Bonsoir,<\/p>\n
Vous trouverez ci-dessous et en fichier joint l’appel \u00e0 communication (en fran\u00e7ais et en anglais) pour le colloque Politique et Cultures Populaires qui se tiendra \u00e0 La Rochelle Universit\u00e9 du 9 au 11 mars 2022.<\/p>\n
Nous pr\u00e9cisons qu\u2019il s\u2019agira bien lors de ce colloque de parler de l\u2019utilisation des cultures populaires par le politique ou de la politisation des cultures populaires (donc outil de contestation sociale\/politique, etc.) et non de la repr\u00e9sentation du politique dans\/par les cultures populaires.<\/p>\n
Le comit\u00e9 d’organisation (D. Andr\u00e9, A. Audureau, F. Healy)<\/p>\n
Colloque \u00ab Cultures populaires et politique \u00bb, du 9 au 11 mars 2022 <\/strong><\/p>\n La Rochelle Universit\u00e9<\/strong><\/p>\n La premi\u00e8re partie du colloque \u00ab Cultures populaires et politique \u00bb, qui a eu lieu en d\u00e9cembre 2019 \u00e0 La Rochelle Universit\u00e9, cherchait \u00e0 r\u00e9v\u00e9ler, questionner et \u00e9tudier les liens entre la politique et les cultures populaires. Il apparaissait en effet int\u00e9ressant d\u2019interroger ce champ de recherche encore peu \u00e9tudi\u00e9 en France croisant deux sph\u00e8res parfois contradictoires et conflictuelles. Cette manifestation a \u00e9t\u00e9 l\u2019occasion de la fondation de l\u2019association \u00ab Popular Culture Association of France \u00bb et de la cr\u00e9ation de la revue affili\u00e9e Mobilis in Mobile<\/em> qui pr\u00e9sentera les textes issus de ce premier colloque prochainement.<\/p>\n Pour cause de gr\u00e8ve, la conf\u00e9rence n\u2019ayant pu accueillir tous les intervenants initialement pr\u00e9vus, nous vous proposons de prolonger les r\u00e9flexions alors entam\u00e9es avec un deuxi\u00e8me colloque reprenant la m\u00eame th\u00e9matique. Cet \u00e9v\u00e9nement est pr\u00e9vu \u00e0 La Rochelle Universit\u00e9 du 9 au 11 mars 2022.<\/p>\n Si les cultures populaires se sont depuis longtemps empar\u00e9es du th\u00e8me de la politique, d\u00e9clinant de nombreux supports d\u2019expression comme le dessin humoristique, la chanson et les r\u00e9cits fictionnels, qui constituent de v\u00e9ritables miroirs d\u00e9formants aptes \u00e0 questionner les modes de gouvernance, et le r\u00f4le du champ politique dans ses interactions avec d\u2019autres pouvoirs – \u00e9conomiques, militaires et, bien entendu m\u00e9diatiques, avec le d\u00e9veloppement de la presse – l\u2019inverse est aussi vrai depuis bien longtemps. Walter Benjamin met ainsi en relation la politique et la culture de masse dans son ouvrage L\u2019\u0153uvre d\u2019art \u00e0 l\u2019\u00e9poque de sa reproductibilit\u00e9 technique (1955). <\/em>Il y souligne les risques de la m\u00e9diatisation de la politique dans les dictatures, notamment le fascisme et le nazisme, \u00e0 travers le culte de l\u2019image et la propagande favoris\u00e9s par les nouveaux m\u00e9dias de l\u2019\u00e9poque. Guy Debord, en 1967, prolonge cette critique dans La Soci\u00e9t\u00e9 du spectacle<\/em>. La perte de l\u2019aura, de l\u2019authenticit\u00e9 y devient totale : tout est d\u00e9sormais spectacle dans la soci\u00e9t\u00e9 des mass media<\/em>. Dans L\u2019Homme unidimensionnel <\/em>(1964), Herbert Marcuse renforce ce constat pessimiste de manipulation des masses dans les soci\u00e9t\u00e9s modernes par le truchement des m\u00e9dias de masse. Aucun r\u00e9gime n\u2019y \u00e9chappe selon lui : ni capitalisme, ni communisme…<\/p>\n L\u2019entr\u00e9e dans l\u2019\u00e8re du num\u00e9rique et des r\u00e9seaux sociaux a acc\u00e9l\u00e9r\u00e9 et mis en exergue l\u2019utilisation des cultures populaires dans la conqu\u00eate et l\u2019exercice du pouvoir. Le \u00ab populisme \u00bb (et nous mettons le terme entre parenth\u00e8ses) rejoint ici le populaire\u2026 Twitter est ainsi devenu le canal de communication favori de, entre autres, l\u2019ancien pr\u00e9sident d\u2019une des premi\u00e8res puissances mondiales. En utilisant un des r\u00e9seaux sociaux mainstream<\/em>, Donald Trump prolonge ainsi une accointance ant\u00e9rieure avec la culture