{"id":2710,"date":"2022-10-05T07:21:01","date_gmt":"2022-10-05T05:21:01","guid":{"rendered":"https:\/\/afea.fr\/news\/cfp\/cfp-esthetique-des-series-televisees-une-approche-ethique\/2710\/"},"modified":"2022-10-05T07:21:01","modified_gmt":"2022-10-05T05:21:01","slug":"cfp-esthetique-des-series-televisees-une-approche-ethique","status":"publish","type":"post","link":"https:\/\/afea.fr\/news\/cfp\/cfp-esthetique-des-series-televisees-une-approche-ethique\/2710\/","title":{"rendered":"CFP Esth\u00e9tique des s\u00e9ries t\u00e9l\u00e9vis\u00e9es: une approche \u00e9thique"},"content":{"rendered":"

Esth\u00e9tique des s\u00e9ries t\u00e9l\u00e9vis\u00e9es : une approche \u00e9thique<\/strong><\/p>\n

The Ethics of TV series\u2019 Aesthetics<\/em><\/strong><\/p>\n

Colloque, 5 et 6 octobre 2023 \/ Conference, October 5th and 6th, 2023<\/strong><\/p>\n

Universit\u00e9 Paul-Val\u00e9ry Montpellier 3<\/p>\n

RIRRA21, EMMA, IUF<\/p>\n

Comit\u00e9 d\u2019organisation : Claire Cornillon, Sarah Hatchuel, Monica Michlin, David Roche,<\/p>\n

Comit\u00e9 scientifique : Julien Achemchame (Universit\u00e9 Paul-Val\u00e9ry Montpellier 3), Luca Barra (Universit\u00e0 di Bologna), Paola Brembilla (Universit\u00e0 di Bologna), Samuel Chambers (Johns Hopkins University), Claire Cornillon (Universit\u00e9 de N\u00eemes), Florent Favard (Universit\u00e9 de Lorraine), Sarah Hatchuel (Universit\u00e9 Paul-Val\u00e9ry Montpellier 3), Monica Michlin (Universit\u00e9 Paul-Val\u00e9ry Montpellier 3), Ariane Hudelet (Universit\u00e9 Paris-Cit\u00e9), David Roche (Universit\u00e9 Paul-Val\u00e9ry Montpellier 3, Institut Universitaire de France), Sarah Sepulchre (Universit\u00e9 catholique de Louvain), Guillaume Soulez (Universit\u00e9 Sorbonne-Nouvelle)<\/p>\n

Scroll down for English version<\/p>\n

Dans son ouvrage Nos vies en s\u00e9ries<\/em> (2019) et un num\u00e9ro d\u2019Open Philosophy <\/em>(2021-22), Sandra Laugier nous invite \u00e0 comprendre comment les s\u00e9ries t\u00e9l\u00e9vis\u00e9es, par leur dur\u00e9e et les diff\u00e9rents types d’attachement qu’elles suscitent, peuvent \u00e9duquer moralement les publics et les rendre attentifs \u00e0 ce qui semble banal dans la vie ordinaire. Son travail se concentre sur les situations, dialogues, gestes, dilemmes, politiques identitaires et choix (politiques ou moraux) faits par des (groupes de) personnages, mais il ne prend pas n\u00e9cessairement en compte la mani\u00e8re dont des structures narratives sp\u00e9cifiques peuvent encourager les spectateur.rice.s \u00e0 adopter un point de vue \u00e9thique particulier. De m\u00eame, Skorin-Kapov (2019) et Watson et Arp (2011) abordent des questions \u00e9thiques par le biais du cin\u00e9ma ou de la t\u00e9l\u00e9vision, mais n’interrogent pas l’\u00e9thique m\u00eame du cin\u00e9ma ou de la t\u00e9l\u00e9vision.<\/p>\n

L’objectif de ce colloque est pr\u00e9cis\u00e9ment de se concentrer sur l\u2019\u00e9thique qu\u2019impliquent l\u2019esth\u00e9tique et la narration des s\u00e9ries t\u00e9l\u00e9vis\u00e9es. Les logiques de s\u00e9rialit\u00e9 sont en effet multiples et historicis\u00e9es : elles \u00e9tablissent des mod\u00e8les \u00e0 la fois inscrits dans des sch\u00e9mas reconnaissables d\u2019une s\u00e9rie \u00e0 l\u2019autre et propres \u00e0 une s\u00e9rie sp\u00e9cifique. Or ces mod\u00e8les produisent du sens, notamment en termes \u00e9thiques, par la mani\u00e8re m\u00eame dont ils s\u2019organisent.<\/p>\n

