{"id":2665,"date":"2022-09-29T10:22:58","date_gmt":"2022-09-29T08:22:58","guid":{"rendered":"https:\/\/afea.fr\/news\/?p=2665"},"modified":"2022-09-29T10:22:58","modified_gmt":"2022-09-29T08:22:58","slug":"cfp-a-special-issue-of-cahiers-du-genre-feminist-series-popular-culture-and-gender-technologies-editors-sandra-laugier-and-pascale-molinier","status":"publish","type":"post","link":"https:\/\/afea.fr\/news\/cfp\/cfp-a-special-issue-of-cahiers-du-genre-feminist-series-popular-culture-and-gender-technologies-editors-sandra-laugier-and-pascale-molinier\/2665\/","title":{"rendered":"CFP: A special issue of Cahiers du genre \u00ab\u00a0Feminist Series: Popular Culture and Gender Technologies,\u00a0\u00bb editors Sandra Laugier and Pascale Molinier"},"content":{"rendered":"

(Version anglaise ci-dessous \u2013 English version below)<\/em><\/p>\n

Appel \u00e0 contributions pour un dossier des Cahiers du Genre<\/em><\/strong>
\nS\u00e9ries f\u00e9ministes: Culture populaire et technologies du genre<\/strong><\/p>\n

Coordination Sandra Laugier et Pascale Molinier<\/h1>\n

L\u2019\u00e9poque est aux s\u00e9ries f\u00e9ministes, qui ont connu un d\u00e9veloppement explosif depuis 2017 et le mouvement #MeToo. Chacun\u2219e peut se rendre compte de l\u2019\u00e9volution qui a mis les femmes au premier plan des petits \u00e9crans. Durant la derni\u00e8re d\u00e9cennie, les personnages de femmes ont pris le dessus : dans Game of Thrones (HBO), o\u00f9 les h\u00e9ro\u00efnes deviennent majoritaires dans les derni\u00e8res saisons, dans House of Cards (Netflix), o\u00f9 c\u2019est la femme du pr\u00e9sident (Claire Underwood, interpr\u00e9t\u00e9e par Robin Wright) qui finit par exercer le pouvoir apr\u00e8s la disparition du pr\u00e9sident (Frank Underwood\/Kevin Spacey, emport\u00e9 par la vague #MeToo) ou, dans le genre d\u00e9sormais dominant de la mini\u2010s\u00e9rie, de la brillante The Queen\u2019s Gambit (Netflix 2021) \u00e0 plus r\u00e9cemment Mare of Easttown (HBO 2021) et Maid (Netflix 2021). Il est temps de s\u2019interroger de nouveau sur la place des s\u00e9ries dans les recherches sur le genre, qui les ont longtemps prioritairement analys\u00e9es, comme nombre de productions de Hollywood, en termes critiques, y voyant surtout l\u2019expression et la r\u00e9it\u00e9ration des dominations et discriminations de genre, de race et de classe.<\/p>\n