populaire. De \u00ab concepteur \u00bb \u00e0 travers ses reality shows<\/em>, il s\u2019est mu\u00e9 en \u00ab utilisateur \u00bb mais aussi en \u00ab personnage \u00bb et caricature de la culture de masse. Les fameuses fake news<\/em> sont devenues en peu de temps un moyen tr\u00e8s efficace de manipulation des foules tant il est difficile d\u2019effacer ces rumeurs des temps modernes comme on a pu l\u2019observer lors des campagnes pr\u00e9sidentielles r\u00e9centes. De m\u00e9diatique, la culture populaire est devenue m\u00e9dium en politique. Jadis m\u00e9pris\u00e9e parce que li\u00e9e aux masses, elle est, surtout depuis le d\u00e9veloppement d\u2019internet, un passage oblig\u00e9 pour gagner la confiance du public ou ses voix, un r\u00e9f\u00e9rentiel commun entre le pl\u00e9b\u00e9ien et son \u00e9lectorat o\u00f9 les s\u00e9ries deviennent les nouvelles illustrations et\/ou armes d\u2019enjeux et de d\u00e9nonciations politiques voire g\u00e9opolitiques \u00e0 l\u2019instar de Tchernobyl<\/em>[1]<\/a>, House of Cards<\/em>[2]<\/a>, Baron noir<\/em>[3]<\/a>, Borgen<\/em>[4]<\/a> o\u00f9 The Salisbury Poisonings[5]<\/strong><\/a><\/em>\u2026<\/p>\n La porosit\u00e9 entre la politique et les cultures populaires s\u2019illustre aussi pleinement dans la f\u00e9condation du r\u00e9el par des symboles contestataires issus de la \u00ab culture pop \u00bb. Le masque que porte l\u2019anarchiste dans V for Vendetta<\/em>[6]<\/strong><\/em><\/a> est \u00e0 l\u2019effigie de Guy Fawkes, un opposant historique au r\u00e9gime politique anglais li\u00e9 \u00e0 la conspiration des poudres de 1605 \u00e0 Londres. M\u00e9diatis\u00e9 par le film de James McTeigue[7]<\/a>, sorti en 2006, il est ensuite rendu au r\u00e9el et, paradoxalement, \u00e0 la contestation politique et sociale par les Anonymous et l\u2019Occupy Movement<\/em>[8]<\/strong><\/em><\/a>\u00e0 Wall Street (2011). La chanson italienne du partisan \u201cBella Ciao\u201d est, quant \u00e0 elle, remise au go\u00fbt du jour par la s\u00e9rie La Casa de papel<\/em>[9]<\/a> qui consid\u00e8re ses personnages comme des r\u00e9sistants au syst\u00e8me.<\/p>\n Aussi, les liens entre cultures populaires et politique ne se cantonnent pas aux repr\u00e9sentations dans la fiction, les champs d\u2019expression de la culture de masse sont multiples et justifient le pluriel qui lui est associ\u00e9. Le sport en g\u00e9n\u00e9ral et le football en particulier constituent ainsi un exemple associant culture populaire et enjeu politico-\u00e9conomique. De m\u00eame, le Super Bowl <\/em>aux \u00c9tats-Unis montre aussi les multiples facettes d\u2019une pratique culturelle qui conjugue enjeux \u00e9conomiques, politiques, m\u00e9diatiques, culturels, et sportifs.<\/p>\n A l\u2019instar de ces exemples qui illustrent la porosit\u00e9 entre la politique et les cultures populaires, il s\u2019agira lors de ce colloque de voir comment la politique actuelle est influenc\u00e9e dans ses repr\u00e9sentations, sa communication, ses d\u00e9cisions, son \u00e9conomie, son mode de fonctionnement par la\/les cultures populaires. On pourra \u00e9galement s\u2019interroger sur la profondeur historique des liens entre politique et cultures populaires.<\/p>\n Les propositions peuvent aborder diff\u00e9rents champs d\u2019\u00e9tudes et les conjuguer (sociologie, anthropologie, \u00e9tudes politiques, civilisation, histoire, litt\u00e9rature, \u00e9conomie, m\u00e9dia, journalistique, linguistique, etc.), diff\u00e9rents pays, et traiter de tous les domaines des cultures populaires (arts visuels <s\u00e9ries t\u00e9l\u00e9 et internet, cin\u00e9ma, bande dessin\u00e9e, vid\u00e9os et chaines YouTube, etc.>, diff\u00e9rents \u00ab genres \u00bb de fiction <science-fiction, fantasy, horreur, policier, roman de gare, etc.>, sports, musique, objets de collection, pratiques culturelles et m\u00e9diatiques, jeux <jeu de r\u00f4le, jeu vid\u00e9o, jeu de soci\u00e9t\u00e9, etc.>, jouets, litt\u00e9ratures, etc.)