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D E L'antiq U Ité a U IX Siè C Le D U IX Siè C Le À La Fin D U XVII S. XVIII E T

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D E L'antiq U Ité a U IX Siè C Le D U IX Siè C Le À La Fin D U XVII S. XVIII E T Arts, sociétés, cultures Art, espace, temps Arts, États et pouvoir Arts, mythes et religions Arts techniques, Arts, ruptures, expressions continuités Nom de l’œuvre - Nom de l’auteur ou de l’artiste Der Gross mechant loup ou Blitz Wolf, Tex Avery Reproduction de l’œuvre : siècle ème IX De l’AntiquitéDe au s. ème iècle s ème Du IX Du la fin XVII du À Blitz Wolf (parfois titré Der Gross méchant loup en français) est un court-métrage d'animation ème américain produit par la Metro-Goldwyn-Mayer en 1942 et un film de propagande anti-nazi de la Seconde Guerre mondiale parodiant Adolf Hitler. Il fut réalisé par Tex Avery et produit par Fred Quimby. Il fut nommé dans la catégorie Oscar du meilleur court-métrage d'animation. et et XIX Ce dessin animé est une parodie de l'histoire bien connue Les Trois Petits Cochons, produit dans le ton siècles de la propagande anti-allemande de la Seconde Guerre mondiale. Dans ce dessin animé, les cochons ème partent en guerre contre Adolf le Loup (sous les traits d’Adolf Hitler), qui menace d'envahir Cochonland (Pigmania dans la version américaine). Les deux cochons qui construisent leurs maisons en paille et en bois déclarent qu'ils n'ont pas besoin de prendre des précautions contre le loup puisqu'ils XVIII ont signé un Pacte de non-agression avec lui. Le cochon qui construit sa maison en pierre, le Sergent Pur Porc (Sergeant Pork dans la version américaine), prend ses précautions et renforce sa maison avec un puissant dispositif de défense composés de barbelés, de bunkers, d'obusiers et de tranchées. et et Adolf le Loup envahit Cochonland, malgré les deux cochons lui rappelant qu'il a signé un traité avec eux. Il détruit leurs maisons jusqu'à ce que les cochons se replient sur la maison du Sergent Pur Porc. C'est siècle alors que débute la bataille entre le Loup et les cochons. À la fin du cartoon, Adolf le Loup est éjecté hors de son bombardier par les obus remplis d'obligation de guerre des cochons et chute vers le sol où ème une bombe qui explose l'envoie en enfer. Se rendant compte qu'il est mort il dit: « Où suis-je ? Ai-je été envoyé en… ? », ce à quoi un groupe de démons répond : « Aaaah, ça est possible! », en référence à notre époquenotre la Réplique culte de Jerry Colonna. Le XX Arts de l’espace Arts du langage Arts du quotidien Arts du son Arts du spectacle vivant Arts du visuel Brève biographie de l’auteur ou de l’artiste Frederick Bean Avery, dit Tex Avery, né le 26 février 1908 à Taylor (Texas) et mort le 26 août 1980 à Burbank (Californie), est un réalisateur de films d'animations. Il est à l’origine du style farfelu des cartoons hollywoodiens des années 1940. Tex Avery a travaillé pour les studios Universal, Warner Bros. et Metro-Goldwyn-Mayer (MGM), et est connu pour ses créations d'univers aux situations délirantes. Parmi ses personnages, on peut citer Bugs Bunny, Daffy Duck, Droopy ou Casse-noisettes. En 1935, le jeune Avery intègre le département animation de Warner Bros., dirigé par Leon Schlesinger, et convainc ce dernier de le laisser diriger sa propre équipe d’animateurs. Il supervise ainsi entre autres Robert Clampett et Chuck Jones, au sein d’un bungalow infesté de termites rapidement rebaptisé "Termite Terrace". L’équipe travaille dans un premier temps sur les cartoons Looney Tunes en noir et blanc, puis sur les Merrie Melodies en couleurs (distinction valable jusqu'en 1943). Avec ses collaborateurs, Avery le perfectionniste va inventer un style d’animation qui contraste vivement avec les cartoons de Disney, et créer une série de personnages stars du genre, comme Daffy Duck, doublé par Mel Blanc, ou bien entendu Bugs Bunny, co-élaboré avec Ben "Bugs" Hardaway, Cal Dalton et Chuck Jones. Il forge la personnalité du personnage (notamment son fameux « What’s up, doc? ») et l’associe à Elmer Fudd dans A Wild Hare (1940). Lui-même réalisera quatre cartoons mettant en scène le personnage . En 1941, à la suite d’un désaccord avec Leon Schlesinger au sujet de la fin de The Heckling Hare, ce dernier imposant finalement son choix en rééditant la conclusion du cartoon, Avery quitte la Warner et part un temps œuvrer à la Paramount, travaillant sur Speaking of Animals, un concept auparavant retoqué par