{"id":2654,"date":"2022-09-27T11:32:12","date_gmt":"2022-09-27T09:32:12","guid":{"rendered":"https:\/\/afea.fr\/news\/cfp\/call-for-papers-what-is-a-good-series-quest-ce-quune-bonne-serie-international-symposium-november-21-and-22-2022-universite-pantheon-sorbonne\/2654\/"},"modified":"2022-09-27T11:32:12","modified_gmt":"2022-09-27T09:32:12","slug":"call-for-papers-what-is-a-good-series-quest-ce-quune-bonne-serie-international-symposium-november-21-and-22-2022-universite-pantheon-sorbonne","status":"publish","type":"post","link":"https:\/\/afea.fr\/news\/cfp\/call-for-papers-what-is-a-good-series-quest-ce-quune-bonne-serie-international-symposium-november-21-and-22-2022-universite-pantheon-sorbonne\/2654\/","title":{"rendered":"Call for Papers: \u201cWhat is a good series?\u201d\/ \u00ab\u00a0Qu\u2019est-ce qu\u2019une bonne s\u00e9rie  ?\u00a0\u00bb International Symposium, November 21 and 22, 2022, Universit\u00e9 Panth\u00e9on-Sorbonne"},"content":{"rendered":"<p><em>(Version anglaise ci-dessous \u2013 English version below)<\/em><\/p>\n<p><strong>Qu\u2019est-ce qu\u2019une bonne s\u00e9rie ?<\/strong><\/p>\n<p><strong>Colloque international<\/strong><br \/>\n<strong><em>Organis\u00e9 par le projet ERC DEMOSERIES<\/em><\/strong><\/p>\n<p><strong>21 et 22 novembre 2022<\/strong><\/p>\n<p><strong>Universit\u00e9 Panth\u00e9on-Sorbonne<\/strong><\/p>\n<p><strong>Salle 216 \u2013 Campus Panth\u00e9on<\/strong><br \/>\n<strong>12 place du Panth\u00e9on 75005 PARIS<\/strong><\/p>\n<p><strong>Appel \u00e0 communication<\/strong><\/p>\n<p>D\u00e8s les ann\u00e9es 1970\/1980, dans le monde anglo-saxon, les s\u00e9ries b\u00e9n\u00e9ficient d\u2019une reconnaissance critique et acad\u00e9mique. Dans d\u2019autres pays, dont la France, c\u2019est seulement au cours des vingt derni\u00e8res ann\u00e9es que l\u2019on assiste \u00e0 cette reconnaissance \u00e0 mesure que les s\u00e9ries s\u2019imposent comme un genre majeur de la cr\u00e9ation audiovisuelle contemporaine. Elles constituent aujourd\u2019hui le c\u0153ur de l\u2019offre propos\u00e9e par chaque cha\u00eene de t\u00e9l\u00e9vision ou chaque plateforme de streaming. Elles ont pris peu \u00e0 peu une place centrale dans notre culture commune au point de devenir des r\u00e9f\u00e9rences largement partag\u00e9es et d\u2019animer r\u00e9guli\u00e8rement les conversations ordinaires.<\/p>\n<p>Cette \u00e9volution du statut et de la place des s\u00e9ries a \u00e9t\u00e9 accompagn\u00e9e par une \u00e9volution des discours et des pratiques \u00e0 leur \u00e9gard. Dans la presse s\u2019est constitu\u00e9e peu \u00e0 peu une critique de s\u00e9ries, des festivals, des revues, des \u00e9missions de radio ou de cin\u00e9ma, ont permis le d\u00e9veloppement d\u2019une s\u00e9riephilie \u00e0 la fois \u00e9largie dans ses connaissances et plus pr\u00e9cise dans ses \u00e9valuations. Enfin, l\u2019\u00e9tude de ces s\u00e9ries a \u00e9t\u00e9 int\u00e9gr\u00e9e \u00e0 plusieurs champs de recherches acad\u00e9miques renouvelant en profondeur la compr\u00e9hension de leurs conditions de production, de diffusion et de r\u00e9ception.