De la s\u00e9rie formulaire aux s\u00e9ries semi-feuilletonnantes ou feuilletonnantes, chaque type de narration s\u00e9rielle audiovisuelle ouvre un espace sp\u00e9cifique de n\u00e9gociation \u00e9thique et souvent id\u00e9ologique, par exemple en ce qui concerne le statut des personnages, l\u2019interaction des personnages avec les espaces, l\u2019inscription dans le temps, la relation de la structure narrative \u00e0 une logique de causalit\u00e9 et\/ou de contingence.<\/p>\n

Les s\u00e9ries semi-feuilletonnantes construisent des arcs s\u00e9riels forts, mais elles semblent maintenir l’importance de l’\u00e9pisode comme m\u00e9taphore de l’\u00eatre humain dans son individualit\u00e9 et sp\u00e9cificit\u00e9 (Cornillon\/Hatchuel 2020). Ainsi, dans Urgences<\/em> (E.R.<\/em>, NBC, 1994-2009), c\u2019est pr\u00e9cis\u00e9ment par la place accord\u00e9e au quotidien du service, et non aux grandes intrigues, que les patients trouvent l\u2019espace d\u2019exister au sein de la di\u00e9g\u00e8se. Le fait m\u00eame d\u2019op\u00e9rer un \u00e9quilibre entre l\u2019intrigue feuilletonnante et les intrigues formulaires construit un propos sur le rapport \u00e0 l\u2019autre et sur l\u2019empathie. L\u2019\u00e9pisode devient un site d\u2019articulation entre ce que l\u2019on conna\u00eet et ce que l\u2019on ne conna\u00eet pas : il nous force \u00e0 accepter d\u2019\u00eatre constamment en mouvement vers l\u2019autre pour pouvoir \u00e9voluer nous-m\u00eames. Dans la s\u00e9rie Person of Interest <\/em>(CBS, 2011-2016), \u00e0 travers la lutte des deux super-ordinateurs, se joue, sur un plan r\u00e9flexif, la tension entre les deux grandes dynamiques de l\u2019\u00e9criture s\u00e9rielle \u2013 celle qui privil\u00e9gie l\u2019arc \u00ab macro \u00bb avec ses h\u00e9ros r\u00e9currents et celle qui se concentre sur une construction \u00e9pisodique \u00ab micro \u00bb o\u00f9 se multiplient les personnages non-r\u00e9currents \u2013 ici, les \u00ab personnes d\u2019int\u00e9r\u00eat \u00bb qui viennent inscrire, d\u2019une certaine fa\u00e7on, les spectateur.rice.s au sein de la fiction. Tandis qu\u2019elle se met \u00e0 d\u00e9ployer des arcs feuilletonnants qui construisent une v\u00e9ritable \u00ab mythologie \u00bb, la s\u00e9rie conserve aussi <\/em>ses aspects \u00e9pisodiques. Dans la derni\u00e8re saison, alors que les h\u00e9ros aimeraient pouvoir lutter exclusivement contre le super-ordinateur Samaritain, la Machine les rappelle sans cesse \u00e0 l\u2019ordre en leur envoyant les num\u00e9ros de s\u00e9curit\u00e9 sociale des personnes dont le sort d\u00e9pend d\u2019eux. Le souhait de vivre une trame feuilletonnante lib\u00e9r\u00e9e de l\u2019\u00ab affaire de la semaine \u00bb est alors constamment frustr\u00e9. Mais la force de la s\u00e9rie est d\u2019inspirer un attachement au formulaire car, si l\u2019on refuse les num\u00e9ros, si l\u2019on d\u00e9nigre la \u00ab personne d\u2019int\u00e9r\u00eat \u00bb de la semaine, on fait le jeu d\u2019une id\u00e9ologie d\u00e9shumanisante o\u00f9 certains individus ne compteraient pas. Person of Interest<\/em>construit ainsi une tension entre notre d\u00e9sir de voir la Machine \u00e9voluer (et le r\u00e9cit se complexifier) et la n\u00e9cessaire conscience que chaque vie (chaque \u00e9pisode) est inestimable. La s\u00e9rie appara\u00eet ainsi comme une justification \u00e9thique de la r\u00e9p\u00e9tition \u00e9pisodique face \u00e0 la puissance parfois d\u00e9vorante de la progression feuilletonnante. On assiste alors \u00e0 une re-s\u00e9mantisation de l\u2019expression \u00ab person of interest<\/em> \u00bb : signifiant d\u2019habitude \u00ab personne recherch\u00e9e \u00bb ou \u00ab suspect potentiel \u00bb, l\u2019expression peut alors vouloir dire, dans le contexte de la s\u00e9rie, \u00ab personne importante \u00bb, \u00ab personne dont on se pr\u00e9occupe \u00bb, \u00ab personne que l\u2019on ne peut abandonner \u00bb.<\/p>\n