Schlesinger qui consiste à utiliser des prises de vues réelles d’animaux et à animer leurs lèvres. Il rejoint ensuite la MGM pour travailler sous la supervision de Fred Quimby, et atteint ce qu’on considère généralement comme son apogée, avec plus de marge de manœuvre et de moyens qu’auparavant. Son premier cartoon pour la major, The Blitz Wolf, détourne le conte des Trois Petits Cochons en parodiant Adolf Hitler, représenté en loup, et se voit nommé à l’Oscar du meilleur court métrage animé en 1942. Tex Avery invente en 1943 son plus célèbre personnage pour la MGM, Droopy, dans Dumb Hounded, avant de poursuivre ses détournements de conte en transformant le petit chaperon rouge en chanteuse de cabaret outrageusement sexy (et le loup en obsédé martelant la table) avec Red Hot Riding Hood. Maître de l’excès, de la dérision, de la frénésie, de la transgression formelle et narrative (adresse au spectateur, avec par exemple le running gag du "Long, isn’t it?"), du politiquement incorrect (avec ses aléas : Uncle Tom's Bungalow, entre autres, fera ainsi partie d’une liste de cartoons censurés en 1968 pour représentation offensante des Afro-Américains), il donne également vie à Screwy Squirrell ou au duo d’ours George et Junior, inspiré du tandem de Des souris et des hommes, de John Steinbeck, et explore le monde du futur avec des dessins animés comme The House of Tomorrow ou The Car of Tomorrow. Il s’impose plus largement comme l’anti-Disney, désaxé et nettement moins "familial" . Après une année sabbatique en 1950, conséquence de son surmenage, Tex Avery revient en 1951, mais ne tarde pas à quitter la MGM, pour retourner en 1953 chez Walter Lantz, où il ne dirigera que quatre cartoons, créant tout de même le personnage de Chilly Willy the Penguin. Il quitte Lantz à la suite d’un différend salarial, et signe ainsi la fin de sa carrière dans l’animation, monnayant par la suite son talent dans la publicité durant les années 60-70, pour les marques Raid ou Frito-Bandito, retrouvant ses personnages Warner pour vanter les mérites de Kool-Aid, avant d’achever sa carrière chez Hanna-Barbera. Assombri par le passage des années, Tex Avery décède d’un cancer du poumon le 26 août 1980. Contexte (historique, social, artistique …) Jusqu’à l’entrée en guerre des Etats-Unis consécutive à l’attaque de Pearl Harbor par les Japonais, les studios d’animation américains n’étaient pas touchés par le conflit, mis à part sur l’aspect financier (l’Europe en guerre était devenu un marché où les productions de ces studios ne s’écoulait plus). D’un point de vue artistique, la guerre, dont les enjeux restaient très éloignés des préoccupations de l’Amérique profonde, n’avait pas d’influences sur les productions de dessins animés. Jusqu’au 7 décembre 1941, où l’Amérique attaquée se retrouve partie prenante au conflit. Le gouvernement U.S. réquisitionne immédiatement tous les studios d’animation : la machine de guerre américaine se met en marche. Disney prend la lourde tâche de vulgariser les enjeux du conflit, ses tenants et aboutissants. Toutes les Stars de la compagnie sont mises à contribution et participent à l’effort de Guerre. La fibre patriotique est exacerbée et tous les thèmes sont bons à mobiliser : de l’intérêt pour tout un chacun de payer ses impôts en temps et heure (The New Spirit) à la déviation de la jeunesse allemande par la dictature hitlérienne (Education of Death). Dans cette perspective, Tex Avery et les studios Warner ne sont pas en reste, Blitz Wolf se manifeste comme une contribution originale à la propagande de guerre antifasciste : le mal est ainsi incarné par le grand méchant loup qui représente Hitler. L’objectif ici est de convaincre les partisans du bien pour rassembler l’argent nécessaire à la victoire des démocraties face au régime totalitaire nazi. Tex Avery a réalisé Blitz Wolf en 1942. A cette date, les Alliés commencent à reprendre l’initiative face aux puissances de l’Axe, que ce soit en URSS, en Afrique du Nord ou dans le Pacifique. C’est le moment également où l’effort de guerre américain entame son rythme de croisière et surclasse celui des puissances de l’Axe. Ce dessin animé est ainsi réalisé au moment où la Seconde Guerre mondiale connaît son tournant décisif. Œuvres liées, références, etc. http://fr.wikipedia.org/wiki/Blitz_Wolf, http://www.youtube.com/watch?v=6kOLfaOvyu0, A voir aussi : Der Fuehrer’s face (disney) : http://www.youtube.com/watch?v=VihggRSvVic .
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