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Bernard Herrmann La citation à l’œuvre dans l’héritage herrmanno-hitchcockien : de l’allusion à la citation directe Barbara Fougere-Danezan To cite this version: Barbara Fougere-Danezan. La citation à l’œuvre dans l’héritage herrmanno-hitchcockien : de l’allusion à la citation directe. Art et histoire de l’art. 2013. dumas-00942417 HAL Id: dumas-00942417 https://dumas.ccsd.cnrs.fr/dumas-00942417 Submitted on 5 Feb 2014 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. Université Paris I, La Sorbonne UFR 04 : Arts plastiques et sciences de l'art Master 2 Recherche cinéma et audiovisuel : Esthétique, analyse et création Sous la direction de José Moure La Citation à l'œuvre dans l'héritage herrmanno – hitchcockien De l'allusion à la citation directe « Alfred Hitchcock : The psycho genius of Hollywood », couverture d'un numéro du daily beast. Barbara Fougère-Danezan Septembre 2013 1 Résumé L'étude que nous proposons porte sur le rôle que joue l'utilisation de la pratique citationnelle sur la perception d'un film. Nôtre réflexion s'appuie sur les théories littéraires et cherche à identifier dans divers longs métrages, les principales relations que le cinéma entretient avec le duo Alfred Hitchcock-Bernard Herrmann. Le premier chapitre est consacré dans un premier temps, à la description de schèmes spécifiques à la création herrmanno – hitchcockienne. Nous verrons ensuite de quelle manière Bernard Herrmann est réutilisé par certains réalisateurs comme l'intermédiaire d'un hommage à Alfred Hitchcock. Dans un troisième temps, l'analyse de différents films nous permettra de voir comment ces schèmes herrmanno – hitchcockiens sont réutilisés par de nouveaux duos compositeurs-réalisateurs tels que John Williams et Steven Spielberg par exemple. Le second chapitre est dédié à la citation directe de musiques composées par Bernard Herrmann pour Alfred Hitchcock. Nous verrons à l'aide de différents exemples (A single man, Kika ou bien Vincere...) comment certains réalisateurs transposent le principe de marquage textuel de la citation au cinéma. Mots clés : cinéma - citation – Bernard Herrmann – Alfred Hitchcock – musique 2 Remerciements Je souhaite remercier José Moure pour sa disponibilité et la qualité de ses conseils mais également Pauline Nadrigny qui a pris le temps de répondre à mes questions ainsi que Séverine Abhervé. Je tiens également à remercier mes deux filles, mon conjoint François et mes parents pour leur soutien et leur aide précieuse. Je suis infiniment redevable à Sophie Lécole-Solnychkine qui m'a considérablement aidé tout au long de cette recherche, et à Guillaume Robert qui a transcrit la partition de Vincere en un temps record. 3 Table des matières INTRODUCTION................................................................................................................................8 CHAPITRE 1......................................................................................................................................14 Le duo Alfred Hitchcock - Bernard Herrmann :.................................................................................14 Une référence cinématographico-musicale........................................................................................ 14 I) La constitution d'un « réservoir de stéréotypes ».......................................................................15 1) Un duo atypique....................................................................................................................15 a) Le contexte....................................................................................................................... 15 b) La rencontre..................................................................................................................... 16 2) L'élaboration de « schèmes audiovisuels »..........................................................................17 a) Une partition flexible...................................................................................................... 17 b) La dramatisation..............................................................................................................19 c) L'accompagnement de la thématique hitchcockienne...................................................... 22 3) La direction de spectateur.....................................................................................................25 a) Le ton / L'atmosphère.......................................................................................................25 b) L'importance du générique...............................................................................................28 II) Bernard Herrmann après Alfred Hitchcock............................................................................. 31 1) François Truffaut...................................................................................................................31 a) Hitchcock chez Truffaut................................................................................................... 31 b) Musique et dialogues : un équilibre délicat..................................................................... 35 2) Brian De Palma ...................................................................................................................38 a) La ré-interprétation d'un répertoire hitchcockien.............................................................38 b) A répertoire hitchcockien, musique hitchcockienne?......................................................40 3) Martin Scorsese................................................................................................................... 44 a) Taxi driver et l'héritage de Psychose................................................................................ 44 b) Une utilisation différente du silence............................................................................... 48 III) L'imitation créatrice : l'enrichissement du modèle herrmanno - hitchcockien........................51 1) La mort aux trousses : une œuvre architextuelle ................................................................. 52 a) Un nouveau genre : « Le film de poursuite »..................................................................52 b) La musique comme dynamique narrative........................................................................ 55 c) L'affirmation d'une référence........................................................................................... 57 2) Les dents de la mer ou l'hypothèse d'un discours rapporté...................................................60 4 a) L'utilisation du générique pour préfigurer le drame........................................................61 b) Alfred Hitchcock pour modèle : Analyse de la séquence de la première attaque du requin ..............................................................................................................................................62 c) Une signature sonore : ....................................................................................................65 3) Un nouveau visage pour la peur................................................................................................ 68 a) Psychose et la naissance du « slasher »...........................................................................68 b) Deux exemples de l'influence Alfred Hitchcock - Bernard Herrmann...........................69 c) La figure du « méchant »..................................................................................................74 CHAPITRE II.....................................................................................................................................77 La postérité du duo : La pratique citationnelle ..................................................................................77 I) Le surmarquage citationnel comme embrayeur narratif........................................................... 79 1) Les Simpsons et la citation parodique.................................................................................. 79 a) Comment fonctionne la citation parodique chez Les Simpsons?.....................................79 b) La nature de la relation parodié - parodiant..................................................................... 83 c) La question du pastiche.................................................................................................... 85 2) La mise en spectacle de l'acte citationnel : A single man.................................................... 86 a) Le sur-marquage citationnel.............................................................................................87 b) Vers une nouvelle interprétation des images?................................................................. 89 3) Le palimpseste cinématographique ......................................................................................92 a) L'armée des 12 singes : le film dans le film ................................................................... 92 b) Kika : Une citation en trompe l'oeil...............................................................................
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