Résumés
Abstract
Woody Allen made his transition from stand-up comedy to cinema not as an author, but as a dialogue adaptor and film dubber. In 1966, he transformed a Japanese spy thriller into an American comedy by removing the film’s original dialogue and soundtracks, and then synchronizing a new dialogue of his own penning with the original film’s images. The result was What’s Up, Tiger Lily? (1966), a film where Allen forces a cast of unwitting Japanese characters to act out one narrative visibly as they speak out another audibly. The film suggests a number of intriguing theoretical vectors for those interested in the subject of screen translation as a mode of intercultural appropriation (or misappropriation). What’s Up, Tiger Lily?, first of all, is a comedic exploration of authorial status in cinema. Indeed, the lesser status of “re-writer” becomes Allen’s cover, a way to avoid taking responsibility for a film that not only indulges in the most counterintuitive of experiments in the sound-image relationship, but also creates a particularly condescending form of Asian exploitation. Perhaps most important, however, is the perspective that the film offers on the voice-image antagonism implicit in any foreign-language dubbed film. Allen’s film may well offer a way for theory to transcend the aura of negativity with which academic discourse tends to surround the practice of dubbing, specifically by putting the latter to use in the service of intercultural parody. Michael Cronin’s latest work on globalization and Hollywood (2009) offers some helpful concepts for examining Allen’s film.
Keywords:
- Woody Allen,
- cinema,
- dubbing,
- Japan,
- intercultural appropriation
Résumé
Ce n’est pas en tant qu’acteur, mais grâce à l’adaptation de dialogues et au doublage de films que Woody Allen est parvenu à passer du monde de la stand-up comedy à celui du cinéma. En 1966, il transforme un film d’espionnage japonais en comédie américaine en supprimant le dialogue original et la bande son du film puis en inventant un nouveau dialogue de son cru à partir des images du film. Le résultat fut Lily la tigresse (1966), un film où Allen force un groupe de personnages japonais à suivre, sans le savoir, un scénario par leurs gestes tout en prononçant des paroles correspondant à un autre scénario. Le film ouvre un champ de réflexion théorique sur la traduction audio-visuelle en tant que mode d’appropriation (ou d’aliénation) interculturelle. En premier lieu, Lily la tigresse remet en question le statut de l’auteur au cinéma. Allen fait de la « réécriture » un alibi contre des accusateurs potentiels qui pourraient réagir contre l’étrange distorsion de la relation son-image, et contre l’usage hautement stéréotypé de la culture asiatique. En deuxième lieu, le film offre une nouvelle perspective sur l’antagonisme entre la voix et l’image, qui est le propre de tout film doublé en langue étrangère. L’examen du film de Woody Allen offre à la théorie le moyen de dépasser le mépris que le discours universitaire réserve souvent au doublage, mettant celui-ci au service de la parodie interculturelle. Le dernier ouvrage de Michael Cronin (2009) sur la mondialisation et Hollywood fournit des concepts clés pour mener l’analyse du film.
Mots-clés :
- Woody Allen,
- cinéma,
- doublage,
- Japon,
- appropriation interculturelle
Parties annexes
Bibliographie
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