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Edward, Charlie, Willy, Alice : La Quête Du Héros Burtonien

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Edward, Charlie, Willy, Alice : La Quête Du Héros Burtonien UNIVERSITÉ DU QUÉBEC À MONTRÉAL EDWARD, CHARLIE, WILLY, ALICE : LA QUÊTE DU HÉROS BURTONIEN MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN COMMUNICATION PAR JÉRÔME BEN TOULA OCTOBRE 201 3 UNIVERSITÉ OU QUÉBEC À MONTRÉAL Service des bibliothèques · Ayertfssement La diffusion de ce mémoire sa fait dans le' respect dea droits da son auteur, qui a signé la formulaire Autorisation de repfoduire et de diffuser un travail de recherche de cycles c; upt1rleurs (SDU-522- Rév.01-2006). Cette autorisation stipule que <<conformément à l'article 11 du Règlement no 8 dea études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation at de . publication da la totalité ou d'une partie Importante de [son] travail de recherche pour des fins pédagogiques at 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 rechercha à dea flns non commerciales sur quelque support que ca soit, y compris l'Internet Cette licence at cette autorisation n'entrainant pas une renonciation da [la) part (de l'auteur) à [ses) droits moraux ni à [sas) droits da propriété intellectuelle. Sauf ententé contraire, [l'auteur) conserva la liberté de diffuser et da commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je tiens à remercier dans un prenùer temps ma directrice de mémoire, Mme Catherine Saouter, professeur à l'École Des Médias de l'UQAM. Elle a su me conseiller et m' orienter dans mes recherches et ma rédaction. Ses recommandations et la confiance qu'elle a accordée à mon projet m' ont permis de ne pas m'égarer et de persévérer dans mon travail. Ses connaissances et sa passion pour l'interprétation des images, des formes et des techniques visuelles m' ont pernùs d'acquérir une première base de contenu quant à mon sujet de recherche. Dans un second temps, j'aimerais remercier Mme Viva Paci, professeure à la maîtrise en communication à l'UQAM. Sa grande culture et sa passion pour le cinéma m'ont été d'une grande aide pour cadrer mon sujet de recherche. Ses conseils, recommandations et exercices durant les cours de la maîtrise rn' ont permis d'acquérir une position critique quant à mon sujet. Je souhaite par ailleurs remercier mon amie Lara Aim. Étudiante en communication dans une école londonienne, elle partage ma passion pour le cinéma et plus particulièrement Tim Burton. Son point de vue et nos différentes discussions sur les œuvres du réalisateur m'ont permis d'obtenir un recul critique et d'orienter mon travail dans de nouvelles directions. TABLE DES MATIÈRES LISTE DES FIGURES .... ... .. ................ ... .. ........... ...... .... ..... .. .. .. ........... .. ........ .. ........................ vi RÉSUMÉ ......... .. ............................................................................ ........... ... ........................... ix INTRODUCTION ............ .. .... .......... ........... .... ..... ...... ............... ................... .... ................. ... ..... 1 CHAPITRE! TIM BURTON ET LES PERSONNAGES PRINCIPAUX: OBJET DE RECHERCHE ET DE REPRÉSENTATION ...... ............. .. .......... .... ...................... .. .......... .. ............. .. .. ............... .. 7 1.1 Tim Burton, un style, un univers et des techniques .. ...... .... ... ... .... .. .. .... ............... .. ... ..... 7 1.2 Le style burtonien ... ............ .. ...... ..... .... ... ... ....... ....... .. ... .................................. .. ............. 9 1.3 Des thématiques récurrentes ................ ....... ... .. ............................................................. 13 1.4 Des rôles inversés ............................................................................... .. ... .. ... ............... 19 1.5 Le personnage en quête ................. ... ....... ............... .. ................ .... .. ... ... .... ....... ... .. ... ..... 21 CHAPITRE II LA QUÊTE DU HÉROS BURTONIEN : PRÉSENTATION DE LA PROBLÉMATIQUE, DU CORPUS ET DES CONCEPTS-CLÉS ...... .......................... ... ..... .... .. ........ ... .... .. ... .. .... .... 23 2. 1 Présentation de la problématique ............................................ .. .... ..... .............. ... ... ..... 24 2.2 Présentation des films du corpus .................... .... .............................. ............... .. .... ...... 24 2.2.1 Edward Scissorhands (1990) - Tim Burton ....................................................... 25 2.2.2 Charlie and the Chocolate Factory (2005)- Tim Burton ....... ............. ... .. ......... 26 2.2.3 Alice in Wonder/and (2010)- Tim Burton ..... ...... ............... ............ .. ........ ... .... .. 