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LE GENIE CREATEUR I05SO SS SE <s*\^ i LE GENIE CREATEUR ABLE DES MATIERES Filmographie et liste des personnes des ayant collabore a la creation 4 Films portant sur Norman McLaren 6 Introduction 7 PARTIE A - Le Genie createur : Norman McLaren Structure du film 10 Sommaire du film 11 Generique 13 Le cinema ou 1'art du mouvement 17 Une ceuvre d'art 20 La musique 29 Une affaire de synesthesie 34 Les films muraux automatiques 36 Du sens 38 Une anecdote 42 De 1'abstraction 43 Reflexions 47 PARTIE B - Films choisis : Norman McLaren Notes techniques 57 Boogie-Doodle (1940) 58 Le Merle (1958) 60 Compilation et redaction : Donald McWilliams II etait une chaise (1957) 61 Traduction : Secretariat d'Etat du Canada, A Phantasy (1952) 65 Direction des services de traduction Voisins (1952) 67 Lignes verticales (1960) et Depot legal : Bibliotheque nationale du Canada, 3' trimestre, 1993 Lignes horizontales (1962) 74 Mosalque (1965) 79 ISBN : 0-7722-0498-5 New York Lightboard Record (1961) 81 Caprice en couleurs (1949) 82 © 1993 Office national du film du Canada Pas de deux (1967) 85 Case postale 6100, Succursale «A» Blinkity Blank (1955) 88 Montreal (Quebec) Synchromie (1971) 91 H3C 3H5 Mouvement image par image - 5" partie (1978) 94 Narcisse (1983) 95 Imprime au Canada Techniques d'animation 105 Alouette 1944 Rene Jodoin ILMOGRAPHIE ET LI$TE DES PERSONNES CLES Keep Your Mouth Shut 1944 George Dunning AYANT COLLABORE A LA CREATION La-haut sur ces montagnes 1945 Maurice Blackburn, Norman McLaren Quatuor Alouette Ne en avril 1914 a Stirling, en Ecosse A Little Phantasy on Disparu enjanvier 1987 a Hudson (Quebec), au Canada a 19th-century Painting 1946 Louis Applebaum Hoppity Pop 1946 Calliope anonyme Hand-painted Abstraction 1934 Stewart McAllister Fiddle-de-dee 1947 Eugene Desormeaux Seven till Five 1934 Stewart McAllister, La Poulette grise 1947 Maurice Blackburn, Evelyn William. J. MacLean Lambart, Anna Malenfant Camera Makes Whoopee 1935 Stewart McAllister, Caprice en couleurs William J. MacLean, (Begone Dull Care) 1949 Evelyn Lambart, Oscar Peterson Helen Biggar, Violet Anderson Around Is Around 1951 Raymond Spottiswoode, * Polychrome Phantasy 1935 Chester Beachall, Colour Cocktail 1935 Louis Applebaum Five Advertising Shorts 1935 Now Is the Time 1951 Raymond Spottiswoode * Hell Unlimited 1936 Helen Biggar, A Phantasy 1952 Maurice Blackburn, William J. MacLean Rene Jodoin, Bert Niosi * Book Bargain 1937 Cavalcanti (producteur) Voisins (Neighbours) 1952 Grant Munro, Jean-Paul Ladouceur, * News for the Navy 1937 Cavalcanti (producteur) Wolf Koenig, Evelyn Lambart GPO Trailer 1937 Cavalcanti (producteur) Two Bagatelles 1952 Grant Munro, Wolf Koenig * Mony a Pickle 1937 Cavalcanti (producteur) Blinkity Blank 1955 Maurice Blackburn * Love on the Wing 1938 Cavalcanti (producteur), Rythmetic 1956 Evelyn Lambart Jacques Ibert II etait une chaise 1957 Claude Jutra, Ravi Shankar, * The Obedient Flame 1939 Arthur Elton (producteur) (A Chairy Tale) Evelyn Lambart, Herbert Taylor NBC Xmas Card 1939 Benny Goodman Le Merle 1958 Maurice Blackburn, * Points (Dots) 1940 Trio lyrique, Evelyn Lambart * Boucles (Loops) 1940 Short and Suite 1959 Eldon Rathburn * Scherzo 1940** Serenal 1959 Groupe de musique folklorique * NBC Valentine Greeting 1940** Albert Ammons anonyme Happy Birthday lor Mail Early for Christmas 1959 Groupe de musique anonyme Solomon Guggenheim 1941 Jack Paar Credit Titles 1959 Evelyn Lambart * Etoiles et bandes Lignes verticales (Stars and Stripes) 1941 John P. Sousa (Lines-Vertical) 1960 Evelyn Lambart, * Boogie-Doodle 1941 Albert Ammons Maurice Blackburn * Mail Early 1941 Benny Goodman Discours de bienvenue de * V lor Victor)' 1942 John P. Sousa Norman McLaren * Five lor Four 1942 Albert Ammons (Opening Speech: McLaren) 1961 Arthur Lipsett * Hen Hop 1942 Folk Music Trio New York Lightboard 1961 Rene Jodoin, Ron Tunis, Kaj Pindal * Dollar Dance 