Qu\u2019en est-il des autres formes s\u00e9rielles ? Dans quelle mesure un feuilleton ou un \u00e9pisode est-il dynamis\u00e9 par la vis\u00e9e d\u2019une certaine conception de la \u00ab vie bonne \u00bb (Taylor 1989 ; Ric\u0153ur 1990, 1995) ? Quel positionnement \u00e9thique peut impliquer telle ou telle variation sur le tout-feuilletonnant du soap ou sur le dispositif \u00e9nonciatif de la sitcom ? Comment se situer dans une histoire o\u00f9 tout recommence toujours \u00e0 z\u00e9ro au niveau de l\u2019\u00e9pisode ? Qu\u2019est-ce que les tensions entre formes narratives (ex : feuilletonnant contre formulaire) au sein d\u2019une m\u00eame s\u00e9rie disent de son projet \u00e9thique ? Qu\u2019est-ce que l\u2019\u00e9volution de l\u2019esth\u00e9tique et\/ou de la structure narrative au sein d\u2019une m\u00eame s\u00e9rie d\u00e9voile de sa position \u00e9thique ? Comment les rapports de pouvoir, la violence et le voyeurisme peuvent-ils \u00eatre trait\u00e9s dans une esth\u00e9tique s\u00e9rielle particuli\u00e8re ? Comment les s\u00e9ries d\u2019un.e m\u00eame showrunneur.se<\/a> peuvent-elles se r\u00e9pondre sur un plan \u00e9thique (ex : Better Call Saul<\/em> est-elle une r\u00e9ponse \u00e9thique \u00e0 Breaking Bad<\/em> ? The Leftovers<\/em>est-il un pied de nez au public d\u00e9\u00e7u de LOST<\/em> ?).<\/p>\n

Dans la continuit\u00e9 des travaux du groupe GUEST, nous sollicitons avant le 30 janvier 2023<\/strong> des propositions (r\u00e9sum\u00e9 de 300 mots avec une note biographique de 100 mots \u00e0 envoyer \u00e0 sarah.hatchuel et claire.cornillon) pour des communications de 30 minutes portant sur une ou plusieurs s\u00e9ries, sans se limiter \u00e0 l\u2019ultra-contemporain, dans une perspective pluri- et interdisciplinaire. L\u2019objet \u00ab s\u00e9rie t\u00e9l\u00e9vis\u00e9e \u00bb doit cependant rester au centre de la r\u00e9flexion. Le choix de corpus de s\u00e9ries moins \u00e9tudi\u00e9es, telles que les s\u00e9ries anciennes, sera valoris\u00e9.<\/p>\n

ENGLISH VERSION<\/p>\n

In her book Nos vies en series<\/em> (2019) and an issue of Open Philosophy<\/em> (2021-22), Sandra Laugier invites us to understand how television shows, through their duration and the various kinds of attachment they elicit, may educate viewers morally and make them attentive to what seems to be unremarkable within ordinary life. Her work focuses on situations, dialogues, gestures, dilemmas, identity politics and (political or moral) choices made by (groups of) characters, but it does not necessarily take into account the way specific narrative structures may encourage spectators to adopt a particular ethical view. Similarly, Skorin-Kapov (2019) and Watson and Arp (2011) engage with ethical issues through film or television; but do not address the very ethics of film or television.<\/p>\n

The aim of this conference is precisely to focus on the ethics involved in the aesthetics and narration of tv series. The logics of seriality are indeed multiple and historicized: they establish models that are both inscribed in patterns recognizable from one series to another and specific to a single series. Yet these models produce meaning, particularly in ethical terms.<\/p>\n

