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Le Scopitone Est-Il Un Ancêtre Du Clip ? Are Scopitones the Ancestors of Music Videos?

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Le Scopitone Est-Il Un Ancêtre Du Clip ? Are Scopitones the Ancestors of Music Videos? Volume ! La revue des musiques populaires 14 : 2 | 2018 Watching Music Le scopitone est-il un ancêtre du clip ? Are Scopitones the Ancestors of Music Videos? Audrey Orillard Édition électronique URL : http://journals.openedition.org/volume/5544 DOI : 10.4000/volume.5544 ISSN : 1950-568X Éditeur Association Mélanie Seteun Édition imprimée Date de publication : 26 avril 2018 Pagination : 41-54 ISBN : 978-2-913169-44-9 ISSN : 1634-5495 Référence électronique Audrey Orillard, « Le scopitone est-il un ancêtre du clip ? », Volume ! [En ligne], 14 : 2 | 2018, mis en ligne le 01 janvier 2021, consulté le 11 février 2021. URL : http://journals.openedition.org/volume/5544 ; DOI : https://doi.org/10.4000/volume.5544 L'auteur & les Éd. Mélanie Seteun ? and dissemination of scopitones enables us to question the Article construction of such a genealogy, and especially to reveal the significant evolution of filmed songs within the music industry’s commercial practices. By doing so, the history of audiovisual musical production enables us to root music Le scopitone est-il videos in a longer history of 20th century popular culture, at the intersection of film and television. un ancêtre du clip ? Keywords: videos (music) – clips / invention – innovation / technologies - devices / media / cinema - film industry / music - recording industry / memory - Par Audrey Orillard (Université Paris 1 nostalgia - retro / yéyé Panthéon-Sorbonne) Le scopitone est-il un ancêtre du clip Historiens et sociologues des tech- Résumé : Peut-on comparer vidéoclips et scopitones, pour niques ont bien montré l’aporie que constitue en faire les lointains parents d’un même genre audiovisuel ? la recherche d’un ancêtre unique à une inven- C’est ce que pensent les producteurs de télévision dès les tion ou une innovation technologique (Flichy, années 1980, en plaçant les scopitones – ces chansons 1991) – et, partant, l’apparente vacuité de filmées des années 1960 diffusées sur des juke-boxes à la question telle qu’elle est formulée dans écran dans les cafés – comme ancêtres du clip, qui déferle le titre de cet article. Balayer cette inter- alors sur le petit écran. Inscrite dans une perspective d’his- rogation – le scopitone est-il un ancêtre 14 toire des techniques, l’étude des conditions de production du clip ? – d’un revers de la main priverait 2 et de diffusion des scopitones permet de questionner la pourtant l’historien du culturel d’un accès construction de la généalogie scopitone-clip et notamment privilégié aux réflexions des acteurs qu’il de mettre au jour l’évolution significative de la place de la étudie, car c’est bien sous cette forme que chanson filmée dans les pratiques commerciales de l’industrie la question a été posée par les contempo- musicale. Chemin faisant, l’histoire de la production audio- rains du vidéoclip, depuis l’apparition de visuelle musicale permet d’ancrer le clip dans une histoire ce « nouvel » objet médiatique sur les écrans plus vaste des cultures populaires du XXe siècle, à la croisée de télévision. En 2005 et en 2006, encore, du cinéma et de la télévision. deux documentaires tissent la métaphore généalogique pour expliciter les liens, censés Mots-clés : clips vidéos / invention - innovation / technologies – dispositifs / médias / cinéma / être évidents, entre les vidéoclips, tels que industrie du disque / mémoire - nostalgie – rétro / nous les connaissons depuis les années 1980, yéyé et deux catalogues de chansons filmées tour- nées dans les années 1960 pour des télé-box, Abstract: Are scopitones—filmed songs disseminated ces juke-boxes à images installés dans les in the 1960s on screen jukeboxes or in bars—and music cafés. Le premier, Mamy Scopitone, l’âge d’or videos distant relatives of a same audiovisual genre? 1980s du clip, s’intéresse au modèle français le plus television producers thought so, as they considered the connu, le scopitone ; son titre surnomme former as ancestors of the latter, when music videos started l’une des réalisatrices et productrices de Article blooming on television screens. Within the frame of a history chansons filmées, Andrée Davis-Boyer, of technologies, the study of the conditions of production « Mamy Scopitone ». Le second, Quel nonno 41 italiano del videoclip, fait le portrait du modèle la difficulté à définir le clip affleure dans les italien, le Cinebox, et ce sont ici les films eux- recherches désormais foisonnantes autour mêmes qui sont appelés les « grands-pères du de cet objet 2 (Jullier & Péquignot, 2013), il clip 1 » (Bovi, 2007). existe de forts points d’ancrage permettant Audrey Orillard Audrey Les introductions de ces documen- de les comparer. Ces courts-métrages sont taires donnent le ton : Michele Bovi, le tournés pour accompagner une chanson journaliste qui signe l’enquête diffusée sur préenregistrée de laquelle ils sont indis- la