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Département D'anthropologie Faculté Des Arts Et Sciences Université de Montréal LA COLLABORATION CHEZ PIERRE PERRAULT : ÉTUDE COMPARATIVE DE POUR LA SUITE DU MONDE ET LA BÊTE LUMINEUSE par Benoit Vachon Département d’Anthropologie Faculté des Arts et Sciences Mémoire présenté à la Faculté des Arts et Sciences en vue de l’obtention du grade de M. Sc. en Anthropologie Avril 2013 © Benoit Vachon, 2013 Université de Montréal Faculté Arts et Sciences Ce mémoire intitulé : LA COLLABORATION CHEZ PIERRE PERRAULT : ÉTUDE COMPARATIVE DE POUR LA SUITE DU MONDE ET LA BÊTE LUMINEUSE présenté par : Benoit Vachon a été évalué par un jury composé des personnes suivantes : ROBERT CRÉPEAU F.A.S. - Anthropologie Président-rapporteur BOB WHITE F.A.S. - Anthropologie Directeur de recherche JOHN LEAVITT F.A.S. - Anthropologie Membre du jury iii Résumé Ce mémoire propose une analyse de la collaboration à l’intérieur de projets cinématographiques dans l’œuvre de Pierre Perrault. Comme la collaboration entre cinéaste et participants soulève des questions éthiques, cette recherche étudie deux films pivots dans la carrière de ce cinéaste soit Pour la suite du monde et La bête lumineuse. Tout en contrastant le discours du cinéaste avec celui d’un protagoniste nommé Stéphane-Albert Boulais, cette étude détaille les dynamiques de pouvoir liées à la représentation et analyse l’éthique du créateur. Ce mémoire présente une description complète de la pensée de Pierre Perrault, ainsi que sa pratique tant au niveau du tournage que du montage. Cette étude se consacre à deux terrains cinématographiques pour soulever les pratiques tant au niveau de l’avant, pendant, et après tournage. Ce mémoire se penche ensuite sur Stéphane-Albert Boulais, qui grâce à ses nombreux écrits sur ses expériences cinématographiques, permet de multiplier les regards sur la collaboration. Après une analyse comparative entre les deux terrains cinématographiques, ce mémoire conclut sur une analyse détaillée de l’éthique du créateur à l’intérieur de projets collaboratifs. Mots-clés : Pierre Perrault, Stéphane-Albert Boulais, Pour la suite du monde, La bête lumineuse, Cinéma direct, Collaboration, Relation cinématographique, Éthique. iv Abstract This research presents an analysis of collaboration in Pierre Perrault’s film projects. Since collaboration between filmmaker and participants raises ethical issues, this research examines two pivotal films in Perrault’s career: Pour la suite du monde and La bête lumineuse. Contrasting the filmmaker’s discourse with that of Stéphane-Albert Boulais, a protagonist in one of the movies, this study details the power dynamics linked to representation and analyzes the filmmaker’s ethics. This research presents a full description of Pierre Perrault’s approach to filmmaking, as well as his practice in both shooting and editing the movies. It focuses on two film locations to highlight Perrault’s practices before, during and after the shooting of these movies. It then looks at Stéphane-Albert Boulais, whose many writings documenting his filmmaking experiences, provides multiple views on collaboration. Following a comparative study of both film locations, this research concludes with a detailed analysis of Perrault’s ethics within the framework of collaborative projects. Keywords : Pierre Perrault, Stéphane-Albert Boulais, Pour la suite du monde, La bête lumineuse, Direct Cinema, Collaboration, Cinematographic relationship, Ethics. v Table des matières Liste des tableaux ................................................................................................................ viii Remerciements................................................................................................................................. ix INTRODUCTION ............................................................................................................................ 1 Pour la suite du monde et La bête lumineuse. ................................................................ 6 L’anthropologie et le cinéma direct ................................................................................. 7 Les deux grandes familles du cinéma documentaire : Vertov et Flaherty ................ 10 Contexte cinématographique au Canada : Grierson et l’émergence du cinéma direct au Québec. .............................................................................................................. 13 Survol du contexte politique, historique et social du Québec au tournant des années 1930…………… ................................................................................................. 15 Le cinéma direct et l’évolution des appareils de prises de vue et de son ................. 17 Méthodologie .................................................................................................................... 18 CHAPITRE 1 : PIERRE PERRAULT ...................................................................................... 21 1.1 Biographie.............................................................................................................. 21 1.2 Première expérience filmique ............................................................................. 22 1.3 L’importance de Pour la suite du monde .......................................................... 22 1.4 Mémoire, histoire et poétique du récit ............................................................... 23 1.5 Le combat de Pierre Perrault ............................................................................... 25 1.6 Deux objectifs derrière la caméra de Perrault ................................................... 28 1.7 Le refus de faire du cinéma ................................................................................. 29 1.8 Techniques de tournage ....................................................................................... 30 1.9 Techniques de montage........................................................................................ 33 1.10 Niney et Lioult : la portée du réel, de l’objectivisme au subjectivisme ........ 35 1.11 Perrault et l’identité québécoise .......................................................................... 37 vi CHAPITRE 2 : POUR LA SUITE DU MONDE et LA BÊTE LUMINEUSE .................... 42 2.1 Pour la suite du monde ........................................................................................ 42 2.1.1 Contexte du film ................................................................................... 42 2.1.2 L’avant-tournage ................................................................................... 43 2.1.3 Tournage ............................................................................................... 43 2.1.4 Montage ................................................................................................ 44 2.1.5 Répercussions du film ........................................................................... 44 2.2 La bête lumineuse ................................................................................................. 45 2.2.1 Contexte du film ................................................................................... 45 2.2.2 L’avant-tournage ................................................................................... 46 2.2.3 Tournage ............................................................................................... 48 CHAPITRE 3 : L’EXPÉRIENCE DE STÉPHANE-ALBERT BOULAIS ....................... 49 3.1 Biographie.............................................................................................................. 49 3.2 Première expérience filmique : La bête lumineuse. ......................................... 49 3.3 Le combat de l’après-tournage ou le contrôle du montage ............................. 52 3.4 Les autres expériences filmiques ........................................................................ 55 3.4.1 Les voiles en bas et à travers ................................................................ 55 3.4.2 Les traces du rêve ................................................................................. 55 3.5 Conclusion sur les revendications de Boulais ................................................... 57 3.6 Revendication identitaire de Pierre Perrault chez ses participants ................. 60 CHAPITRE 4 : COMPARAISON DES DEUX FILMS ........................................................ 62 4.1 La collaboration .................................................................................................... 62 4.2 Tableau : Différences entre Pour la suite du monde et La bête lumineuse ... 65 4.3 Un glissement dans la collaboration stratégique .............................................. 66 4.4 Une rhétorique stratégique .................................................................................. 71 4.5 La relation cinématographique ........................................................................... 76 4.5.1 La relation cinématographique selon Jean-Louis Comolli ................... 81 4.5.2 Réflexion sur la relation cinématographique ........................................ 85 vii 4.5.3 Conclusion sur la relation cinématographique ...................................... 88 CHAPITRE 5 : L’ÉTHIQUE DU CRÉATEUR ...................................................................... 92 5.1 La performance du réalisateur lors du tournage et du montage...................... 92 5.2 La responsabilité de l’auteur devant son œuvre ............................................... 94 5.3 Donner la parole pour mieux la reprendre ........................................................
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