On sait que l\u2019univers cin\u00e9matographique a consacr\u00e9 jusqu\u2019\u00e0 pr\u00e9sent la pr\u00e9dominance masculine. Dans son industrie, seules une poign\u00e9e de femmes ont \u00e9merg\u00e9 pour les fonctions symboliquement valoris\u00e9es comme celle de metteur\u2219e en sc\u00e8ne. Les protestations f\u00e9ministes au moment des \u00e9v\u00e9nements rituels de la profession, aux USA au moment des Oscars, et en France au moment de Cannes ou des C\u00e9sars\u2026 r\u00e9v\u00e8lent la minceur des progr\u00e8s accomplis au XXIe si\u00e8cle, dans un domaine encore domin\u00e9 par la rh\u00e9torique viriliste de \u00ab l\u2019auteur \u00bb, entretenue par la critique cin\u00e9matographique (voir Sellier 2005, 2009). Les s\u00e9ries semblent conna\u00eetre une trajectoire diff\u00e9rente. Comme les femmes, elles sont un genre d\u00e9valoris\u00e9 \u2013 en t\u00e9moignent les fr\u00e9quents commentaires m\u00e9prisants des cin\u00e9philes patent\u00e9\u2219es envers les s\u00e9ries et leurs publics (voir Laugier 2019). Leur r\u00e9ception s\u2019est construite non dans les salles et l\u2019espace public mais dans l\u2019univers domestique, o\u00f9 la t\u00e9l\u00e9vision fut longtemps un meuble ; et le public, des spectatrices. La s\u00e9rie est historiquement un medium mineur, qui met en sc\u00e8ne l\u2019univers familial et a permis l\u2019installation durable de personnages f\u00e9minins : les exemples abondent dans la seconde moiti\u00e9 du XXe si\u00e8cle \u2013 de Ma Sorci\u00e8re bien aim\u00e9e (1964\u20101972), The Mary Tyler Moore Show (1970\u20101977), Kate & Allie (1984\u20101989) Golden Girls (1985\u20101992), \u00e0 Dr Quinn (1993\u20101998) ou Ally McBeal (1997\u20102002) \u2013, de s\u00e9ries durables et fond\u00e9es sur des personnages f\u00e9minins forts, alors que le cin\u00e9ma n\u2019offrait que tr\u00e8s peu de films \u00e9quivalents. Mais le v\u00e9riable tournant f\u00e9ministe des s\u00e9ries a lieu au tournant du si\u00e8cle, avec la s\u00e9rie culte Buffy contre les vampires (1997\u20102004) (voir Allouche et Laugier 2014). Son showrunner Joss Whedon avait explicitement con\u00e7u Buffy comme une \u0153uvre f\u00e9ministe destin\u00e9e \u00e0 transformer moralement un public adolescent mixte, en montrant une jeune fille capable de se battre. Buffy impose \u00e0 l\u2019\u00e9cran une fille ordinaire qui pulv\u00e9rise aussi bien les vampires que les st\u00e9r\u00e9otypes et op\u00e8re une transgression permanente, \u00e0 l\u2019\u00e9cran, de la domination masculine (Molinier 2014). Le tournant du si\u00e8cle fut \u00e0 la fois celui des s\u00e9ries et du genre en s\u00e9ries, notamment avec les \u0153uvres d\u00e9sormais classiques produites par HBO, cha\u00eene cabl\u00e9e et \u00e9litiste : la provocatrice Sex and the City \u00e0 partir de 1998, avec un casting de quatre femmes \u00e0 la recherche de la meilleure vie sexuelle \u00e0 New York, et les classiques Soprano (1999\u20102007), Six Feet Under (2001\u20102005) The Wire (2002\u20102008) qui ont mis en lumi\u00e8re des personnages de femmes de plus en plus forts et atypiques \u2013 tout en insistant de fa\u00e7on nouvelle sur la fragilit\u00e9 masculine (Martin 2013). Dans cette veine, d\u2019autres networks ont emboit\u00e9 le pas \u00e0 HBO : AMC avec le magnifique Mad Men (2007\u20102015), ABC avec Desperate Housewives (2004\u20102012) et Showtime avec the L Word (2004\u20102009), s\u00e9rie lesbienne devenue embl\u00e9matique de la capacit\u00e9 formidable, et confirm\u00e9e depuis, des s\u00e9ries \u00e0 pr\u00e9senter et valoriser les minorit\u00e9s sexuelles. Les s\u00e9ries f\u00e9ministes pr\u00e9sentent souvent, en guise de h\u00e9ros, un groupe de femmes comme r\u00e9cemment Orange Is the New Black, Big Little Lies et Better Things. Elles ont leurs marqueurs et stars, comme la pr\u00e9sence de Elizabeth Moss, qu\u2019on a vue dans Mad Men, Top of the Lake, The Handmaid\u2019s Tale, ou Uzo Aduba qui a tourn\u00e9 Mrs. America apr\u00e8s la derni\u00e8re saison de Orange Is the New Black.<\/p>\n