1943 Louis Applebaum, Guy Glover, Robert Anderson New York Lightboard Record 1961 * C'est 1'aviron 1944 Maurice Blackburn, Trio Alouette Lignes horizontales (Lines-Horizontal) 1962 Evelyn Lambart, Peter Seeger Canon 1964 Grant Munro, Eldon Rathburn Llj INTRODUCTION * Mosalque (Mosaic) 1965 Evelyn Lambart, Ron Alexander * Pas de deux 1967 Ludmilla Chiriaeff, Vincent L'idee centrale du film Le Genie createur: Norman McLaren est nee Warren, Margaret Mercier, Maurice Blackburn, Jacques de McLaren lui-meme. « Je suis Ecossais », disait-il en souriant. Fogel, Wally Howard Cela signifiait que, depuis son arrivee en Amerique du Nord en Spheres 1969 Rene Jodoin, Glenn Gould, 1939, il avail conserve presque tous les essais et les films J.S. Bach inacheves dont il etait Fauteur, ainsi que les chutes de films et les * Synchromie (Synchromy) 1971 sequences inedites de plusieurs de ses films. McLaren possedait * Ballet Adagio 1972 David et Anna-Marie Holmes, en outre une imposante collection de photographies, dessins, lettres Albinoni et notes a caractere philosophique sur le cinema. Ces documents, * L'ecran d'epingles (Pinscreen)1973 Alexeieff et Parker, Grant de meme que ses films acheves, devaient selon lui permettre de Munro, animateurs de 1'ONF retracer la demarche d'un cineaste, mais plus encore, d'apprendre * Mouvement image par le processus de creation en general. image (parties 1 a 5) 1976-78 Grant Munro * Narcisse (Narcissus) 1983 Donald McWilliams, Comme je connaissais bien son ceuvre et ses methodes de travail, Fernand Nault, J.-L. Morin, S. Kinal, Serge Lafortune, McLaren m'a propose d'entreprendre le film. Malheureusement, Maureen Forrester, David de en Janvier 1987, sa mort est venue mettre un terme a sa collabo- Volpi, et de nombreuses ration au projet. autres personnes Precisons en outre que Grant Munro, Evelyn Lambart, Guy Glover, Tom Daly et Maurice Pour Felaboration du Genie createur, je ne me suis pas contente Blackburn ont apporte a Norman McLaren un soutien continu grace a leurs conseils et a de puiser aux sources enumerees plus haut : je disposals aussi de leurs suggestions. mon propre repertoire de conversations entre McLaren et ses col- * Distnbue au Canada par I'OiTice national du film. A 1'etranger, s'adresser au bureau de legues enregistrees sur cassettes depuis 1968. Au cours de ce pro- 1'Office national du film le plus proche cessus de production, mes collegues et moi avons egalement mis ** Ces films n'ont pas etc completes en 1940. Perdus, retrouves puis remis en etat, ils ont au jour des interviews filmees ou enregistrees a la radio, ainsi que ete termines en 1985 par Norman McLaren et Donald McWilliams. d'autres documents d'archives remontant jusqu'a 1938. La presente brochure constitue un complement au Genie createur : Norman McLaren. Elle a pour but d'enrichir le vision- ILMS PORTANT SUR NORMAN McLAREN nage de ce film et ceux de McLaren. Elle comporte deux par- ties. La partie A se compose de reflexions de McLaren sur le cinema et sur ses propres mecanismes de creation. La partie B A la pointe de la plume (Pen Point Percussion) (1951) C0251 035 comprend les notes techniques de McLaren sur les films Regards sur le Canada n" 16 (Window on Canada # 29) (1954) C 0254 061 presentes dans Films choisis: Norman McLaren. The Experimental Film (1963) C 0163 048 The Eye Hears, the Ear Sees (1970) C 0170 068 Donald McWilliams McLaren on McLaren (1983) C 0183 071 (1991) Le Genie createur : Norman McLaren (Creative Process: Norman McLaren) (1990) C 9290 079 PARTIE A Li TRUCTURE DU FILM OMMAIRE DU FILM Le Genie createur : Norman McLaren est dote d'une structure Visionner Le Genie createur : Norman McLaren en cours de mon- modulaire dont chaque section aborde un theme particulier. tage nous a rappele que le spectateur regarde le film dans une McLaren et moi avons adopte cette formule parce que nous ne perspective toute personnelle, en faisant appel a ses connais- souhaitions pas