From formula to semi-serialized or serialized shows, each type of audiovisual serial narrations opens up a specific space for ideological and ethical negotiation, for instance regarding the status of characters, the interaction of characters with various forms of space, the show\u2019s inscription in time, the relationship between the narrative structure and a logic of causality and\/or contingency.<\/p>\n

Even if semi-serialized shows construct strong serial arcs, they seem to maintain the importance of the episode as a metaphor of human beings in their very individualities and specificities (Cornillon\/Hatchuel 2020). For instance, in E.R.<\/em>, NBC, 1994-2009, it is precisely through the time devoted to everyday life, rather than to the overarching storylines, that patients get to exist within the diegesis. The very fact that the series creates a balance between serialized storylines and formulaic ones asserts an ideological position regarding alterity and empathy. In the space of the episode, what we already know (about the doctors or the nurses) and what we do not know (about the new patients) are connected: we are encouraged to care for \u201cothers\u201d in order to evolve. In Person of Interest <\/em>(CBS, 2011-2016), the fight between the two super-computers reflects the tension between the two major dynamics at work in serial writing \u2013 that which favours the macro\/serial arc with its recurring, evolving heroes and that which concentrates on the micro\/formulaic arc hosting many non-recurring characters, for instance in the form of guest stars. While the series unfolds serial arcs that build a true mythology for the series, Person of Interest<\/em> also preserves its most formulaic aspects. In its last season, at a point when the heroes would like to fight exclusively against computer Samaritan, the Machine keeps sending them the Social Security numbers of unknown individuals whose lives may be in danger. Our desire to experience a serial narrative freed from the usual \u201ccase of the week\u201d, is thus constantly frustrated. But the strength of the series is that it inspires within us a commitment and attachment to the formulaic format, because if we reject the numbers, if we disparage the week\u2019s \u201cperson of interest\u201d, we become exactly like Samaritan, endorsing a dehumanizing ideology in which some individuals \u201cdon\u2019t count\u201d or count less than others. Person of Interest<\/em> thus creates a tension between our wish to see the Machine evolve (and the narrative become more complex) and the necessary awareness that each life (each episode) is invaluable. The show appears, therefore, as an ethical justification of formulaic repetition versus the powerful forces of evolving seriality. In this case, the \u201cpersons of interest\u201d come to represent and anchor the viewers themselves within the story world. In this process, the expression \u201cperson of interest\u201d is invested in a new meaning: beyond the usual meaning of \u201cperson the police is trying to locate\u201d or \u201cpotential suspect\u201d, it can signify, in the context of the series, \u201cperson of true interest to us\u201d, \u201cperson that we (must) care about\u201d, \u201cperson that we cannot give up on\u201d.<\/p>\n

What about other serial forms? To what extent is a series or an episode driven by the aim of a certain conception of a \u201cgood life\u201d (Taylor 1989; Ricoeur 1990, 1995)? What ethical positioning can be implied by such and such variations on the soap opera\u2019s extreme serialization or on the sitcom’s conditions of production? How can we situate ourselves in a story where everything always starts from scratch at the episode level? What do tensions between narrative forms (e.g. serial versus formulaic) within a series say about its ethical project? What does the evolution of aesthetics and\/or narrative structure within the same series reveal about its ethical position? How can power relations, violence and voyeurism be treated in a particular serial aesthetic? How can series by the same showrunner respond to each other on an ethical level \u2013 for instance, is Better Call Saul<\/em> an ethical response to Breaking Bad<\/em>? Is The Leftovers<\/em> a cynical nod to the disappointed audience of LOST<\/em>?<\/p>\n

In the wake of GUEST’s work, we are soliciting by 30 January 2023<\/strong> proposals for 30-minute papers (abstract of 300 words with a biographical note of 100 words to be sent to sarah.hatchuel and claire.cornillon) on one or more series, in a pluri- and interdisciplinary perspective. The \u00ab\u00a0tv series\u00a0\u00bb object must however remain at the centre of the analyses. The choice of less studied series, such as older series, will be particularly appreciated.<\/p>\n

References<\/p>\n

Chambers, Samuel Allen (2009). The Queer Politics of Television<\/em>. London: I. B. Tauris, coll. \u00ab Reading contemporary television \u00bb.<\/p>\n

Cornillon, Claire (2017). \u201cLa fin d\u2019Angel<\/em> ou le primat de l\u2019\u00e9pisodique\u201d. La Forge num\u00e9rique<\/em> (MSH Caen),http:\/\/www.unicaen.fr\/recherche\/mrsh\/forge\/4398<\/a>.<\/p>\n