<\/p>\n<p>A partir de ces diff\u00e9rentes approches, il semble essentiel aujourd\u2019hui de questionner notre capacit\u00e9 \u00e0 \u00e9valuer ces s\u00e9ries et donc \u00e0 distinguer ce qui fait une bonne s\u00e9rie. En envisageant m\u00eame d\u2019interroger la logique d\u2019\u00e9valuation et de hi\u00e9rarchisation qui sous-tend cette question de la \u00ab bonne s\u00e9rie \u00bb ? Vouloir distinguer des bonnes et des mauvaises s\u00e9ries n\u2019est-ce pas reconduire un syst\u00e8me de distinction essentiellement social et normatif que les <em>television studies <\/em>ont pr\u00e9cis\u00e9ment contribu\u00e9es \u00e0 d\u00e9construire ? A quelles conditions donc et selon quels crit\u00e8res et \u00e0 partir de quelle position pourrait-on dire d\u2019une s\u00e9rie qu\u2019elle est une \u00ab bonne \u00bb s\u00e9rie ? Les cat\u00e9gories classiques du jugement esth\u00e9tique peuvent-elle s\u2019appliquer \u00e0 ces objets ? Une bonne s\u00e9rie est-elle une belle s\u00e9rie ? La bonne s\u00e9rie a-t-elle un nombre de saisons ou d\u2019\u00e9pisodes particuliers ? Y-a-t-il des formes de s\u00e9ries (anthologie, s\u00e9rie feuilletonnante, s\u00e9rie formulaire\u2026) qui sont meilleures que d\u2019autres ? La bonne s\u00e9rie est-elle celle qui exploite au mieux toutes les ressources de la s\u00e9rialit\u00e9 ?<br \/>\nEst-ce la qualit\u00e9 du scenario, l\u2019articulation des arches narratives ou la construction des personnages qui fait d\u2019une s\u00e9rie, une bonne s\u00e9rie ? Est-ce plut\u00f4t la mise en sc\u00e8ne ou la direction artistique d\u2019ensemble ? Est-ce par ses liens avec le cin\u00e9ma ou avec la litt\u00e9rature qu\u2019une s\u00e9rie s\u2019am\u00e9liore ?<br \/>\nLa bonne s\u00e9rie est-elle celle qui r\u00e9unit la plus large audience, le meilleur casting ou celle dont le budget est le plus important ? Ou bien quelle que soit son audience, une bonne s\u00e9rie n\u2019est-elle pas plut\u00f4t celle \u00e0 laquelle l\u2019audience s\u2019attache et qu\u2019elle suit jusqu\u2019\u00e0 son terme ? Celle qui devient peu \u00e0 peu un \u00e9l\u00e9ment de son quotidien ?<br \/>\nUne bonne s\u00e9rie n\u2019est-elle pas celle qui change et perfectionne son audience ? Celle qui projette une certaine conception du bien susceptible de transformer le spectateur\u00b7rice et de le\u00b7la rendre meilleur\u00b7e ? Ou plus largement encore, la bonne s\u00e9rie n\u2019est-elle pas celle qui a un impact sur le r\u00e9el ? Qui le transforme en constituant une ressource commune pour renforcer l\u2019action collective ou \u00e9tayer les repr\u00e9sentations communes ?<\/p>\n<p>Se demander ce qu\u2019est une bonne s\u00e9rie, revient donc \u00e0 tenter de penser l\u2019importance que peut prendre telle ou telle s\u00e9rie dans la culture commune ainsi que dans la vie de chacun. C\u2019est une invitation \u00e0 d\u00e9velopper une philosophie des s\u00e9ries, soucieuse de rendre compte de l\u2019exp\u00e9rience que nous faisons avec les s\u00e9ries et en retour de penser ce que les s\u00e9ries nous font<strong>.<\/strong> C\u2019est aussi l\u2019occasion de croiser les diff\u00e9rents discours et les diff\u00e9rentes approches \u00e0 propos des s\u00e9ries aujourd\u2019hui.<\/p>\n<p>Le projet DEMOSERIES invite donc des chercheur.e.s aux comp\u00e9tences vari\u00e9es (en philosophie, histoire, science politique, relations internationales, sociologie, psychologie, arts, \u00e9tudes cin\u00e9matographiques, communication, m\u00e9dias, \u00e9tudes culturelles et civilisationnelles) a\u0300 proposer des communications autour des questions propos\u00e9es.<\/p>\n<p>Chaque communication propos\u00e9e ne saurait exc\u00e9der 20 minutes. Les propositions de 200 mots maximum seront formul\u00e9es en anglais et en fran\u00e7ais. Elles seront accompagn\u00e9es d\u2019une courte notice biographique et envoy\u00e9es a\u0300 l\u2019adresse DEMOSERIES (contact) <strong>au plus tard le 10 octobre 2022.<\/strong><\/p>\n<p>Les r\u00e9ponses seront adress\u00e9es <strong>au plus tard le 15 octobre 2022<\/strong>.