<\/p>\n Toutefois, nous rappelons qu\u2019il s\u2019agira bien lors de ce colloque de parler de l\u2019utilisation des cultures populaires par le politique ou de la politisation des cultures populaires (donc outil de contestation sociale\/politique, etc.) et non de la repr\u00e9sentation du politique dans\/par les cultures populaires.<\/p>\n Modalit\u00e9s de soumission<\/strong><\/p>\n Les abstracts (d\u2019environ 400 mots) et une courte biographie devront \u00eatre envoy\u00e9s conjointement \u00e0 Dani\u00e8le Andr\u00e9 daniele.andre, Annabel Audureau annabel.audureau@univ-lr.fr <\/a>et Frank Healy frank.healy@univ-lr.fr<\/a>.<\/p>\n La date limite de retour des propositions est repouss\u00e9e au 15 octobre 2021.<\/strong><\/p>\n Nous sommes aussi heureux d\u2019annoncer qu\u2019il s’agira du deuxi\u00e8me colloque de l\u2019Association Fran\u00e7aise d’\u00c9tude des Cultures Populaire<\/em>s et du temps sera aussi consacr\u00e9 \u00e0 cette question.<\/p>\n Keynote Speaker<\/em> :<\/strong><\/p>\n Matt Davies, Senior Lecturer in International Political Economy, Director for the MA in World Politics and Popular Culture, Newcastle University.<\/strong><\/p>\n NEGRA Diane, Professor of Film Studies and Screen Culture at University College, Dublin.<\/strong><\/p>\n Comit\u00e9 scientifique <\/strong><\/p>\n \u00b7 Dani\u00e8le Andr\u00e9<\/p>\n \u00b7 Annabel Audureau<\/p>\n \u00b7 Sergio Coto-Rivel<\/p>\n \u00b7 Nathalie Dufayet<\/p>\n \u00b7 Estelle Epinoux<\/p>\n \u00b7 Frank Healy<\/p>\n \u00b7 Herv\u00e9 Lagoguey<\/p>\n \u00b7 David Lipson<\/p>\n \u00b7 Sylvie Mikowski<\/p>\n Bibliographie indicative<\/strong><\/p>\n Ouvrages<\/strong><\/p>\n Caso, F. And Hamilton, Caitlin (Eds.), Popular Culture and World Politics: Theories, Methods, Pedagogies<\/em>, E-International Relations, Bristol, 2015.<\/p>\n Leah A. Murray (Ed.), Politics and Popular Culture<\/em>, Cambridge Scholars Publishing; New edition (July 1, 2010).<\/p>\n Edsforth, R. & Bennett, L. (Eds), Popular Culture and Political Change in Modern America<\/em>, SUNY series in Popular Culture and Political Change,1991.<\/p>\n Articles<\/strong><\/p>\n Bradley, J.M. (1997). \u201cPolitical, Religious and Cultural Identities: The undercurrents of Scottish football.\u201d Politics<\/em> 17(1), 25-32.<\/p>\n Clapton, W., \u201cPopular Culture Matters: Defining \u2018Politics\u2019\u201d in<\/em> Popular Culture & World Politics<\/em>, Jul 26 2018, https:\/\/www.e-ir.info\/2018\/07\/26\/popular-culture-matters-defining-politics-in-popular-culture-world-politics\/<\/a><\/p>\n Cloonan, M., Street, J. (1998), \u201cRock the Vote: Popular Culture and Politics.\u201d, Politics<\/em>, 18(1), 33\u201338. https:\/\/doi.org\/10.1111\/1467-9256.00058<\/a><\/p>\n Dorzweiler, N. (2017), \u201cPopular Culture in (and out of) American Political Science: A Concise Critical History,\u201d 1858\u20131950. History of the Human Sciences<\/em>, 30(1), 138\u2013159. https:\/\/doi.org\/10.1177\/0952695116684314<\/a><\/p>\n Dubosclard, A. \u00ab Le cin\u00e9ma, passeur culturel, agent d\u2019influence de la diplomatie fran\u00e7aise aux \u00c9tats-Unis dans l\u2019entre-deux-guerres \u00bb. 1895. Mille huit cent quatre-vingt-quinze<\/em>, 42 2004, mis en ligne le 10 janvier 2008, URL : http:\/\/journals.openedition.org\/1895\/279<\/a><\/p>\n Finn, G. (1991). \u201cRacism, Religion and Social Prejudice: Irish Catholic Clubs, Soccer and Scottish Identity – Social Identity and Conspiracy Theories\u201d in<\/em> International Journal of the History of Sport<\/em>, Vol. 8 No. 3.<\/p>\n Hall S. (2018) \u201cPopular Culture, Politics and History,\u201d Cultural Studies<\/em>, 32:6, 929-952. Routledge.<\/p>\n Orwell, G. (December 1945). \u201cThe Sporting Spirit\u201d, Tribune<\/em>. London, UK.<\/p>\n Rubin, Jennifer, \u201cWhy Popular Culture matters in Politics\u201d, The Washington Post<\/em>, October 28, 2013.