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Analyse Pragmatique Du Found Footage Horror Film

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Analyse Pragmatique Du Found Footage Horror Film UNIVERSITÉ DU QUÉBEC À MONTRÉAL ENJEUX ET CARACTÉRISTIQUES DE L'HORREUR DOCUMENTARISÉE : ANALYSE PRAGMATIQUE DU FOUND FOOTAGE HORROR FILM MÉMO[RE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRSE EN COMMUNICATION PAR VANESSA ROLLAND JUILLET 2016 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire 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.0?-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 En guise de préliminaire, je tiens à remercier les différentes personnes qui m'ont accompagnée tout au long de mon parcours universitaire en contribuant à l'enrichissement de mes connaissances et à ma volonté de me surpasser. Je tiens à remercier tout particulièrement mon directeur, M. Pierre Barrette, qut a accepté de me diriger et de me guider tout au long de la rédaction de mon mémoire. Très ouvert à mes idées, celui-ci a su me conseiller et m 'apporter l'encadrement nécessaire à 1'é laboration de ma problématique de recherche. Toujours disponible et prêt à éclaircir mes doutes, ses encouragements furent d' une aide précieuse dans l'aboutissement de ce travail significatif marquant la fin de mes études. Je tiens également à remercier les membres du jury, Diane Poitras et Charles Perraton, pour leur intérêt à prendre connaissance de mon travail. Je remercie Mme.Poitras qui, lors de son séminaire intitulé « Les enjeux du documentaire » m'a introduite à de nouvelles oeuvres ayant contribué à réaffirmer mon intérêt pour le cinéma documentaire. Je remercie M.Perraton de m'avoir, quant à lui, suggérer l'ouvrage de Deleuze intitulé « Logique de la sensation», dont la lecture aura apporté un éclairage nouveau sur mon sujet de recherche. Je souhaiterais aussi remercier M. Bernard Perron ; animé d' une passion rare et contagieuse, c'est lui qui m'a initié au genre de l' horreur. Enfin, je tiens à remercier mes parents pour leur confiance et leur soutien moral. Très présents et toujours disposés à m 'écouter, ils auront été ma plus grande source de motivation et d' inspiration tout au long de mon parcours. TABLE DES MATIÈRES RÉSUMÉ ........................................................................ ..... ..... ....... v INTRODUCTION ... ...... .. ... .. ........... .... .... .. ... .... ... ........ .... ................... ! CI-IAPfTRE I ............... ..... ... .... ... ....... .... ... ... ... .. .. .. ........................ .. .5 APPROCHE DU FOUND FOOTAGE HORROR FILM....... ..... ...... .. ..... .. ..... .... 5 1.1 Problématique ................. ......... ....................... .... ............... .. ..... ..5 1.1.1 L'hybridité cinématographique ....................... ......... .. .. ....... ...... ... .. ... 5 1.1.2 Le cas du faux-documentaire . ....... .. ..... ....... ... ...... .................. .. ...... 8 1.1.3 Horreur et documentarisation : le found Jo otage horror film .. ....... ...... ...... 11 1.1.4 Question de recherche et pistes de réflexion préliminaires ... .. .... .. .. ... .... .. 15 1.2 Cadre théorique ..... ... .. ... .. ..... ... ..... ...... ............ .... ...... ... ......... .. ... .. 16 1.2.1 Fiction vs réalité ............ ...... .............. ..................... ..... oo .... .. .. 16 1.2.2 Considérations importantes sur la notion de genre ......... .. ........... .. ........ 22 1.2.3 Le genre et son spectateur. .... ...... .. ... .. .. .... ...... ............................ .. 25 1.3 Cadre méthodologique ... .. .. .... .. ... .. .. .... .. .............................. ...... 0028 1.3 .1 Sémio-pragmatique et énonciation ............................ oo ........ ...... ...... 28 1.3 .2 Corpus et gri ll e d'analyse .. ... .. ....... .. ...... .. ........... .... ................... 33 CHAPITRE II ....... ................... ... ......... .............. ..... .. .. .. 00 .. ......... .. 38 ANALYSE SÉMANTJCO-SYNTAXIQUE DU FOUND FOOTAGE HORROR FILM. ..... .... ........ ....... ........... .. ....... .. .. .................. .. ......... ... ......... ... 38 2.1 Sur le plan narratif ...... ............. .......... .. ...... ...... ......... ............. ..... 38 2.1.1 Spécificité sémantique dufoundfootage horror film ...... ............ ....... 00 .. 