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(Japon, 1992-1993) Dans Mighty Morphin Power Rangers (États-Unis, 1993-1996) Julian Mordelet

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(Japon, 1992-1993) Dans Mighty Morphin Power Rangers (États-Unis, 1993-1996) Julian Mordelet Processus et enjeux de l’occidentalisation de Kyoryu Sentai Zyuranger (Japon, 1992-1993) dans Mighty Morphin Power Rangers (États-Unis, 1993-1996) Julian Mordelet To cite this version: Julian Mordelet. Processus et enjeux de l’occidentalisation de Kyoryu Sentai Zyuranger (Japon, 1992- 1993) dans Mighty Morphin Power Rangers (États-Unis, 1993-1996). Sciences de l’Homme et Société. 2019. dumas-02369036 HAL Id: dumas-02369036 https://dumas.ccsd.cnrs.fr/dumas-02369036 Submitted on 21 Nov 2019 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. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Université Rennes 2 UFR Arts, Lettres, Communication - VOLUME 1 : MÉMOIRE - Processus et enjeux de l’occidentalisation de Kyoryu Sentai Zyuranger (Japon, 1992-1993) dans Mighty Morphin Power Rangers (États-Unis, 1993-1996) Julian MORDELET Sous la direction de Priska MORRISSEY Master Cinéma et Audiovisuel : histoire et esthétique du cinéma 2018-2019 Université Rennes 2 UFR Arts, Lettres, Communication - VOLUME 1 : MÉMOIRE - Processus et enjeux de l’occidentalisation de Kyoryu Sentai Zyuranger (Japon, 1992-1993) dans Mighty Morphin Power Rangers (États-Unis, 1993-1996) Julian MORDELET Sous la direction de Priska MORRISSEY Master Cinéma et Audiovisuel : histoire et esthétique du cinéma 2018-2019 Remerciements Pour la qualité de son suivi, pour ses conseils toujours pertinents, pour son exigence et ses encouragements, je tiens à exprimer toute ma reconnaissance à ma directrice de recherche Priska Morrissey, elle m’a donné les clés pour mener cette recherche à bien. J’adresse également mes sincères remerciements à l’ensemble de l’équipe des enseignants- chercheurs du Master Recherche en études cinématographiques de l’Université Rennes 2. Pour leur contribution essentielle à ce travail et pour le temps qu’ils m’ont accordé, je tiens à témoigner toute ma gratitude aux techniciens de Mighty Morphin Power Rangers qui ont accepté de s’entretenir avec moi : Ron Wasserman, Isaac Florentine, Sharon Janis, Charles Bowyer et Stewart St. John. Un grand merci aussi à John Green et Jesse Lee Herndon, deux passionnés de la série américaine qui ont bien voulu me parler de leurs découvertes. Je remercie mes camarades de promotion et amis, les discussions que nous avons partagées ont grandement apporté à ma recherche. Je tiens tout particulièrement à remercier Léa Sigwalt, Adeline Chantoiseau, Hans Boiste et Nathan Lagadec, pour sa lucidité. Je remercie également ma mère Nadine qui m’a soutenu dans cette voie ainsi que mon frère Arnaud. Mes remerciements vont pour finir à Tristan Le Sage, pour son œil toujours bienveillant. 3 Table des matières INTRODUCTION .................................................................................................................... 7 Kyoryu Sentai Zyuranger : mise en perspective historique et définitionnelle de cette série de Tokusatsu et de Super Sentai ..................................................................................................... 8 Mighty Morphin Power Rangers : remake, format, transfert culturel, occidentalisation ? ...... 13 Des séries peu étudiées par le monde universitaire .................................................................. 17 Quelles sources et quelle méthode pour étudier l’occidentalisation à l’œuvre dans Mighty Morphin Power Rangers ? ........................................................................................................ 20 PARTIE 1. CONTEXTE ET ÉLABORATION DU MODE DE PRODUCTION DE MIGHTY MORPHIN POWER RANGERS ........................................................................... 25 Introduction à la partie 1 ........................................................................................... 26 Chapitre 1. Stratégie commerciale de Saban Entertainment et contexte de la signature de l’accord du 21 août 1992 : le bon moment pour importer le Super Sentai en occident ? ............................................................................................................................. 28 1. 1. Mighty Morphin Power Rangers : créer une alternative au Super Sentai en Occident ? ............................................................................................................. 30 1. 2. Vers une méthode Saban élargie au Tokusatsu télévisuel ? ......................... 33 1. 