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Pour Une Histoire Et Une Esthétique De L'écran Fragmenté Au Cinéma

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Pour Une Histoire Et Une Esthétique De L'écran Fragmenté Au Cinéma Université de Montréal Pour une histoire et une esthétique de l'écran fragmenté au cinéma par Philippe Mathieu Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de Maître ès arts (M.A.) en études cinématographiques Novembre 2010 © Philippe Mathieu Université de Montréal Faculté des études supérieures Ce mémoire intitulé : Pour une histoire et une esthétique de l'écran fragmenté au cinéma présenté par : Philippe Mathieu a été évalué par un jury composé des personnes suivantes : André Habib président-rapporteur Bernard Perron directeur de recherche André Gaudreault membre du jury Le 28 janvier 2011 ii Résumé Bien que son existence soit presque aussi vieille que le cinéma, l’écran fragmenté (que les académiciens et autres professionnels du cinéma de langue anglaise désignent communément sous l’appellation « split screen ») n’a jamais fait l’objet d’analyses véritablement approfondies. Quand il est mentionné dans les livres d’histoire, l’écran fragmenté est rapidement esquivé. Pourtant, ses apparitions sont nombreuses. Ce mémoire de maîtrise cherche à corriger nombre d’idées préétablies en exposant l’histoire de cette manifestation visuelle, en commençant des débuts (le « cinéma des premiers temps ») jusqu’à l’arrivée du « cinéma numérique » du nouveau millénaire. Mots-clés : Écran fragmenté, écran divisé, écran multiple, fragmentation, polyvision, montage spatial, écran, cadre, cadre et cinéma, Abel Gance, Brian De Palma, Napoléon, Timecode, The Boston Strangler, The Thomas Crown Affair, The Tracey Fragments, cinéma numérique, montage et cinéma, histoire du montage cinématographique. iii Abstract Despite the fact its existence is almost as old as cinema itself, the fragmented screen (commonly known as « split screen » in the academic and professional world of the seventh art) has never been the object of serious and exhaustive analysis. When mentioned in history books, the fragmented screen is quickly eluded. And yet its appearances are numerous. This Master thesis aims at rectifying a number of pre- established ideas by exposing the history behind this visual manifestation, from early cinema to the arrival of digital films. Keywords : Fragmented screen, split screen, multiple screen, fragmentation, polyvision, spatial montage, screen, frame, frame and cinema, Abel Gance, Brian De Palma, Napoléon, Timecode, The Boston Strangler, The Thomas Crown Affair, The Tracey Fragments, digital cinema, editing and film, history of film editing. iv Table des matières Résumé ii Abstract iii Table des matières iv Liste des figures vi Remerciements xii Introduction 1 1. De quelques problèmes de définition 6 1.1 Le split screen comme écran fragmenté 7 1.2 Pourquoi l’écran fragmenté ? 12 1.3 Quels écrans fragmentés ? 14 1.3.1 L’écran divisé 14 1.3.2 L’écran multiple 15 1.3.3 L’écran mosaïque 15 2. L’émergence de l’écran fragmenté au cinéma (1901-1917) 15 2.1 L’ « Origine » de l’écran fragmenté au cinéma 15 2.1.1 La conversation téléphonique 21 2.1.2. L’écran fragmenté et les autres formes de représentation spatiale 40 2.1.2.1 Les espaces distincts 40 2.1.2.2 L’espace des rêves 47 2.2 Retour sur l’émergence de l’écran fragmenté au cinéma 50 3. Les avant-gardes historiques et le « cinéma des expérimentations » (1917-1933) 52 3.1 La notion de « l’avant-garde » cinématographique 52 3.2 Abel Gance 57 3.2.1 La Polyvision 61 3.2.2 Napoléon 64 3.3 Dziga Vertov et le « ciné-œil » 69 3.4 Les avant-gardes américaines ou le « cinéma des expérimentations » 75 4. L’expansion écranique et l’hybridation des cinémas commerciaux et expérimentaux (1953-1981) 84 4.1 Retour sur les années 1930 et 1940 : le paradigme du classicisme hollywoodien 84 4.2 Le déclin d’Hollywood et l’arrivée des nouveaux formats 87 4.2.1 Le Cinerama 87 4.2.2 Le retour de la téléphonie 92 4.3 L’« Expanded Cinema » rencontre le « Nouvel Hollywood » 97 4.3.1 « L’âge d’or » 100 4.3.1.1 Brian De Palma 112 5. Le montage « spatial » et le cinéma numérique (2000-2010) 117 5.1 Le « paradigme » du numérique et du « montage spatial » 118 5.1.1 Timecode 120 v 5.2 Et après? 125 5.2.1 Conversations with Other Women 128 5.2.2 The Tracey Fragments 131 Conclusion 140 Bibliographie 142 vi Liste des figures Figure 1 : Sisters (De Palma, 1973) .............................................................................. 8 Figure 2 : The Tracey Fragments (McDonald, 2007) ................................................... 8 Figure 3 : The Dirty Dozen (Aldrich, 1967) ................................................................. 9 Figure 4 : Formation de l’écran mosaïque dans Buffalo 66 (Gallo, 1998) ................. 