DE LIMOGES ECOLE DOCTORALE n° 527 : « Cognition, Comportement, Langage(s) » Centre de Recherches Sémiotiques (CeReS) Thèse pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ DE LIMOGES Sciences du langage, spécialité sémiotique Présentée et soutenue par Juan Alberto CONDE Thèse de doctorat doctorat Thèse de Le 16/12/2016 L’audiovision dans le cinéma d’animation expérimental Approche sémiotique Thèse dirigée par Jacques FONTANILLE JURY : Rapporteurs M. François Jost, Professeur émérite de l’Université de la Sorbonne Nouvelle (Paris 3), Directeur Honoraire du CEISME M. Laurent Jullier, Professeur à l’Université de Lorraine, IECA, (Nancy) Examinateurs M. Anne Beyaert, Professeur des Universités Université Montaigne à Bordeaux, Directrice du MICA, MSHA M. Jacques Fontanille, Professeur émérite, Université de Limoges, CeReS M. Sylvie Périneau, Maître de Conférences, Université de Limoges, EHIC A Tary, qui m'a appris à écouter les voix des animaux CONDE Juan Alberto | Thèse de doctorat en Sciences du Langage | Université de Limoges | 2016 2 Remerciements Je tiens tout d'abord à remercier le directeur de cette thèse, M. Jacques Fontanille, pour sa patience et sa diligence dans la correction de mes textes, mais aussi pour ses contributions à la sémiotique et à l’étude du langage sans lesquels ce travail n’existerait pas. Mes remerciements vont également à M. Álvaro Corral, directeur du département d’humanités à l’Université Jorge Tadeo Lozano, pour avoir géré le soutien institutionnel qui m'a permis de voyager en France et mener à bien mes études doctorales. Je tiens également à remercier à mes collègues de l'université Jorge Tadeo Lozano : les professeurs Douglas Niño et César Díaz, Carlos Pérez et Diana Guzmán. Nos conversations et discussions permanentes sur les différentes approches de la sémiotique et la passion partagée pour le cinéma ont nourri mon parcours de recherche et mes connaissances sur les différents aspects du cinéma. À mon ami Diego Sosa et mon frère Camilo Conde, avec lesquels j’ai débuté dans l’étude de l’animation, mes copains dans la route vers les lignes et figures en mouvement, mes plus sincères remerciements. À mes parents, mes premiers maitres, dans la connaissance et dans la vie : à ma mère pour le cœur et à mon père, pour la tête. Et aux deux pour l’affection. À ma sœur, qui m’a accueilli en Europe et avec qui j’ai partagé beaucoup de rires et de moments heureux dans le cœur froid du Nord. À la famille Couteau, ma famille en France, mes amis, les plus sincères remerciements. Et à Marina, l’autre membre colombienne de cette famille, merci d’ouvrir cette porte. À mes collègues du doctorat à Limoges : tant ceux qui ont réussi comme ceux qui sont partis : Soon Hong, Jia Ding, Ludovic Chatenet, Maria Barreto, Lina Liñán, Stephanie Delugeard, Valeria De Luca et toutes les autres… je tiens à les remercier pour les moments partagés et le soutien mutuel. CONDE Juan Alberto | Thèse de doctorat en Sciences du Langage | Université de Limoges | 2016 3 Et me remerciement le plus grand à Tary, le phare qui a guidé mes retours, pour me faire savoir qu’elle est toujours avec moi, même à la distance. Et à Emma, Abril et Julio Mayo, nous sommes la tribu. CONDE Juan Alberto | Thèse de doctorat en Sciences du Langage | Université de Limoges | 2016 4 Droits d’auteurs Cette création est mise à disposition selon le Contrat : « Paternité-Pas d'Utilisation Commerciale-Pas de modification 3.0 France » disponible en ligne : http://creativecommons.org/licenses/by-nc-nd/3.0/fr/ CONDE Juan Alberto | Thèse de doctorat en Sciences du Langage | Université de Limoges | 2016 5 Sommaire Introduction ................................................................................................................................ 7 Chapitre 1. Le son au cinéma : des études filmiques à la narratologie audiovisuelle .............. 11 Chapitre 2. Le rôle du son dans les études sur l’animation ...................................................... 44 Chapitre 3. L’énonciation, le corps et les dispositifs audiovisuels .......................................... 83 Chapitre 4. Dispositifs audiovisuels et cinéma d’animation .................................................. 130 Chapitre 5. Les sons comme événements ............................................................................... 