En France, une s\u00e9rie \u2013 sous estim\u00e9e \u2013 comme Engrenages (voir Molinier 2023) a pour h\u00e9ro\u00efne une femme flic de la PJ, cheffe ultra comp\u00e9tente, c\u00e9libataire et instable sur le mod\u00e8le des personnages masculins standard des s\u00e9ries polici\u00e8res. L\u2019inscription dans une temporalit\u00e9 de plusieurs ann\u00e9es, le retour des saisons, permet des personnages f\u00e9minins plus subtils et montrant de multiples facettes. L\u2019accent sur les familles, grand th\u00e8me des s\u00e9ries contemporaines, donne une place nouvelle \u00e0 la vie priv\u00e9e ; l\u2019accent est aussi mis sur des m\u00e9tiers tels que la sant\u00e9 ou la justice en cours de f\u00e9minisation. L\u2019orientation vers la jeunesse conduit \u00e0 des visions plus complexes et fluides des sexualit\u00e9s, de Girls \u00e0 I may destroy you ou Euphoria. Dans la science\u2010fiction ou la fantasy aussi, ainsi que dans les anim\u00e9s, les personnages f\u00e9minins gagnent en h\u00e9ro\u00efsme et en autonomie (Les 100 2014\u20102020, 3% (Netflix, 2016\u20102020) et affichent des sexualit\u00e9s lesbiennes ou bisexuelles.<\/p>\n

Avec les s\u00e9ries, la t\u00e9l\u00e9vision et les petits \u00e9crans domestiques h\u00e9ritent, sous une forme nouvelle, de l\u2019enjeu d\u2019\u00e9ducation morale du cin\u00e9ma populaire (Laugier 2019). Une personne qui suit une s\u00e9rie depuis le d\u00e9but peut vivre avec ses personnages pendant cinq ou sept ann\u00e9es, voire plus. C\u2019est consid\u00e9rable : il y a peu de gens, dans la r\u00e9alit\u00e9, que l\u2019on accompagne aussi longtemps. Que des femmes aient ainsi une pr\u00e9sence durable dans la vie des spectatrices et des spectateurs est essentiel \u00e0 la transformation de la repr\u00e9sentation du genre dans la soci\u00e9t\u00e9. De m\u00eame les s\u00e9ries f\u00e9ministes ont \u00e9t\u00e9 les premi\u00e8res \u00e0 afficher des personnages aux positions intersectionnelles multiples, m\u00eame si on a reproch\u00e9 justement \u00e0 Sex and The City son casting de femmes blanches. Une \u00e9tape dans la repr\u00e9sentatitiv\u00e9 des s\u00e9ries a \u00e9t\u00e9 la pr\u00e9sence des femmes racis\u00e9es comme Kerry Washington, star de Scandal, dans des s\u00e9ries tr\u00e8s grand public, et de femmes \u00e2g\u00e9es de plus de quarante ans : Pam Grier dans the L\u2010Word, Meryl Streep dans Big Little Lies, Holly Hunter dans Top of the Lake, Succession, The Comey Rule.<\/p>\n

Il ne s\u2019agit plus seulement pour les femmes de gagner en visibilit\u00e9, en temps d\u2019\u00e9cran. Les s\u00e9ries f\u00e9ministes offrent au public des outils d\u2019analyse culturels de la situation des femmes, dans leur diversit\u00e9 et donc en opposition radicale avec la th\u00e9matique de LA femme longtemps dominante au cin\u00e9ma.<\/p>\n

