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Avant L'empire Du Pixel : La Convergence Du Graphique Et Du Photographique Dans L'image Filmique : Le Cas Hollywoodien

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Avant L'empire Du Pixel : La Convergence Du Graphique Et Du Photographique Dans L'image Filmique : Le Cas Hollywoodien UNIVERSITÉ DU QUÉBEC À MONTRÉAL AVANT L'EMPIRE DU PIXEL :LA CONVERGENCE DU GRAPHIQUE ET DU PHOTOGRAPillQUE DANS L'IMAGE FILMIQUE: LE CAS HOLLYWOODIEN THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN COMMUNICATION PAR MARIO BEAULAC MAI 2016 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522- Rév.07-2011). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et 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 recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire., REMERCIEMENTS Nous tenons d'abord à remercier les membres de notre jury doctoral, premiers lecteurs de ce travail de longue haleine et certainement parmi les plus avisés. Chaleureux remerciements, donc, à Madame Diane Poitras (présidente du jury ; UQAM), ainsi qu'à Messieurs Charles R. Acland (Concordia University) et Carl Therrien (Université de Montréal) pour leur attention bienveillante à l'égard de notre recherche. Parmi les membres de ce jury se trouvait aussi Madame Catherine Saouter, de l'UQAM, notre directrice de thèse ô combien patiente, d'une sagacité éprouvée et dont le soutien s'est maintenu tout au long d'un parcours doctoral prolongé; un énorme merci pour son amicale complicité toutes ces années durant. Nous remercions également le Conseil de recherche en sciences humaines du Canada pour la bourse doctorale qui nous a été attribuée en démarrage de notre parcours au 3e cycle. Un chaleureux merci aussi à Monsieur Enrico Carontini, dont l'aide en contexte de cours et de travail nous a été bienveillante. Remerciements particuliers à nos collègues actuels et retraités de l'assemblée professorale de l'École multidisciplinaire de l'image (ÉMI) de l'Université du Québec en Outaouais (UQO) pour avoir permis le déroulement d'une partie de ces travaux, tout comme notre employeur institutionnel. Nous exprimons une profonde gratitude à l'endroit de notre collègue professeur, Monsieur Sylvain Lemay, tant en sa qualité fréquente de directeur de notre département qu'en tant qu'ami; sans son compagnonnage alors qu'il effectuait lui-même en parallèle l'achèvement de son cheminement doctoral, il nous eut été difficile de maintenir le cap. Skol camarade ! Un clin d'œil respectueux à mes collègues de l'ÉMI Madame Nhu-Hoa Nguyen et Monsieur Jérôme Vogel pour l'intérêt de leurs travaux doctoraux respectifs liés à la sémiotique peircéenne, cités en ces pages. An amicable wave to you, Mr André Jodoin, joint PhD program friend, be it in Toronto or wherever you may be. Un merci ému à Madame Louise Briand, en sa qualité de présidente du SPUQO, pour son appui et sa gentillesse, ainsi qu'à Monsieur Guy Bellemare, attentif et de bon conseil. Pour leurs attentions thérapeutiques, merci d'abord à Madame Florence Leromain, pour son écoute et son empathie professionnelles, et merci surtout au Dre Jessie Archer, dont le dévouement et la générosité nous ont été d'un grand secours pour boucler en paix ce document. Comment dire toute la connivence et la passion qui - je passe au «je » - me lie à ma conjointe Suzanne Walsh depuis déjà plus de trente ans? Suzanne, cette thèse et bien d'autres bonnes choses encore ne se seraient assurément pas matérialisées sans ton soutien sans faille. Puisse notre union continuer à nous ouvrir d'autres horizons toujours partagés. DÉDICACE Pour Claudette et Christine, toujours à l'écran de ma mémoire TABLE DES MATIÈRES LISTE DES TABLEAUX ............................................................................................................................ vi LISTE DES ABRÉVIATIONS, SIGLES ET ACRONYMES ................................................................. vii RÉSUMÉ ....................................................................................................................................................... ix ABSTRACT .................................................................................................................................................. xi INTRODUCTION .................................................................................................................... _. .................... 1 CHAPITRE! (RE)FAÇONNER L'IMAGE FILMIQUE ................................................................................................. 15 1.1.1 La forêt enchantée: l'image filmique transformée et l'image composite .................. 17 1.1.2 Des visions en quête de concrétisation .......................................................................... 23 1.2.1 Images hybrides : la convergence du graphique et du photographique ...................... 25 1.2 .2 Défmition, processus et enjeux de la convergence ....................................................... 2 8 1.2.3 Les voies de la convergence 1 : les effets spéciaux ...................................................... 31 1.2.4 Les voies de la convergence II : la direction artistique ................................................ 37 CHAPITRE II RAPPROCHER LE GRAPHIQUE ET LE PHOTOGRAPHIQUE PAR VOIE DE CINÉMA ............ .42 2.1 Lentille d'approche: sémiose et ontologie du signe visuel... .................................................... .42 2.1.1 Des modes d'être logiques : la sémiotique peircéenne ............................................... .46 _, 2.1.2 Saisie mentale de l'objet: perception, sémiose et interprétation ................................ 52 2.2 Indicialité et cinéma ...................................................................................................................... 61 2.2.1 Pluralité et contingence des réalismes filmiques .......................................................... 70 2.2.2 « Réalisme perçu » et « séduction de la réalité » .......................................................... 82 2.3 Le versant photographique: ontologie du photographique et cinéma ....................................... 84 2.4 Le versant graphique ..................................................................................................................... 93 2.4.1 Image analytique et image synthétique ......................................................................... 95 lV 2.4.2 La morphogenèse graphique : jamais sans effort ....................................................... ! 00 2.5 En coulisses: la morphogenèse filmique ................................................................................... l05 CHAPITRE III LIEU DE CONVERGENCE: HOLLYWOOD, TERRAIN D'ENQUÊTE .......................................... lOS 3.1 Hollywood 1925-1993 :une structure industrielle et technique mouvante ............................. l08 3.2 Repérer la convergence : le rapprochement du graphique et du photographique dans la durée ................................................................................................ ll2 3.2.1 Outil de repérage: la chronologie synoptique ............................................................ 113 3.2.2 Situer ses images: à propos du corpus filmique retenu ............................................. 114 3.3 Décrire la convergence: l'analyse filmique de la convergence du graphique et du photographique .................................... ~ .................................................................................. ll5 3.3.1 Le« cinéma hollywoodien classique» ....................................................................... 115 3.3.2 Au-delà du modèle classique ....................................................................................... 117 CHAPITRE IV IMAGIERS D'ACIER (SYNTHÈSE HISTORICO-TECHNIQUE 1) ................................................... 121 4.1 Le système des studios et le développement des départements d'effets spéciaux .................. 121 4.2 Consolidation, expérimentation et animation ............................................................................ 136 4.3 Hollywood entre disette et démesure ......................................................................................... 154 CHAPITRE V L'IMAGE ET SON NOMBRE (SYNTHÈSE HISTORICO-TECHNIQUE 11) .................................... 165 5.1 La relève en effets spéciaux et une conception révisée du décor ............................................. 165 5.2 L'effet Kubrick ............................................................................................................................ 172 5.3 L'avènement du motion control et le regain de vitalité du« film à effets » ............................ 176 5.4 Le graphique numérique : balbutiements ................................................................................... l87 5.5 L'intégration de l'outil informatique dans les pratiques hollywoodiennes ............................
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