<\/p>\n<p>Les propositions seront s\u00e9lectionn\u00e9es par le comit\u00e9\u0301 scientifique suivant :<br \/>\nSandra Laugier (ERC DEMOSERIES, Universit\u00e9 Panth\u00e9on-Sorbonne)<br \/>\nThibaut de Saint Maurice (ERC DEMOSERIES, Universit\u00e9 Panth\u00e9on-Sorbonne)<br \/>\nMartin Shuster (University of North Carolina)<br \/>\nSabine Chalvon-Demersay (EHESS-CNRS)<br \/>\nHerv\u00e9 Gl\u00e9varec (CNRS)<br \/>\nAriane Hudelet (Universit\u00e9 de Paris)<\/p>\n<p>Organisation : l\u2019\u00e9quipe du projet DEMOSERIES<\/p>\n<p>*******<\/p>\n<p><strong>\u201cWhat is a good series?\u201d<\/strong><br \/>\n<strong>International Symposium<\/strong><\/p>\n<p><strong><em>Organized by the ERC DEMOSERIES project<\/em><\/strong><\/p>\n<p><strong>November 21 and 22, 2022<\/strong><br \/>\n<strong>Universit\u00e9 Panth\u00e9on-Sorbonne<\/strong><\/p>\n<p><strong>Room 216 Campus Panth\u00e9on<\/strong><br \/>\n<strong>12 place du Panth\u00e9on 75005 PARIS<\/strong><\/p>\n<p><strong>Call for papers<\/strong><\/p>\n<p>Since the 1970s\/1980s, in the Anglo-Saxon world, series have benefited from a critical and academic legitimization. In other countries, including France, it is only in the last twenty years that we have seen this legitimization as series have become a major genre of contemporary audiovisual creation. Today, they are vital to the offerings by each TV channel and streaming platform. Gradually, they have taken the central place in our common culture, becoming the source of widely shared references and permeating ordinary conversations.<\/p>\n<p>This evolution of the status and place of series has been accompanied by an evolution of discourses and practices around them. The development of a seriephilia, which is now both broader in its knowledge and more precise in its evaluations than ever before, has been facilitated by the emergence of TV series criticism in the press, through festivals, magazines, radio, and cinema. Additionally, systematic study of series has been integrated into several fields of academic research with the focus on investigating and understanding the conditions of their production, diffusion, and reception.<\/p>\n<p>Given these developments, it seems essential today to question our capacity to evaluate series and thus to distinguish what makes a good series. This also necessitates probing the logic of evaluation and hierarchization that underlies the question of what is the \u201cgood series\u201d. Wouldn\u2019t wanting to distinguish between good and bad series contribute to renewing an essentially social and normative system of distinction that television studies have precisely contributed to deconstruct? Under what conditions and according to what criteria can we say that a series is a \u201cgood\u201d series? Can the classical categories of aesthetic judgment be applied to these productions? Is a good series a beautiful series? Does a good series have a particular number of seasons or episodes? Are there forms of series (anthology, soap opera, episodic series, etc.) that are better than others? Is a good series the one that best exploits all the resources of its serial format?<br \/>\nOr is it the quality of the plot, the articulation of the narrative arches, or the construction of the characters that makes a series good? Or is it rather the staging and the overall artistic direction? Is it its links with the cinema or with literature that give a series value?