On peut se demander si le f\u00e9minisme des s\u00e9ries r\u00e9centes ne tient pas aussi \u00e0 l\u2019arriv\u00e9e en force d\u2019une g\u00e9n\u00e9ration d\u2019actrices pr\u00eates \u00e0 faire monter ce genre f\u00e9minin en puissance, un peu comme l\u2019ont fait les com\u00e9dies et m\u00e9lodrames du cin\u00e9ma hollywoodien des ann\u00e9es 1930\u201040 : Reese Witherspoon, Nicole Kidman, Shailene Woodley dans Big Little Lies, Regina King dans Seven Seconds et Watchmen, Sandra Oh et Jodie Comer dans Killing Eve, Cate Blanchett et Uzo Aduba dans Mrs. America, Elizabeth Moss dans Top of the Lake et The Handmaid\u2019s Tale, Kate Winslet dans Mare of Easttown, Laura Dern dans Big Little Lies et Twin Peaks, Toni Collette et Wever dans Unbelievable \u2013 actrices qui, comme les Katharine Hepburn, Irene Dunne, Barbara Stanwyck du si\u00e8cle pass\u00e9, n\u2019ont pas un profil de jeunes premi\u00e8res ni l\u2019envie de subir le male gaze (Mulvey 1975, Brey 2020) mais incarnent confiance en soi et solidarit\u00e9 f\u00e9minine. Avant m\u00eame #MeToo, Big Little Lies proposait aux femmes de se d\u00e9fendre toutes ensemble contre l\u2019ennemi \u2010 y compris en le balan\u00e7ant dans l\u2019escalier.
\nLa visibilit\u00e9 des actrices de s\u00e9ries dans leur diversit\u00e9 ne doit pas cacher les progr\u00e8s concrets de l\u2019industrie o\u00f9 de plus en plus de femmes acc\u00e8dent aux professions tenues pour cruciales. Productrices, sc\u00e9naristes et r\u00e9alisatrices racontent de nouvelles histoires.<\/p>\n

Cette \u00e9volution des s\u00e9ries r\u00e9v\u00e8le le r\u00f4le de la culture populaire et sa puissance transformatrice (De Lauretis 2007) : les s\u00e9ries ne sont pas seulement r\u00e9v\u00e9latrices d\u2019une situation, ou comme on l\u2019a longtemps dit, \u00ab miroir de la soci\u00e9t\u00e9 \u00bb. Pour Cavell (2017 [1993]) comme pour Dewey (2010 [1934]), les enjeux de notre relation \u00e0 la culture populaire sont directement politiques. La valeur \u00e9ducative de la culture populaire est essentielle \u00e0 sa qualit\u00e9 d\u00e9mocratique et inclusive, et \u00e0 la reconnaissance politique des femmes et des minorit\u00e9s. Les s\u00e9ries ont un impact (qu\u2019on appelle soft power, mais qui est souvent puissant) par la capacit\u00e9 du medium, y compris pour des raisons commerciales, \u00e0 repr\u00e9senter et entendre largement son public. Ce sont ainsi des technologies du genre qui, sur fond de d\u00e9veloppement du num\u00e9rique et d\u2019\u00e9volutions des attentes des publics, contribuent au changement social.<\/p>\n

Il s\u2019agit d\u00e9sormais de repr\u00e9senter toutes les femmes dans leur diversit\u00e9, les petits \u00e9crans offrant un terrain d\u2019expressivit\u00e9 privil\u00e9gi\u00e9 \u00e0 ces nouveaux visages de femmes ; mais aussi \u00e0 la vuln\u00e9rabilit\u00e9 masculine. Cette approche optimiste des s\u00e9ries comme technologies de genre n\u2019exclut pas une critique des points de r\u00e9sistance au changement dans le traitement de la famille, mais aussi de la violence ou de la sexualit\u00e9. Les s\u00e9ries sont ainsi des outils du changement r\u00e9guli\u00e8rement sous estim\u00e9s. Nous souhaitons explorer collectivement cette m\u00e9thodologie des s\u00e9ries, qui a permis une attention \u00e0 l\u2019expression f\u00e9minine, \u00e0 travers le retour au quotidien mais aussi dans des genres dont les h\u00e9ros \u00e9taient autrefois individuels et masculins (s\u00e9ries polici\u00e8res, science fiction).<\/p>\n

Les propositions de contributions \u00e0 ce projet de dossier pourront r\u00e9pondre aux questions suivantes :<\/p>\n