3. Un contexte culturel favorable à la concrétisation du projet Mighty Morphin Power Rangers ..................................................................................................... 36 1. 4. L’achat d’une série en cours de production .................................................. 39 Chapitre 2. Modalités de l’accord de distribution daté du 21 août 1992 : tout mettre en œuvre pour permettre le succès de Mighty Morphin Power Rangers. ............................ 42 2. 1. Modalités d’usage des images de Kyoryu Sentai Zyuranger et livraisons additionnelles ........................................................................................................ 42 2. 2. Influence du calendrier prévisionnel de livraison des bandes de Kyoryu Sentai Zyuranger sur la production de la série américaine. ............................................ 45 2. 3. Le cas Zyu1.5 : des images japonaises originales pour Mighty Morphin Power Rangers ................................................................................................................. 47 4 PARTIE 2. PHASE 1 : UN MODE DE RECYCLAGE MASSIF ET STANDARDISÉ DES IMAGES DE KYORYU SENTAI ZYURANGER MARQUÉ PAR LA CONTRAINTE (ÉPISODES 1 À 40) ................................................................................................................ 54 Introduction à la partie 2 ........................................................................................... 55 Chapitre 3. Recyclage des séquences de combats japonaises : un recyclage ambivalent entre avantages et contraintes ........................................................................................... 60 3. 1. Séquences de combats costumées à taille humaine : des séquences faciles à raccorder, mais contraignantes d’un point de vue narratif ................................... 60 3. 2. Séquences de combats contre les monstres géants : les séquences les plus avantageuses à recycler ........................................................................................ 70 Chapitre 4. Le recyclage des images de Bandora et ses acolytes : un recyclage stock- shot qui fige l’intrigue de la série américaine ? ............................................................... 77 4. 1. Établir l’élément déclencheur des péripéties grâce aux images de Bandora et ses acolytes ........................................................................................................... 80 4. 2. Rendre le monstre de l’épisode gigantesque et faire réagir Rita Repulsa à sa défaite : un recyclage standardisé pour une intrigue immobile ............................ 84 PARTIE 3. EVOLUTION DU MODE DE PRODUCTION DE MIGHTY MORPHIN POWER RANGERS : VERS UN REMPLOI PLUS AUTONOME DES IMAGES JAPONAISES (ÉPISODES 41 À 155) ................................................................................. 89 Introduction à la partie 3 ........................................................................................... 90 Chapitre 5. Phase 2 du mode de production de Mighty Morphin Power Rangers : une phase d’optimisation qui prépare la phase 3 (épisodes 43 à 73) .................................... 91 5. 1. Première période de la phase 2 : une optimisation du mode de production de Mighty Morphin Power Rangers ? (épisodes 43 à 60) ......................................... 93 5. 2. Deuxième période de la phase 2 : les prémices de la phase 3 ? (épisodes 61 à 73) ......................................................................................................................... 98 Chapitre 6. Phase 3 et 4 : stabilisation du mode de production de Mighty Morphin Power Rangers. (épisodes 112 à 155) .......................................................................................... 109 6. 1. Phase 3 : standardisation du tournage des séquences de combats costumées. (épisodes 74 à 112) ............................................................................................. 110 5 6. 2. Phase 4 : un mode de production plus adaptatif, marqué par les enseignements de la phase 3. (épisodes 116 à 155) .................................................................... 117 PARTIE 4. ENJEUX REPRÉSENTATIONNELS DE L’OCCIDENTALISATION À L’ŒUVRE DANS MIGHTY MORPHIN POWER RANGERS ......................................... 130 Introduction à la partie 4 ......................................................................................... 131 Chapitre 7. L’occidentalisation implique-t-elle une forme de censure ? ..................... 137 7. 1. Les séquences de combats : le lieu d’une régulation forte ......................... 138 7. 2. Des séquences japonaises « irrégulables » ? ..............................................
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