<\/p>\n "Politics and Popular Cultures" conference, from 9 to 11 March 2022<\/strong><\/p>\n La Rochelle University<\/strong><\/p>\n The first part of the "Politics and Popular Cultures" conference, which took place in December 2019 at La Rochelle University, sought to reveal, question and study the links between politics and popular culture. It was interesting to question this field of research, which is still little studied in France, comparing and contrasting two sometimes contradictory and conflicting spheres. This event was the occasion for the foundation of the "Popular Culture Association of France" and the creation of the affiliated journal Mobilis in Mobile<\/em>, which will publish the work presented at this first colloquium shortly.<\/p>\n Due to a strike, the conference could not welcome all the speakers initially invited, so we propose to continue our work with a second conference on the same theme. This event is planned to take place at La Rochelle University from 9 to 11 March 2022.<\/p>\n Popular cultures have long appropriated the theme of politics, using numerous means of expression such as cartoons, songs and fictional stories, which constitute true distorting mirrors capable of questioning modes of governance and the role of politics in its interactions with economic and military power, and, of course, with the media. The opposite has also been true for a long time. Walter Benjamin, for example, links politics and mass culture in his book The Work of Art in the Age of its Technological Reproducibility<\/em> (1955), in which he underlines the risks of the mediatisation of politics in dictatorships, notably fascism and Nazism, through the cult of the image and propaganda favoured by the new media of the time. Guy Debord, in 1967, extended this critique in La Soci\u00e9t\u00e9 du spectacle<\/em>. The loss of aura and authenticity becomes total: everything is now a spectacle in mass media society. In One-Dimensional Man<\/em> (1964), Herbert Marcuse reinforces this pessimistic observation of mass manipulation in modern societies through the mass media. According to Marcuse, no regime is exempt from this: neither capitalism nor communism…<\/p>\n The entry into the digital age and social networks has accelerated and highlighted the use of popular culture in the conquest and exercise of power. \u2018Populism’ (we will putting the term between inverted commas) has joined the popular here… Twitter has thus become the favourite communication channel of, among others, the former president of one of the world\u2019s leading powers. By using one of the mainstream social networks, Donald Trump thus extended a previous relationship with popular culture. From being a "designer" through his reality shows, he has become a "user" and also a "character" and a caricature of mass culture. The infamous fake news have become, in a short time, a very efficient means of manipulating the masses, as it is difficult to erase these modern day rumours, as we saw during the recent presidential campaigns. Popular culture has gone from being media-based to being a medium in politics. Once despised because it was linked to the masses, it is now, particularly since the development of the internet, a mandatory means of gaining the public’s trust or its votes, a common reference point between the plebeian and the electorate, where television series become the new illustrations and\/or weapons of political or even geopolitical stakes and denunciations, examples being Chernobyl, House of Cards, Baron noir, Borgen and The Salisbury Poisonings<\/em>.<\/p>\n The porosity between politics and popular culture is also fully illustrated in the impregnation of reality by protest symbols from "pop culture". The mask worn by the anarchist in V for Vendetta<\/em> is an effigy of Guy Fawkes, a historical opponent of the English political regime linked to the London Powder Conspiracy of 1605. Mediatised by James McTeigue’s 2006 film, he was then returned to reality and, paradoxically, to political and social protest by Anonymous and the Occupy Movement on Wall Street (2011). The Italian partisan song "Bella Ciao" has been repopularized by the series La Casa de Papel<\/em>, which portrays its characters as resisting the system.