\u2022 Quelles sont les \u00e9volutions historiques de la place des femmes dans les s\u00e9ries, aussi bien en tant que personnages qu\u2019en tant que productrices, sc\u00e9naristes ou r\u00e9alisatrices ?
\n\u2022 Quelles sont les diff\u00e9rences de traitement du genre entre cin\u00e9ma et s\u00e9ries ?
\n\u2022 Quelles sont les modalit\u00e9s esth\u00e9tiques de la repr\u00e9sentation et de l\u2019expression des femmes dans les s\u00e9ries ?
\n\u2022 Qu\u2019en est\u2010il de la diversit\u00e9 culturelle des s\u00e9ries ? Notamment les s\u00e9ries de nombreux pays d\u2019Afrique sont en pointe dans la repr\u00e9sentation des femmes.
\n\u2022 A l\u2019inverse, la globalisation des s\u00e9ries est\u2010elle un progr\u00e8s dans la repr\u00e9sentation des femmes ?
\n\u2022 Les s\u00e9ries sont\u2010elles pionni\u00e8res dans la repr\u00e9sentation inclusive des sexualit\u00e9s ?
\n\u2022 Y a\u2010t\u2010il persistance des st\u00e9r\u00e9otypes (lesquels ?) dans les s\u00e9ries r\u00e9centes ?
\n\u2022 La repr\u00e9sentation des hommes se transforme\u2010t\u2010elle sous l\u2019effet de la pr\u00e9sence des femmes ?
\n\u2022 Quels sont les genres privil\u00e9gi\u00e9s du genre : s\u00e9ries familiales, polici\u00e8res, m\u00e9dicales, s\u00e9curitaires, politiques\u2026 ?
\n\u2022 Quelles sont les repr\u00e9sentations de la violence dans les s\u00e9ries (violence des femmes, violences contre les femmes) ?
\n\u2022 Comment les s\u00e9ries traitent\u2010elles de l\u2019intersectionnalit\u00e9 et permettent\u2010elles de rendre visibles une pluralit\u00e9 de femmes ?<\/p>\n

Toutes les sciences humaines et sociales sont convoqu\u00e9es (anthropologie, histoire, linguistique, philosophie, psychologie, sciences des m\u00e9dias et de la communication, sociologie, etc.). Les articles peuvent traiter de plusieurs s\u00e9ries en proposant des probl\u00e9matiques transversales et s\u2019int\u00e9resser \u00e0 des s\u00e9ries non encore termin\u00e9es s\u2019il est jug\u00e9 qu\u2019elles sont repr\u00e9sentatives de transformations en cours.<\/p>\n

Les abstracts d\u2019une page devront \u00eatre adress\u00e9s avant le 15 octobre 2022 <\/strong>\u00e0 :
\n\u2022 Sandra Laugier : sandra.laugier@gmail.com<\/a>
\n\u2022 Pascale Molinier : pascalemolinier@gmail.com<\/a><\/p>\n

****
\nCall for contributions for a special issue of Cahiers du genre<\/em><\/strong>
\nFeminist Series: Popular Culture and Gender Technologies
\nSandra Laugier and Pascale Molinier eds <\/strong><\/p>\n

Feminist television series are currently the rage, having experienced an explosive growth since 2017 and the #MeToo movement. Everybody can relate to the evolution that has propelled women into the spotlight on TV screens. Over the past decade, female characters have emerged as the dominant force, for example in Game of Thrones (HBO), with a majority of female characters in the later seasons, in House of Cards (Netflix), where the president’s wife (Claire Underwood, played by Robin Wright) becomes the main protagonist after the president\u2019s death (Frank Underwood\/Kevin Spacey, caught up in the #MeToo wave) or, in the now dominant mini\u2010 series genre, for example the brilliant The Queen’s Gambit (Netflix 2021) or, recently in Mare of Easttown (HBO 2021) and Maid (Netflix 2021). The time has come to re\u2010examine the status of TV series in research on gender, which for a long time has mainly considered them, like many Hollywood productions, in critical terms, seeing in them the expression and re\u2010enactment of gender\u2010, race\u2010 and class\u2010based domination and discrimination.<\/p>\n