27 2.3 Présentation des concepts-clés ................. .. ................................................................. 29 2.3.1 Imaginaire et réalité ............ ........ ... ... ..... ... ......... .. ... .... .. .. ... .. .................... .. ......... 29 2.3.2 Fantastique et merveilleux ....................................................... .................. .. .... .. 30 2.3.3 Antihéros et outsider ............. ...... ...... ..... ........ ..................................................... 31 2.3.4 Isolement vs. Solitude ............................... ..................................... .................... 33 2.3.5 Évolution et Transition ................................................... .. ................................... 34 2.3.6 Enfance vs. Adolescence vs. Âge adulte .......... ........................ ........................... 36 2.3.7 Quête ................................................................................ .......... ........................ 37 CHAPITRE III LA MÉTHODE ...................................................................................................................... 39 iv 3.1 Fiches de personnages ................................. ... .. ............................................................ 41 3.2 Fiches de lieux ..................................................... .. ... .. ... ................. .............................. 42 3.3 Axes temporels : texte naiTatif vs. Diégèse .................................................................. 43 3.4 Graphique d'analyse de film: les caractéristiques du personnage, les actions principales du film et les occuiTences du (des) personnage(s) principal (aux) ............ 44 3.5 Grille d'analyse filmique- plan formel ....................................................................... 45 3.6 Grille d'analyse filmique: le modèle de la quête ........................................................ 46 CHAPITRE IV ANALYSES FILMIQUES ........................................ .. ......... ...................................... .......... ... 48 4.1 Edward Scissorhands (1990)- Tim Burton .................................................... .. ........... 49 4.1.1 La construction d'une frontière ........................................................................... 51 4.1 .2 Les jeux de couleurs et de lumière .............. .. ...................................................... 53 4.1.3 L' importance des ellipses temporelles ............................................................... 55 4.1.4 La construction d'une relation avec un allié ...................................................... 58 4:1.5 Séquences emblématiques ........................................................ .. ....................... .. 59 4.1.6 L'issue pour le personnage .................................................................................. 63 4.2 Charlie and the Chocolate Factory (2005)- Tim Burton ............................................ 64 4.2.1 La construction d'une frontière ................................................... .. ..................... .. 66 4.2.2 Les jeux de couleurs et de lumière ....................................................................... 68 4.2.3 L'importance des ellipses temporelles .............................................................. .. 71 4.2.4 La construction d'une relation avec un allié .. ..................................................... 74 4.2.5 Séquences emblématiques ... ... ............ .................................... ............. ... .............. 75 4.2.6 L'issue pour le personnage ................................................................................... 80 4.3 Alice in Wonder/and (201 0)- Tim Burton ............................................... .. .................. 81 4.3.1 La construction d' une frontière ............................................................................ 84 4.3.2 Les jeux de couleurs et de lumière ....................................................................... 86 4.3.3 L'importance des ellipses temporelles ................................................................ 89 4.3.4 La construction d 'une relation avec un allié ....................................................... 91 4.3.5 Séquences emblématiques .. .... .............................................................................. 92 4.3.6 L'issue pour le personnage ................................................................................... 98 CHAPITRE V SYNTHÈSE ET DISCUSSION ........................................................................ .. .......... .. .... 100 5.1 Une frontière récuiTente ...................................... ....................................... ................ 101 5.1.1 Un retour au
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