16 Figure 5 : Un homme de tête (Méliès, 1898) .............................................................. 20 Figure 6 : Back to the Future II (Zemeckis, 1989) ..................................................... 20 Figure 7 : The Story the Biograph Told (McCutcheon, 1904) .................................... 22 Figure 8 : Exemples de panneau simple, double panneau et triple panneau. De gauche à droite, The Medicine Bottle (Griffith, 1909), Le mystère du lit blanc (Jasset, 1911) et L’Affaire Dreyfuss (Nonguet et Zecca, 1908) .......................... 27 Figure 9 : College Chums (Porter, 1907) .................................................................... 28 Figure 10 : Alternance entre les plans mono-écraniques et l’écran fragmenté dans Max et son chien (Pathé, 1912) ........................................................................... 29 Figure 11 : Max au couvent (Pathé, 1914) .................................................................. 30 Figure 12 : Dick Carter (Messter, 1914) .................................................................... 31 Figure 13 : Suspense (Smalley et Webber, 1913) ....................................................... 32 Figure 14 : Die Tango-Königin (Mack, 1913) ............................................................ 35 Figure 15 : Barberousse (Gance, 1917) ...................................................................... 38 Figure 16 : Le roman de la petite vendeuse (Gaumont, 1911) .................................... 39 Figure 17 : At the French Ball (McCutcheon, 1908) .................................................. 42 Figure 18 : Those Awful Hats (Griffith, 1909) ............................................................ 43 Figure 19 : Beasts of the Jungle (Warren, 1913) ........................................................ 44 Figure 20 : Le Homard (Perret, 1912) ........................................................................ 46 vii Figure 21 : Léonce à la campagne (Perret, 1913) ....................................................... 47 Figure 22 : Histoire d’un crime (Zecca, 1901) ........................................................... 48 Figure 23 : Life of an American Fireman (Porter, 1903) ............................................ 49 Figure 24 : Dream of a Rarebit Fiend (Porter, 1906) ................................................. 50 Figure 25 : a) Exemple de peinture cubiste « Portrait de Pablo Picasso » (Gris, 1912) b) Exemple de peinture futuriste « Volumes horizontaux » (Boccioni, 1912) ............................................................................................................................. 55 Figure 26 : Ballet Mécanique (Léger et Andrew, 1924) ............................................. 56 Figure 27 : La Coquille et le Clergyman (Dulac, 1927) ............................................. 56 Figure 28 : La Folie du docteur Tube (Gance, 1915) ................................................. 58 Figure 29 : J’accuse (Gance, 1919 ............................................................................. 59 Figure 30 : Napoléon (Gance, 1927) ........................................................................... 66 Figure 31 : Scène de l’École de Brienne dans Napoléon (Gance, 1927) .................... 67 Figure 32 : The Eleventh Year (Vertov, 1928) ............................................................ 71 Figure 33 : Succession de plans dans Man with a Movie Camera (Vertov, 1929) ..... 72 Figure 34 : Déroulement de la « destruction du théâtre Bolchoï » dans Man with a Movie Camera (Vertov, 1929) ........................................................................... 73 Figure 35 : Succession d’écrans fragmentés dans Enthusiasm (Vertov, 1931) .......... 73 Figure 36 : In Youth, Beside the Lonely Sea (1925) : a) l’épisode de la jeunesse, b) l’épisode de l’âge adulte, et c) l’épisode de l’âge d’or ....................................... 77 Figure 37 : The Life and Death of 9413 : A Hollywood Extra (Florey et Vorkapić, 1927) ................................................................................................................... 78 Figure 38 : The Love of Zero (Cameron Menzies et Florey, 1928) : a) dynamisme et énergie, b) le passage à la folie, et c) la descente aux enfers .......................... 80 Figure 39 : The Fall of the House of Usher (Sibley Watson Jr et Webber, 1928) ...... 81 Figure 40 : a) Chacun sa chance (Pujol et Steinhoff, 1931), b) A Day at the Races (Wood, 1937) et c) Three Comrades (Borzage, 1938) ....................................... 84 viii Figure 41 : The General Died at Dawn (Milestone, 1936) ......................................... 85 Figure 42 : It’s Always Fair Weather (Donen et Kelly, 1955) : a) les rêves et ambitions des trois amis, b) la vie amoureuse des trois amis, et c) ce
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