{"id":3795,"date":"2016-09-20T16:39:28","date_gmt":"2016-09-20T14:39:28","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=3795"},"modified":"2020-07-01T09:00:33","modified_gmt":"2020-07-01T07:00:33","slug":"series-televisees-contemporaines","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/series-televisees-contemporaines\/","title":{"rendered":"S\u00e9ries t\u00e9l\u00e9vis\u00e9es contemporaines"},"content":{"rendered":"
\n
Comment les s\u00e9ries t\u00e9l\u00e9vis\u00e9es fonctionnent-elles?<\/strong><\/p>\n

<\/p>\n

Ce num\u00e9ro de D\u00e9cadrages\u00a0<\/em>propose des lectures th\u00e9oriques et des \u00e9tudes de cas \u00e0 partir de diff\u00e9rentes perspectives (Star Studies<\/em>, Gender Studies<\/em>, Fan Studies<\/em>, histoire des genres, esth\u00e9tique, narratologie, sociologie des m\u00e9dias) sur les s\u00e9ries t\u00e9l\u00e9vis\u00e9es, leurs mod\u00e8les esth\u00e9tiques, id\u00e9ologiques et narratifs.<\/p>\n

Dirig\u00e9 par Mireille Berton (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>) et Sylvain Portmann (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>), ce num\u00e9ro traite par exemple de la question de la s\u00e9rialit\u00e9 comme forme id\u00e9ologique, de l’exp\u00e9rience esth\u00e9tique offerte par la s\u00e9rie TV, de la repr\u00e9sentation des technologies num\u00e9riques qui induisent des fantasmes panoptiques, du genre t\u00e9l\u00e9visuel du western dans ses liens avec le cin\u00e9ma, notamment \u00e0 partir de Deadwood<\/i>, de la figure du fan dans la s\u00e9rie Sherlock<\/i>, de l’apparition de la guest star<\/i> vieillissante dans les s\u00e9ries TV, ainsi que des questions raciales et sociales soulev\u00e9es par The Wire<\/i>.<\/p>\n

Un dernier article pr\u00e9sente le r\u00e9sultat d’une table ronde<\/a> qui a eu lieu aux Journ\u00e9es de Soleure en janvier 2016 \u00e0 propos des s\u00e9ries et web-s\u00e9ries produites en Suisse, organis\u00e9e en collaboration avec D\u00e9cadrages<\/em> et le R\u00e9seau Cin\u00e9ma CH.<\/p>\n

Les articles de ce num\u00e9ro sont disponibles en int\u00e9gralit\u00e9 en libre acc\u00e8s sur\u00a0OpenEditionJournals<\/a>.<\/p>\n

Mireille Berton, Sylvain Portmann (dir.), S\u00e9ries t\u00e9l\u00e9vis\u00e9es contemporaines<\/em><\/a>, D\u00e9cadrages. Cin\u00e9ma, \u00e0 travers champs<\/em>, n\u00b032-33, printemps 2016.<\/p>\n<\/div><\/div>\n

\"\"<\/div><\/div>\n<\/div>\n
<\/div>\n
TOUTES LES NOTICES DE<\/strong><\/h6>\n

Mireille Berton<\/b><\/a><\/p>\n\n\n

\n\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"2025<\/a>\n\t\t\t\t\t\t\t\t

L’outre-humain. Automates, performances m\u00e9caniques et cultures spectaculaires<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"2025<\/a>\n\t\t\t\t\t\t\t\t

Spectatrices du cin\u00e9ma. Aux origines d’un imaginaire<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Le m\u00e9dium (au) cin\u00e9ma. Le spiritisme \u00e0 l\u2019\u00e9cran<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Cinema, sogno e allucinazione dalle origini agli anni venti<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

La Circulation des images : cin\u00e9ma, photographie et nouveaux m\u00e9dias \/ Die Zirkulation der Bilder : Film, Fotografie und neue Medien<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

S\u00e9ries t\u00e9l\u00e9vis\u00e9es contemporaines<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Le Corps nerveux des spectateurs. Cin\u00e9ma et sciences du psychisme autour de 1900<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

La t\u00e9l\u00e9vision du T\u00e9l\u00e9phonoscope \u00e0 YouTube. Pour une arch\u00e9ologie de l\u2019audiovision<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n

Sylvain Portmann<\/strong><\/a><\/p>\n\n\n

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\n\t\t\t\t\t\t\t\t\t\"2025<\/a>\n\t\t\t\t\t\t\t\t

Inach\u00e8vements<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Alexander Kluge<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

S\u00e9ries t\u00e9l\u00e9vis\u00e9es contemporaines<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Werner Herzog<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n

D\u00e9cadrages<\/strong><\/a><\/p>\n\n\n

\n\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"2025<\/a>\n\t\t\t\t\t\t\t\t

Inach\u00e8vements<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

C\u00e9line Sciamma<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Sonimage. Les ann\u00e9es vid\u00e9o de Jean-Luc Godard et Anne-Marie Mi\u00e9ville<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Chantal Akerman<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Alexander Kluge<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Abdellatif Kechiche<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Cin\u00e9ma ethnographique<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Jeu vid\u00e9o et cin\u00e9ma<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Lionel Rogosin<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Cin\u00e9ma de re-montage<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

S\u00e9ries t\u00e9l\u00e9vis\u00e9es contemporaines<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

\u00c9ducation au cin\u00e9ma<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Ren\u00e9 Vautier<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Le doublage<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Arnaud Desplechin<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Drones, cartographie et images automatis\u00e9es<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Werner Herzog<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Cin\u00e9ma \u00e9largi<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Peter Watkins<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Autour d\u2019 \u00ab\u00a0Elephant\u00a0\u00bb de Gus Van Sant<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Les ab\u00eemes de l\u2019adaptation<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Comment les s\u00e9ries t\u00e9l\u00e9vis\u00e9es fonctionnent-elles?<\/p>\n","protected":false},"author":1001615,"featured_media":4114,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[2],"tags":[1849,189,1229,888,1209,1205,847,119,2347,1233,1231,1230,1228,1232],"class_list":{"0":"post-3795","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-decadrages","9":"tag-esthetique","10":"tag-fan-studies","11":"tag-gender-studies","12":"tag-histoire-des-genres","13":"tag-labelettres","14":"tag-mireille-berton","15":"tag-narratologie","16":"tag-open-access","17":"tag-section-dhistoire-et-esthetique-du-cinema","18":"tag-series-televisees","19":"tag-sociologie-des-medias","20":"tag-star-studies","21":"tag-sylvain-portmann"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/3795","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/users\/1001615"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/comments?post=3795"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/3795\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/4114"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=3795"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=3795"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=3795"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}