reduire le film a une biographic chronologique sances et a son experience. Consequemment, le cineaste ne peut conventionnelle. D'une certaine maniere, les idees nous impor- ni prevoir, ni regir le fil de sa pensee et les conclusions auxquelles il parvient. Le sommaire se limite done a presenter les idees et les taient davantage que l'homme. Les recours a la biographic themes prmcipaux du Genie createur. II ne pretend imposer avaient pour seule fonction de Jeter de la lumiere sur un theme aucune lecture des textes sous-jacents et des rapports possibles. donne. J'ai egalement pris le parti de faire de McLaren son propre temoin dans la mesure du possible. Le film prendrait en 1. Decouverte des arts, en particulier le cinema survol quelque sorte la forme d'une conversation entre lui et le spec- biographique. tateur. 2. Musique I. Le son d'ambiance de McLaren, sa synesthesie (la Le choix d'une telle structure thematique entraine un va-et- condition dans laquelle les stimuli des divers modes sen- vient temporel constant. A 1'origine, nous craignions que cette soriels s'amalgament les uns aux autres) ; sa decouverte du decision gene le spectateur. Toutefois, les visionnages effectues cinema comme moyen d'expression de cette synesthesie. en cours de montage nous ont permis d'observer que devant une structure thematique, la chronologie lineaire presentait 3. Surrealisme et cinema artisanal. La decouverte du sur- peu d'interet. Cette constatation nous a done amenes a reduire realisme par McLaren a la fin des annees 30 et 1'influence de au minimum les reperes temporels. ce courant sur son travail. La technique du cinema artisanal est decrite dans le film, d'une part, parce qu'elle illustre par- faitement la pensee de McLaren quant au role de la cons- cience et de 1'mconscient dans la demarche de creation, d'autre part, parce qu'elle rend compte de sa conception du cinema en tant qu'inscription du mouvement dans le temps. 4. Nature. Pour McLaren, le cinema etait egalement une fagon de peindre avec de la lumiere. Cette vision lui venait du milieu ecossais dans lequel avait baigne sa jeunesse.
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  • Introduction À L'animation

    Introduction À L'animation

    LEÇON 2 Atelier d’animation image par image INTRODUCTION À L’anIMATION • définir le terme « animation » dans leurs propres Introduction mots; Dans le présent guide pédagogique, vous vous familiari­ serez avec le terme « animation » et avec le développement • parler de Norman McLaren et de son rôle dans le historique de ce genre de cinéma à l’Office national du film du développement historique du cinéma d’animation à Canada (ONF). De plus, vous explorerez les films d’animation l’ONF; de Norman McLaren et différents types de techniques utilisées par d’autres cinéastes. • discuter des meilleurs exemples de films d’animation signés Norman McLaren, et préciser leur apport à la culture canadienne; • faire la distinction entre les différents types de films Résultats pédagogiques d’animation réalisés par une variété d’artistes; Après avoir terminé cette leçon, les élèves seront en mesure d’accomplir les activités suivantes : • analyser une œuvre et discuter de l’intention de son auteur. 1 onf.ca/stopmo Atelier d’animation image par image LEÇON 2 INTRODUCTION À L’aNIMATION Faits sur l’animation StudioStopMo – L’ONF : Discours de bienvenue de Norman McLaren / Définition de l’animation pionnier de l’animation Opening Speech: McLaren, de Norman McLaren (1 min 15 s) (1961, 6 min 52 s) Avant de commencer, il importe de comprendre un peu ce LE SAVIEZ-VOUS? qu’est l’animation. Voici la définition générale du terme. onf.ca/film/discours_de_bienvenue_de_norman_mclaren] Aux premiers jours de l’animation, les cinéastes utilisent des Synopsis : Norman McLaren tente de souhaiter la a. Art ou processus de préparation de appareils comme le phénakistoscope, le zootrope, et le bienvenue à l’auditoire lors d’un festival.