<br \/>\nIs a good series the one with the largest audience, the best cast, or the one with the highest budget? Or is a good series, regardless of its audience, the one that the viewer becomes attached to and follows to the end? The one that gradually becomes part of the viewer\u2019s daily life?<br \/>\nIsn\u2019t a good series the one that changes and improves its audience? The one that projects a certain conception of good that can transform the viewer and make them better? Or more broadly, isn\u2019t a good series the one that has an impact on reality? That transforms it by constituting a shared resource, reinforcing collective action, or supporting common representations?<\/p>\n<p>Asking what constitutes a good series thus amounts to an attempt to think about the importance that specific series can have in our shared culture and in the life of each individual. It is an invitation to develop a philosophy of the series, concerned with giving an account of the experience we have with the series and in return to think what the series do to us. It is also the occasion to bring together the different contemporary discourses and approaches to thinking about series.<\/p>\n<p>Therefore, the DEMOSERIES project invites researchers from a variety of disciplines (philosophy, history, political science, international relations, sociology, psychology, art history, film studies, communication, media, and cultural and civilization studies) to propose papers that engage with these questions.<\/p>\n<p>Each paper should not exceed 20 minutes. Proposals should be in English or French and should not exceed 200 words. They should be accompanied by a short biographical note and should be submitted by email to contact <strong>no later than October 10, 2022<\/strong>.<\/p>\n<p>Selected contributors will be notified <strong>by October 15, 2022. <\/strong><\/p>\n<p>The proposals will be reviewed by the following scientific committee\u0301:<\/p>\n<p>Sandra Laugier (ERC DEMOSERIES, Universit\u00e9 Panth\u00e9on-Sorbonne)<br \/>\nThibaut de Saint Maurice (ERC DEMOSERIES, Universit\u00e9 Panth\u00e9on-Sorbonne)<br \/>\nMartin Shuster (University of North Carolina)<br \/>\nSabine Chalvon-Demersay (EHESS-CNRS)<br \/>\nHerv\u00e9 Gl\u00e9varec (CNRS)<br \/>\nAriane Hudelet (Universit\u00e9 de Paris)<\/p>\n<p>Organisation : the team of the DEMOSERIES project.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>(Version anglaise ci-dessous \u2013 English version below) Qu\u2019est-ce qu\u2019une bonne s\u00e9rie ? Colloque international Organis\u00e9 par le projet ERC DEMOSERIES [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[99],"tags":[938,376],"class_list":["post-2654","post","type-post","status-publish","format-standard","hentry","category-cfp","tag-demoseries","tag-series"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"Admin","author_link":"https:\/\/afea.fr\/news\/author\/yanb\/"},"uagb_comment_info":0,"uagb_excerpt":"(Version anglaise ci-dessous \u2013 English version below) Qu\u2019est-ce qu\u2019une bonne s\u00e9rie ? Colloque international Organis\u00e9 par le projet ERC DEMOSERIES [&hellip;]","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2654"}],"collection":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/comments?post=2654"}],"version-history":[{"count":0,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2654\/revisions"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/media?parent=2654"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/categories?post=2654"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/tags?post=2654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}