189 Conclusion .............................................................................................................................. 238 Bibliographie .......................................................................................................................... 256 Filmographie .......................................................................................................................... 264 Annexes .................................................................................................................................. 272 CONDE Juan Alberto | Thèse de doctorat en Sciences du Langage | Université de Limoges | 2016 6 Introduction Le film découvrira notre environnement acoustique. La voix des choses, le langage intime de la nature. Tout ce qui a son mot à dire en dehors du dialogue humain, qui nous parle dans la grande conversation de la vie et influe continuellement et profondément sur notre pensée et nos sentiments. Du mugissement des vagues, du vacarme de l’usine jusqu’à la mélodie monotone de la pluie d’automne frappant les vitres, jusqu’aux grincements du plancher dans la chambre déserte. Des poètes lyriques ont souvent décrit ces voix lourdes de sens qui nous accompagnent. Le film sonore les représentera, il les fera retentir de nouveau. La sensibilité du micro accroîtra la nôtre. Béla Balázs. L’esprit du cinéma Il est inévitable de commencer chez Disney. Ou peut-être mieux, chez Ub Iwerks et Carl Stalling ? Ou chez Power, propriétaire du système Cinephone 1 ? Ou tout simplement, dans un cimetière à la campagne... Le fond noir du début est la pupille d’un hibou quihulule dans la nuit. Le vent hulule aussi et… Mais, sont-ils des sons différents ? Ou est-ce une flûte, ou un violon d’orchestre qui imite tant le hibou que le vent ? Ou un sifflet ? On continue. Une horloge fait son tic tac, une cloche tinte, les chauves-souris battent ses ailes (et on les écoute), un chien hurle, des chats miaulent, un squelette sort d’une tombe et claque ses dents et, finalement, la danse commence. On a écouté la voix des choses, la voix des animaux, la voix du vent, et, maintenant, la voix des os, qui deviennent des marimbas. Les squelettes sont musiciens et instruments en même temps. L’un d’eux prend un chat et transforme sa queue en violon. Les corps des squelettes sont démontés et remontés, se transforment et sonnent. Toujours ils sonnent. Sur le fond d’un orchestre qui ne cesse de jouer, mais qui se mêle avec les bruits. Or on n’a pas écouté la voix des choses, mais la musique des choses. La fin de la nuit s’approche, les squelettes courent et sont fusionnés en une créature cinétique unique qui à son tour se transforme en une courbe pure, presque abstraite, pour sauter dans la tombe et dans le silence. Cela est le sujet de ce travail : le rôle du son dans le cinéma d’animation. Bien sûr, chaque substantif de ce titre pourrait être pluriel, car le terme animation couvre une multiplicité de techniques, de genres, de styles et de possibilités expressives, et on peut dire la 1 Ou même chez Edvard Grieg, comme nous a fait savoir Michel Chion (1985). CONDE Juan Alberto | Thèse de doctorat en Sciences du Langage | Université de Limoges | 2016 7 même chose sur le son. Comme on va voir pour commencer, la tradition théorique des études filmiques nous a appris à distinguer, dans la matérialité sonore du cinéma, les bruits, les paroles, les musiques. Mais le cinéma lui-même nous a appris que leurs frontières ne sont pas toujours claires, ni leurs fonctions. Ni les instances responsables de leur existence. Comme on a vu dans le premier exemple, le court métrage Skeleton Dance (1929), qui fait partie des Silly Symphonies du Studio Disney, la richesse de sa sonorité et de la synchronisation avec les images sont le résultat de plusieurs « voix », y compris même de l’intervention des responsables de la technologie Cinephone, un système développé par l’ingénieur William Garrity 2 pour la compagnie de Patrick Powers, l’entrepreneur qui a vendu cette technologie à Disney pour son premier film animé avec du son synchronisé, le célèbre Steamboat Willie (1928). Figure 1 : Photogrammes du film Silly Symphony: The Skeleton Dance Source : [DISNEY, 1929] Comme ce travail est une thèse de sémiotique, l’inclusion des techniciens
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