Esthétique Et Poétique Du Loup Dans L'animation Japonaise

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Esthétique Et Poétique Du Loup Dans L'animation Japonaise Esth´etique et po´etiquedu loup dans l'animation japonaise Jean-Baptiste Scherrer To cite this version: Jean-Baptiste Scherrer. Esth´etiqueet po´etiquedu loup dans l'animation japonaise. Art et histoire de l'art. 2014. <dumas-01060087> HAL Id: dumas-01060087 https://dumas.ccsd.cnrs.fr/dumas-01060087 Submitted on 2 Sep 2014 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Esthétique et poétique du loup dans l'animation japonaise L'appel de la forêt, Princesse Mononoke, Jin‐Roh, Wolf's rain et Les enfants loups, Ame et Yuki Mémoire de Master recherche "Cinéma & audiovisuel : esthétique, analyse, création", Université Panthéon‐Sorbonne, Paris 1 Réalisé par Jean‐Baptiste Scherrer en mai 2014 sous la direction du professeur José Moure 1 Je tiens à remercier l'université Panthéon-Sorbonne et notamment madame Scemama, monsieur Moure, monsieur Sojcher et monsieur Serceau dont leurs conseils et leurs confiances m'ont permis de passer une année d'étude à Tokyo et d'écrire ce mémoire. D'autre part, je voudrais communiquer toute ma gratitude envers l'université de Keio et en particulier envers monsieur Ainge pour ses cours de cinéma et pour l'encadrement de mes recherches indépendantes, ainsi que monsieur Mitsuda pour son cours sur les approches envers les animaux en extrême orient. 2 Résumé La beauté et la résonance philosophique d'une œuvre d'art sont parfois ordonnées autour d'un personnage. L'analyse comparative du loup au sein de cinq films, L'appel de la forêt, Princesse Mononoke, Jin- Roh, Wolf's rain et Les enfants loups, Ame et Yuki révèle une unité et une cohérence exprimant une sensibilité et une inspiration particulière. En suivant une approche qui peut être qualifiée de deleuzienne, nous exposons la dimension esthétique et poétique du loup. D'autre part, nous interrogeons la notion d'auteur, l'animation en tant que forme artistique, l'influence de la culture japonaise dans les choix artistes et le loup en tant que personnage conceptuel. Un résultat surprenant de cette recherche est la mise en évidence de l'association du loup avec l'eau et notamment la pluie et la neige. Mots-clefs Animation; Japon; Loup; Poésie; Deleuze; Morishita; Miyazaki; Okiura; Okamura; Hosada 3 Voyage sur place, c'est le nom de toutes les intensités, même si elles se développent aussi en extension. Penser, c'est voyager (...) Bref, ce qui distingue les voyages, ce n'est ni la qualité objective des lieux, ni la quantité mesurable du mouvement, ni quelque chose qui serait seulement dans l'esprit - mais le mode de spatialisation, la manière d'être dans l'espace, d'être à l'espace. Gilles Deleuze et Félix Guattari, Mille plateaux, P.602 4 Sommaire Esthétique et poétique du loup dans l'animation japonaise ................................................................................. 1 Prolégomènes ...................................................................................................................................................... 7 Chapitre 1. Les traits du loup ............................................................................................................................ 20 Section 1. La physionomie du loup .............................................................................................................. 20 §1. La relation entre le statut ontologique du loup et sa représentation ................................................... 20 §2. L'esthétique graphique et sonore des loups ......................................................................................... 23 §3. Les transformations du loup ............................................................................................................... 27 Section 2. Le caractère du loup ..................................................................................................................... 31 §1. Le rapport avec les hommes ............................................................................................................... 31 §2. Le rapport avec les animaux ............................................................................................................... 35 §3. Le rapport avec les divinités ............................................................................................................... 38 Section 3. Les éléments accessoires au loup ................................................................................................. 40 §1. L'environnement du loup .................................................................................................................... 40 §2. Un animal nocturne et diurne .............................................................................................................. 42 §3. L'insaisissabilité du loup ..................................................................................................................... 45 Chapitre 2. L'univers mû par le loup ................................................................................................................. 51 Section 1. Le caractère démiurgique du loup et de son univers ................................................................... 51 §1. La poétique des cinq éléments ............................................................................................................ 51 §2. La référence aux trois états de la matière ........................................................................................... 58 §3. Une approche fractaliste ..................................................................................................................... 61 Section 2. Entre imagination et réalité .......................................................................................................... 64 §1. Les éléments contextuels du Japon sur lesquels se basent les films ................................................... 64 §2. Les sources pour la constitution d'un univers utopique ...................................................................... 66 §3. Le rêves et les hallucinations du loup ................................................................................................. 69 Section 3. La mise en rapport des dimensions .............................................................................................. 73 §1. Un monde distant et inaccessible ........................................................................................................ 73 §2. La dimension intime du loup .............................................................................................................. 75 §3. La rencontre des mondes .................................................................................................................... 77 Chapitre 3. La voie du loup .............................................................................................................................. 81 Section 1. Le déchirement du loup ............................................................................................................... 81 §1. Le doute .............................................................................................................................................. 81 §2. Le conflit ............................................................................................................................................. 85 §3. Le déploiement .................................................................................................................................. 90 Section 2. Le loup, révélateur de la beauté et de l'éphémère ........................................................................ 95 §1. Purifier pour retarder la mort .............................................................................................................. 95 5 §2. La poignance du temps qui passe ....................................................................................................... 98 §3. L'animation et la manière d'insuffler la vie ....................................................................................... 103 Section 3. Le loup, catalyseur du sublime .................................................................................................. 106 §1. Le loup pénétré par la grandeur de la nature .................................................................................... 106 §2. La cruauté ......................................................................................................................................... 109 §3. La fusion des contraires .................................................................................................................... 112 Discussion et conclusion ................................................................................................................................. 117 Bibliographie .................................................................................................................................................. 123 6 Prolégomènes Art et animal Y-a-t-il une relation privilégiée entre l'art et l'animal ? 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