38 2.1.2 Approche syntaxique de l'horreur ........... ................. 00 ....... ............ .44 2.1 .3 Structure syntaxique dufoundfootage horror film .. ...................... .... .. .. 46 2.2 Sur le plan esthétique . ............ ........... .. .... .......... ... ....... ... .... ..... .... 54 2.2.1 Le point-ofview shot ...................... ......... .............. .. .......... ........ 54 2.2.2 Horreur suggestive et hors-champ ............. .. 00 ... .. 00 ....... 00 .. .... .. .. ....... 60 2.2.3 Vers une esthétique naturaliste .............. .. .................... ... .. .......... 00. 64 CHAPITRE III .. ..... .... ............. .. .. ........ ...... ... ...... ........ ..................... 69 PRAGMATIQUE DU FOUND FOOTAGE HORROR FILM. ... .............. ...... .. 69 3.1 Sur le pl an sémio-pragmatique ...... ............................................. .. .... 69 3.1.1 L'i llusion d'un «j e-origine-réel » ......................... .. ... ......... ... .........73 3 .1.2 Configuration réflexive et paradoxe de la forme ........ ........ ........... ... .... 78 3.1.3 Des marques «indicielles » au service de la fiction ... .. .. .... ..... ..... .. ...... .. 83 3.2 Du côté des communautés interprétatives ......... .. ...... .......... .. ..... ............ 88 3.2.1 Interpellation affective et sentiment de proximité ... .... .... .. ........ ......... 89 3.2.2 Logique de la sensation ....... .. ... ... ... ... ... ..... ........ .. .. ... ....... ......... 96 3.2.3 Entre épisthémopi li e et vulnérabilité ...... .. .... .... .. .. ... .................... 103 3.2.4 Effet de réel dans lejoundjootage harrar film ............ ....... .. .. ....... .. 110 CONCLUSION ....... .. : .. .... .... .... ........ .... ......... ... ... .................. .......... 114 BIBLIOGRAPHIE ........... .. ... .. ........ .. .... .. .. .............. ........................ 118 MEDIAGRAPHIE ....... .... .. .......... ..... ..... ... ...... ... .. ....... ... ... ....... .. ..... 124 RÉSUMÉ Ce mémoire se concentre sur l' analyse d'une tendance cinématographique contemporaine, le found footage horror film. Propulsé par le succès retentissant de The Blair Witch Project, le jound footage film s'est largement invité à investir le genre de l' horreur depuis les années 2000. Nous définissons d' un point de vue formel ces films de fiction aux allures de documentaire afin de mettre en lumière les différents enjeux pragmatiques soulevés par l' adoption d'une structure hybride. D' un point de vue sémantico-syntaxique, nous nous proposons dans un premier temps d'identifier la spécificité du jo und jootage film en tant que sous-catégorie générique de l' horreur. Ensuite, l' analyse sémiopragmatique permet de saisir de quelle manière la construction esthético-narrative du texte se dédie à appuyer une impression d'authenticité pour son spectateur en l' invitant à feindre des opérations de lecture propres au régime documentaire. Enfin, nous nous proposons d' étudier le found footage horror film du point de vue des communautés interprétatives. Au terme de cette analyse, il est possible d'établir l' importance capitale détenue par le spectateur dans le déploiement efficient des visées pragmatiques sous-tendues par le genre de l' horreur. · MOTS-CLÉS : fiction, documentaire, horreur, genre, found jootage film, sémio­ pragmatique fN TRO DUCTrON On observe, depuis la fi n du vingtième siècle, une vo lonté manifeste de questi onner le rapport entre représentation et réali té, de nuancer, vo ire de repousser, les limites entre fiction et [actu ali té. Animées par de tels débats, nos sociétés modernes ont vu naitre la nécessité d' étudier de plus près les mécani smes de représentation afin de rendre compte de 1' influence que cette dernière peut avoir sur notre perception (Paget, N .Lipkin, Roscoe, 2006). Délaissant le besoin de classifier les oeuvres au sein de catégori es hermétiques principalement articul ées autour d' une logique di chotomique entre régime fictionnel et régime documentaire, le cinéma contemporain est devenu le terrain d'une expérimentatio n permanente. L ' hybridité croissante qui s'est insinuée au sein de la production aud iovisue lle incarne la nécessité de se départir des conventions dominantes au profit d' une redéfinition de nos repères usuels. Para ll èlement à l'émergence de ces nouve ll es formes, la nécessité de produire
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