Cornillon, Claire (2018). \u201cOpening credits\u201d. Episodique<\/em>. https:\/\/episodique.hypotheses.org\/158<\/a>.<\/p>\n

Cornillon, Claire (2019). \u201cLa forme semi-feuilletonnante formulaire : l\u2019exemple d\u2019Ally McBeal<\/em>\u201d. TV\/Series <\/em>15, https:\/\/journals.openedition.org\/tvseries\/3400<\/a>.<\/p>\n

Cornillon, Claire and Sarah Hatchuel (2020). \u201cAnalysing Semi-Serialized Television Fictions: the Ethical Stakes of Narrative Structures\u201d, SERIES<\/em>, VI.1, 57-64, https:\/\/doi.org\/10.6092\/issn.2421-454x\/10393<\/a>.<\/p>\n

Dunleavy, Trishia (2018). Complex Serial Drama and Multiplatform Television<\/em>. New York: Routledge.<\/p>\n

Esquenazi, Jean-Pierre (2017). \u00c9l\u00e9ments pour l\u2019analyse des s\u00e9ries<\/em>. Paris: L\u2019Harmattan.<\/p>\n

Favard, Florent (2018). Ecrire une s\u00e9rie tv: La promesse du d\u00e9nouement<\/em>. Tours: Presses universitaires Fran\u00e7ois Rabelais.<\/p>\n

Glevarec, Herv\u00e9 (2012). La S\u00e9riephilie : Sociologie d\u2019un attachement culturel<\/em>. Paris: Ellipses.<\/p>\n

Hatchuel, Sarah (2018). \u201cNous vivons dans un r\u00eave genr\u00e9 : ce que Twin Peaks<\/em> fait aux femmes.\u201d In Sarah Hatchuel (ed.), Twin Peaks: \u00e0 l\u2019int\u00e9rieur du r\u00eave<\/em>. Lormont: Le Bord de l\u2019eau, 187-204.<\/p>\n

Hatchuel, Sarah and Pac\u00f4me Thiellement (2019). The Leftovers : le troisi\u00e8me c\u00f4t\u00e9 du miroir<\/em>. Paris: Playlist Society.<\/p>\n

Laugier, Sandra (2014). \u201cL\u2019\u00e9thique comme attention \u00e0 ce qui compte.\u201d InYves Citton (ed.), L\u2019Economie de l\u2019attention<\/em>. Paris: La D\u00e9couverte.<\/p>\n

Laugier, Sandra (2019). Nos vies en s\u00e9ries<\/em>. Paris: Climats.<\/p>\n

Laugier Sandra, ed. (2021-22). \u201cEthics and Politics of TV Series\u201d, Open Philosophy<\/em>, https:\/\/www.degruyter.com\/journal\/key\/opphil\/5\/1\/html<\/a>.<\/p>\n

Lifschutz, Vladimir (2018). This is the end: Finir une s\u00e9rie tv<\/em>. Tours: Presses universitaires Fran\u00e7ois Rabelais.<\/p>\n

Mittell, Jason (2015). Complex TV: The Poetics of Contemporary Television Storytelling<\/em>. New York and London: New York University Press.<\/p>\n

Ric\u0153ur, Paul (1990). Soi-m\u00eame comme un autre<\/em>. Paris: Seuil.<\/p>\n

Ricoeur, Paul (1995). Le Juste<\/em>. Paris: Esprit.<\/p>\n

Sinnerbrink, Robert (2016). Cinematic Ethics: Exploring Ethical Experience through Film<\/em>. London: Routledge.<\/p>\n

Soulez, Guillaume (2013). \u201cLa d\u00e9lib\u00e9ration des images. Vers une nouvelle pragmatique du cin\u00e9ma et de l\u2019audiovisuel\u201d. Communication & langages<\/em>, 176, 3\u201132.<\/p>\n

Skorin-Kapov, Jadranka (2019). Professional and Business Ethics Through Film: The Allure of Cinematic Presentation and Critical Thinking<\/em>. Cham.<\/p>\n

Taylor, Charles (1989). Sources of the Self: The Making of the Modern Identity<\/em>. Cambridge: Cambridge University Press.<\/p>\n

Watson Carlin, Jamie and Robert Arp (2011). What\u2019s Good on TV?<\/em>: Understanding Ethics Through Television<\/em>. New York.<\/p>\n","protected":false},"excerpt":{"rendered":"

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