Rodrigue HUART

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Rodrigue HUART Mémoire de fin d’études Rodrigue HUART Le clip musical : Médium d’auteur, hybride entre musique, cinéma et photographie. Comment définir le clip musical comme un genre à part entière, médium hybride entre musique et cinéma? Quelles sont ses spécificités photographiques, d’un point de vue historique, esthétique et technique? Sous la direction de Monsieur Christophe CAUDROY Membres du jury : Monsieur Christophe CAUDROY Madame Françoise DENOYELLE Madame Claire BRAS Monsieur Pascal MARTIN Section photographie, promotion 2013 Remerciements Je souhaite tout d’abord remercier les membres du jury, Madame Françoise Denoyelle et Monsieur Pascal Martin. Je remercie Monsieur Christophe Caudroy pour les conseils prodigués tout au long de la rédaction de ce mémoire et Madame Claire Bras qui m’a permis de poser les bases de cette étude. Je tiens également à remercier mes camarades de promotion Nejib Boubaker, Louis Boulet, et Thibaut Bissuel, qui, chacun à leur manière m’ont permis d’avancer sereinement jusqu’au terme de l’écriture de ce mémoire. Je remercie Romain Bassenne et Pascale Fulghesu pour leur sympathie et leur disponibilité sans faille. Je remercie Monsieur Michel Coteret, directeur de la formation initiale et l’école ENS Louis Lumière pour le prêt de la Phantom et du studio 2. Je remercie Abteen Bagheri, Roger Ballen, Pierre-Édouard Joubert, Marty Martin, Pablo Maestres, Chris Milk, réalisateurs de clips musicaux, d’avoir répondu à mes questions avec intérêt et sympathie. Je remercie chaleureusement toutes les personnes qui m’ont accompagné dans la réalisation de ma partie pratique, le clip Washed Away pour le groupe Juveniles : Pierre Saba-Aris, Arthur Briet, Brice Barbier, Quentin Labail, Théo Raush, Flora Fishbach, Maxime Ducrot, Kevin Fermaud, Loich Lambert et Gilles Desloires. Je remercie également le groupe Juveniles pour la confiance qu’ils m’ont accordée. Enfin, je tiens à remercier mes parents et mon colocataire Dimitri Faïzi et Valentina Gardet pour leur aide et Sidonie Ippolito pour le soutien sans faille qu’elle m’a apporté. 2 Résumé À l’ère d’Internet, où s’entrechoquent image fixe, image animée et son, le clip musical se trouve à la croisée des chemins, mêlant en son sein des références, et des codes propres à chacun de ces médiums. Il se pose alors comme un genre à part entière, fruit de cette hybridation. Cette recherche a pour but de définir dans quelle mesure le clip recycle et réinvente en permanence, en adéquation avec les outils technologiques de son époque, les codes narratifs et esthétiques propres à chacun des médiums qu’il se réapproprie. Nous nous interrogerons également sur la position de l’auteur face au clip musical. Nous reviendrons tout d’abord sur les liens qui s’établissent entre le cinéma et la photographie à travers les époques, et sur la genèse du clip musical. Nous verrons ensuite que ce dernier se pose comme un médium hybride à la frontière entre cinéma, musique et photographie et analyserons comment l’auteur s’approprie cette caractéristique au service de son propos. Cette recherche s’arrêtera également sur les spécificités photographiques de ce médium. Enfin, nous ne manquerons pas d’établir un parallèle entre les mutations esthétiques et techniques du clip musical, et les évolutions récentes des outils de production et de diffusion. Mots-clés : photographie, cinéma, musique, clip musical, internet, histoire, technique, esthétique, hybride, auteur. 3 Abstract In the era of Internet, where fixed image, animated image and sound jostle together continually, music video represents a meeting, a mix between the specific references and codes inherent to each of these mediums. Stemming from this hybridization, music video can thus be considered as a genre of its own. This research is intended to define how music videos constantly recycle and reinvent the narrative codes and aesthetics of the mediums they appropriate, in line with the technological tools of their time. We will also study the question of the creator and his position towards music video. First of all, we will come back to the relationships that appeared throughout the years between cinema and photography, and to the origin of music video. We will then analyse how music video defines itself as a hybrid medium between cinema, music and photography and how the creator can seize upon this characteristic and use it to convey his own message. In this research, we will also study the photographic specificities of this medium. Finally, we will not fail to draw a parallel between the aesthetic and technical evolution of music video and the development of new production and diffusion tools. Key words: photography, cinema, music, music video, Internet, history, technical, aesthetic, hybrid, director. 