The film industry has been known to be male\u2010dominated until now. Only a few women have emerged to access highly valued positions in the industry, such as film director. Feminist protests during the profession’s ritual events, such as the Academy Awards in the USA or the Cannes Film Festival and the C\u00e9sars in France, reflect the very limited progress made in the 21st century in a domain still dominated by the virilist approach of the \u201cauthor\u201d, perpetuated by film critics (see Sellier 2005, 2009). TV series seem to follow a different trajectory. Like women, they are a demeaned genre as witnessed by the common scornful comments of professed cinephiles about TV series and their audiences (see Laugier 2019). Their reception has been shaped not in cinemas and public spaces but in the household \u2010 where television has long been a piece of furniture \u2010 by a female audience. TV series are historically a minor medium, which are set in the domestic sphere and have allowed for the lasting establishment of female characters: there are many examples in the second half of the 20th century \u2010 from Bewitched (1964\u20101972), The Mary Tyler Moore Show (1970\u20101977), Kate & Allie (1984\u20101989), Golden Girls (1985\u20101992), to Dr Quinn (1993\u20101998) or Ally McBeal (1997\u20102002) \u2010 of long\u2010running series with strong female characters, while the cinema offered very few comparable productions. But the actual feminist turn in TV series occurred at the turn of the century, with the cult series Buffy the Vampire Slayer (1997\u20102004) (see Allouche and Laugier 2014). Its showrunner Joss Whedon had explicitly conceived Buffy as a feminist work intended to morally transform a mixed teenage audience, by showing a young girl who is capable of fighting. Buffy brought to the screen an ordinary girl who smashed both vampires and stereotypes and permanently transgressed male domination on the screen (Molinier 2014). The turn of the century saw both a big shift in the field of TV series and in gender in TV series, notably with the now classic works produced by the elite cable channel HBO: the provocative Sex and the City from 1998, with a cast of four women in search of the best sex life in New York City, and other classics such as The Sopranos (1999\u20102007), Six Feet Under (2001\u20102005), The Wire (2002\u20102008), which featured increasingly strong and atypical women’s characters, while putting new emphasis on male fragility (Martin 2013). Other networks followed in HBO’s footsteps: AMC with the magnificent Mad Men (2007\u20102015), ABC with Desperate Housewives (2004\u20102012) and Showtime with the L Word (2004\u20102009), a lesbian series that has become emblematic of the now\u2010confirmed tremendous capacity of series to showcase and value sexual minorities. Feminist TV series often feature a group of women as their main characters, such as recently Orange Is the New Black, Big Little Lies and Better Things. They have their own landmarks and stars, such as Elizabeth Moss, who has appeared in Mad Men, Top of the Lake, The Handmaid’s Tale, or Uzo Aduba, who shot Mrs. America after the final season of Orange Is the New Black.<\/p>\n

In France, the heroine of the underrated television series Engrenages (see Molinier 2023) is a female chief officer in the police force who is ultra\u2010competent, unmarried and unstable, modelled on the standard male characters in police series. The setting of TV series over several years, and seasons, allows for more subtle and multi\u2010faceted female characters. The focus on the family, which is a major theme in contemporary TV series, provides a fresh look at private life; emphasis is also placed on the health and legal professions, which are becoming more feminized. Focus on youth leads to more complex and fluid visions of sexuality, for example in Girls, I may destroy you or Euphoria. The science fiction or fantasy genres, as well as anime, also increasingly feature heroins and empowered female characters, for example The 100 (The CW, 2014\u20102020) or 3% (Netflix (2016\u2010 2020), and deal with lesbian or bisexual sexualities.<\/p>\n

Through TV series, television and small domestic screens inherit, in a new form, the role formerly played by popular cinema in terms of moral education (Laugier 2019). A viewer who watches a series from the beginning can share the life of its characters for five or seven years, or even more. This represents a considerable amount of time: there are few people, in reality, who one accompanies for so long. The fact that women have a lasting presence in the lives of female and male viewers is essential for the transformation of gender representation in society. Likewise, feminist TV shows were the first to feature characters with multiple intersectional positions, even if Sex and the City was criticized for its entirely white female cast. A step forward in this regard has been the presence of racialized women such as Kerry Washington, star of Scandal, in mainstream series, and of women over forty: Pam Grier in the L\u2010Word, Meryl Streep in Big Little Lies, Holly Hunter in Top of the Lake, Succession, The Comey Rule. It is no longer just a question of women gaining visibility and screen time. Feminist series bring to the public tools for cultural analysis of the situation of women, in all their diversity and therefore in radical opposition to the theme of THE woman, which has long been dominant in cinema.<\/p>\n