<\/p>\n The links between popular culture and politics are not confined to representations in fiction; the fields of expression of mass culture are multiple. Sport in general, and football in particular, is an example of the meld of popular culture with political and economic issues. Similarly, the SuperBowl in the United States shows the multiple facets of a cultural practice that combines economic, political, media, cultural and sporting issues.<\/p>\n Like these examples, which illustrate the porosity between politics and popular culture, the aim of this conference will be to see how current politics is influenced in its representations, communication, decisions, economy and mode of operation by popular culture. The historical depth of the links between politics and popular culture will also be explored.<\/p>\n The proposals may address different fields of study and combine them (sociology, anthropology, political studies, civilisation, history, literature, economics, media, journalism, linguistics, etc.), different countries, and deal with all areas of popular culture (visual arts (TV and internet series, cinema, comics, videos and YouTube channels, etc.), different "genres" of fiction (science fiction, fantasy, horror, detective stories, pulp fiction, etc.), sport, music, collectibles, cultural and media practices, games (role-plays, video games, board games, etc.), toys, literature, etc.<\/p>\n However, we would like to remind you that this colloquium will be about the use of popular culture by politics or the politicisation of popular culture (thus a tool for social\/political contestation, etc.) and not about the representation of politics in\/through popular culture.<\/p>\n How to submit<\/strong><\/p>\n Abstracts (of about 400 words) and a short biography should be sent jointly to Dani\u00e8le Andr\u00e9 daniele.andre@univ-lr.fr<\/a> Annabel Audureau annabel.audureau@univ-lr.fr<\/a> and Frank Healy frank.healy@univ-lr.fr<\/a>.<\/p>\n The deadline for submission of proposals is 15th October 2021.<\/strong><\/p>\n We are also pleased to announce that this will be the second colloquium of the Popular Culture Association of France<\/strong> and time will also be devoted to this issue.<\/p>\n Keynote Speaker:<\/strong><\/p>\n Matt Davies, Senior Lecturer in International Political Economy, Director for the MA in World Politics and Popular Culture, Newcastle University.<\/strong><\/p>\n Diane Negra, Professor of Film Studies and Screen Culture, School of English, Drama and Film, University College Dublin.<\/strong><\/p>\n ScientificCommittee<\/strong><\/p>\n \u00b7 Dani\u00e8le Andr\u00e9<\/p>\n \u00b7 Annabel Audureau<\/p>\n \u00b7 Sergio Coto-Rivel<\/p>\n \u00b7 Nathalie Dufayet<\/p>\n \u00b7 Estelle Epinoux<\/p>\n \u00b7 Frank Healy<\/p>\n \u00b7 Herv\u00e9 Lagoguey<\/p>\n \u00b7 David Lipson<\/p>\n \u00b7 Sylvie Mikowski<\/p>\n Selected bibliography <\/strong><\/p>\n Books<\/strong><\/p>\n \u00b7 Caso, F. And Hamilton, Caitlin (Eds.), Popular Culture and World Politics: Theories, Methods, Pedagogies<\/em>, E-International Relations, Bristol, 2015.<\/p>\n \u00b7 Leah A. Murray (Ed.), Politics and Popular Culture<\/em>, Cambridge Scholars Publishing; New edition (July 1, 2010).<\/p>\n \u00b7 Edsforth, R. & Bennett, L. (Eds), Popular Culture and Political Change in Modern America<\/em>, SUNY series in Popular Culture and Political Change,1991.<\/p>\n Articles<\/strong><\/p>\n \u00b7 Bradley, J.M. (1997). \u201cPolitical, Religious and Cultural Identities: The undercurrents of Scottish football.\u201d Politics<\/em> 17(1), 25-32.<\/p>\n \u00b7 Clapton, W., \u201cPopular Culture Matters: Defining \u2018Politics\u2019\u201d in<\/em> Popular Culture & World Politics<\/em>, Jul 26 2018, https:\/\/www.e-ir.info\/2018\/07\/26\/popular-culture-matters-defining-politics-in-popular-culture-world-politics\/<\/a><\/p>\n \u00b7 Cloonan, M., Street, J. (1998), \u201cRock the Vote: Popular Culture and Politics.\u201d, Politics<\/em>, 18(1), 33\u201338. https:\/\/doi.org\/10.1111\/1467-9256.00058<\/a><\/p>\n \u00b7 Dorzweiler, N. (2017), \u201cPopular Culture in (and out of) American Political Science: A Concise Critical History,\u201d 1858\u20131950. History of the Human Sciences<\/em>, 30(1), 138\u2013159. https:\/\/doi.org\/10.1177\/0952695116684314<\/a><\/p>\n