4 Table des matières INTRODUCTION ................................................................................................................................... 8 I. HISTOIRE ET DEFINITION D’UN MEDIUM HYBRIDE ...................................................... 10 1. LES PHOTOGRAPHES ET L’IMAGE ANIMEE .................................................................................... 10 A. LES PRECURSEURS ................................................................................................................................................ 10 B. DES PHOTOGRAPHES QUI REGARDENT VERS LE CINEMA ............................................................................... 19 C. LES ANNEES 2000, LE WEB, L’ARRIVEE DU CANON 5D MK II ..................................................................... 23 2. L’HISTOIRE ET LES ORIGINES DU CLIP MUSICAL ............................................................................... 25 A. LES PREMICES HISTORIQUES .............................................................................................................................. 25 B. LA POPULARISATION ............................................................................................................................................ 28 2. LE CLIP MUSICAL, HYBRIDE ENTRE CINEMA, MUSIQUE ET PHOTOGRAPHIE ................................ 29 A. DIFFERENTS TYPES DE CLIPS MUSICAUX ET DEFINITION DU CORPUS ......................................................... 29 B. DES ARTISTES A LA CROISEE DES CHEMINS, MUSICIENS, PHOTOGRAPHES ET REALISATEURS DE CLIP . 34 II. L’HYBRIDATION AU SERVICE DE L’AUTEUR ................................................................... 36 1. LE TEMPS ET LA NARRATION ......................................................................................................... 36 A. LA NARRATION DANS LE CLIP MUSICAL ............................................................................................................ 36 B. TEMPS ET DEPLOIEMENT DE «L’INSTANT» ..................................................................................................... 44 C. TEMPS ET PULSATION .......................................................................................................................................... 52 2. ESPACE, CIRCULATION ET CADRE .................................................................................................. 56 A. « CIRCULATION » CINEMATOGRAPHIQUE/« FACE A FACE » PHOTOGRAPHIQUE ..................................... 56 B. TENSION ENTRE PLAN FIXE ET DEPLACEMENT DANS L’ESPACE ................................................................... 58 3. CITATION ET VISION D’AUTEUR .................................................................................................... 60 A. L’EFFET PHOTOGRAPHIQUE ................................................................................................................................ 60 B. LA REAPPROPRIATION D’ICONES PICTURALES ET PHOTOGRAPHIQUES ...................................................... 63 C. LE PHOTOGRAPHE-REALISATEUR : TRANSPOSITION DE SON UNIVERS PERSONNEL AU CLIP MUSICAL . 66 5 III. LES EVOLUTIONS TECHNIQUES, MOTEUR DE CREATIVITE ET D’HYBRIDATION . 71 1. L’ARRIVEE DU CANON 5D MARK II .............................................................................................. 71 A. HYBRIDATION MATERIELLE ENTRE CINEMA ET PHOTOGRAPHIE ................................................................ 71 B. LE DEVELOPPEMENT DE NOUVEAUX CONTENUS ............................................................................................. 78 2. LA REAPPROPRIATION DES STANDARDS VISUELS AMATEURS DANS LE CLIP MUSICAL ................... 81 A. L’INFLUENCE DES RESEAUX SOCIAUX : FLICKR, INSTAGRAM… .................................................................... 81 B. REAPPROPRIATION DE L’OUTIL AMATEUR ....................................................................................................... 84 3. VERS L’AVENIR ................................................................................................................................... 87 A. LA BLACK MAGIC CINEMA, UNE CAMERA AUX PERFORMANCES « CINEMA » SOUS LES TRAITS D’ UN DLSR .......................................................................................................................................................................... 87 B. UNE NOUVELLE FORME HYBRIDE EN DEVELOPPEMENT, LE CLIP INTERACTIF .......................................... 94 CONCLUSION ...................................................................................................................................... 98 BIBLIOGRAPHIE .............................................................................................................................
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