One might wonder whether the feminism of recent TV series is not also due to the advent of a generation of actresses ready to take this genre to the next level, much like Hollywood\u2019s comedies and dramas in the 1930s and 40s: Reese Witherspoon, Nicole Kidman, Shailene Woodley in Big Little Lies, Regina King in Seven Seconds and Watchmen, Sandra Oh and Jodie Comer in Killing Eve, Cate Blanchett and Uzo Aduba in Mrs. America, Elizabeth Moss in Top of the Lake and The Handmaid’s Tale, Kate Winslet in Mare of Easttown, Laura Dern in Big Little Lies and Twin Peaks, Toni Collette and Merritt Wever in Unbelievable \u2010 actresses who, like Katharine Hepburn, Irene Dunne, Barbara Stanwyck in the past century, are neither young debutantes nor eager to endure male gaze (Mulvey 1975, Brey 2020), but embody self\u2010confidence and female solidarity. Even before #MeToo, Big Little Lies suggested that women should stand up together against the enemy \u2010 including by throwing him down the stairs.The visibility of women in television series in their diversity should not distract attention from the tangible progress made in the industry, where more and more women are accessing critical positions. Female producers, writers and directors are telling new stories.<\/p>\n

This evolution of TV series shows the role of popular culture and its transformative power (De Lauretis 2007): TV series are not only revelatory of a situation, or as it has long been said, \u201cmirrors of society\u201d. For Cavell (2017 [1993]) as for Dewey (2010 [1934]), the implications of our relationship to popular culture are directly political. The educational value of popular culture is essential to it being democratic and inclusive, and to the political recognition of women and minorities. TV series have an impact (called soft power, but often powerful) because of the medium’s ability, even if for commercial purposes, to widely represent and listen to its audience. In this way, they are gender technologies which, in the context of the development of digital technologies and changing audience expectations, contribute to social change.<\/p>\n

The point now is to represent all women in their diversity, television being a fertile ground for expressing these new types of women, but also male vulnerability. Such an optimistic approach to TV series as gender technologies should not exclude a critique of the resistance to change that exists in the depiction of the family, but also of violence and sexuality. Series are thus often underestimated tools for change. We wish to explore collectively the methodology of TV series, which has allowed for attention to women’s expression, by returning to everyday life, but also in genres where the main characters were traditionally solo and male (detective series, science fiction).<\/p>\n

Submissions to this dossier may address the following questions:
\n\u2022 What is the historical evolution of the place of women in TV series, both as characters and as producers, scriptwriters or directors?
\n\u2022 What are the differences in the treatment of gender between cinema and TV series?
\n\u2022 What are the aesthetic modalities of the representation and expression of women in TV series?
\n\u2022 What is the situation regarding cultural diversity in TV series? In particular, many African series are among the most advanced in terms of the representation of women.
\n\u2022 Conversely, does the globalization of series bring progress in the representation of women?
\n\u2022 Are series pioneering in the inclusive representation of sexualities?
\n\u2022 Do stereotypes persist (which ones?) in recent TV series?
\n\u2022 Is the representation of men being transformed by the presence of women?
\n\u2022 What are the privileged genres for gender: family, police, medical, security, political series?
\n\u2022 How is violence represented in TV series (violence of women, violence against women)?<\/p>\n

Contributions from all fields of the humanities and social sciences (anthropology, history, linguistics, philosophy, psychology, media and communication sciences, sociology, etc.) are welcome. Articles may deal with several TV series by addressing transverse issues, and may focus on series that are not yet finished if they are deemed representative of current transformations.<\/p>\n

One\u2010page abstracts should be sent before October 15, 2022 <\/strong>to:
\n\u2022 Sandra Laugier : sandra.laugier@gmail.com<\/a>
\n\u2022 Pascale Molinier : pascalemolinier@gmail.com<\/a><\/p>\n

Appel Series feministes FR ENG ES.pdf<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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