Rai 2, dessine à grands traits une chrono- sociables, quand celle-ci connaît une vie logie et place le Cinebox à mi-chemin d’une commerciale et esthétique indépendante. histoire du clip dont deux des pôles seraient Partant, scopitones et vidéoclips sont irré- « Bohemian Rhapsody » de Queen – soit un médiablement liés à l’œuvre, mais aussi au film classiquement considéré comme le « pre- produit qu’ils contribuent à promouvoir mier » vidéoclip réalisé pour la télévision – la chanson, et donc son support de dif- en 1975, avant l’apparition de MTV –, et fusion, en l’occurrence les disques vinyles « Dry Bones » par The Delta Rhythm Boys puis compact –, et ils s’insèrent de fait dans – un film de 1941 pour le Panoram, un autre un réseau, celui des industries culturelles télé-box, produit aux États-Unis pendant (Hache-Bissette, 2010). Présenter les chan- la Seconde Guerre mondiale. Dans Mamy sons filmées et les clips comme de lointains Scopitone, Pascal Forneri délaisse la mise parents ne paraît donc pas si incongru – à en contexte pour s’intéresser davantage au condition d’accepter le fait d’éluder l’identité parcours de sa grand-mère, d’où le titre du médiatique de ces deux genres audiovisuels, film également ; Pierre Lescure, l’un des et notamment la manière dont les scopitones premiers témoins sollicités pour y évoquer le puis les vidéoclips sont mobilisés par les scopitone, assure ainsi que « c’est la première industries musicale et télévisuelle. fois qu’on va effectivement ajouter l’image Il ne s’agit donc pas dans ce texte d’arbi- et l’apparence pour la popularisation des trer une compétition européenne – les docu- vedettes ». Bovi comme Forneri situent mentaires français et italien ne se disputant d’emblée le Cinebox et le scopitone comme somme toute rien moins que la paternité du les médias précurseurs d’un genre appelé à clip –, plutôt de comprendre pourquoi ces un grand succès, le vidéoclip. deux formes audiovisuelles, semblables à Et pourquoi ne pas leur emboîter le pas première vue, ne relèvent pas des mêmes et mettre clips et scopitones en regard ? Si conditions de fabrication ni d’intentions économiques et esthétiques identiques. Scopitones et vidéoclips s’inscrivent de 1 Mamy Scopitone : l’âge d’or du clip, documentaire, réal. Pascal Forneri, prod. Program 33, 52 min., 2005, diffusé la première fois sur France 5, le 21 juin 2005 ; Quel nonno italiano del videoclip [Ce grand-père 2 Je tiens à cette occasion à remercier les italien du vidéo-clip], réal. Mauro Mazza et écrit par organisateurs et participants du colloque Watching Michele Bovi, diff. 16 avril 2006. Le documentaire Music/Cultures du clip musical (2-3 déc. 2016, Paris) est consultable sur la page italienne de l’article de dont est tiré cet article, pour tous les échanges Wikipedia consacré au Cinebox : http://it.wikipedia. suscités par l’ensemble des interventions lors de 42 org/wiki/Cinebox [consulté le 12 avril 2017]. cette journée. ? fait dans une histoire plus vaste, celle de de chansons filmées 4 ; les liens entre chansons la musique mise en images, qui remonte le filmées et industrie du disque – qui sont très long du XXe siècle et en chemin fait étape, différents de ceux qui se nouent autour du de la comédie musicale aux tournages des vidéoclip à partir des années 1980 ; enfin, Beatles, des Soundies du Panoram (Beebe la médiation opérée par la télévision, qui se & Middleton, 2007) au cinéma des premiers déploie sur le temps long, des années 1960 aux temps avec la projection des phonoscènes années 2000, qui souligne encore davantage de Gaumont (Schmitt, 2010 ; Barnier, 2008) la perspective intermédiatique dans l’analyse ou les song slides de la toute fin du XIXe siècle de la forme audiovisuelle musicale. (Altman, 2005). Bref, le terrain d’investigation généalogique est vaste, les supports visuels, fixes ou animés, presque innombrables 3. À l’origine des Le scopitone est-il un ancêtre du clip Trois pistes ont été retenues ici pour dresser à grands traits le portrait culturel du scopi- chansons filmées : tone, cet objet médiatique finalement encore méconnu : l’histoire technique du support, le les télé-box télé-box, qui détermine autant les conditions de production que de diffusion de ce corpus Les scopitones tirent leur appellation de l’appareil pour lequel ils ont été produits et réalisés : le scopitone, un télé-box fabriqué 14 de 1960 à 1967 par la Cameca, une société 2 de la banlieue parisienne, spécialisée dans la sonorisation des salles de cinéma, qui se 3 Ne sont citées ici, volontairement, que des formes tourne au fil des années vers l’électronique populaires de mise en images de la musique, mais la production artistique explore cette voie également. Les song slides, ou illustrated songs, consistent en une succession de vues fixes destinées à illustrer une chanson interprétée, par exemple, durant 4 L’expression « chanson filmée » permet de prendre l’entracte d’une projection publique de cinéma ; les en compte toute la production de ce type, sans phonoscènes de Gaumont sont des films sonorisés distinction d’appareil.
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