« When you said sea hag, did you mean like old woman hag or evil magic hag?» : Imbrication du conte de fées et du (post)féminisme dans Charmed

Cet article étudie la manière dont la série Charmed (theWB, 1998-2006) incorpore et réadapte les contes de fées dans sa diégèse. À travers une sélection d’épisodes, nous montrons que la série fantastique entretient un rapport étroit avec le conte de fées. Personnages, imageries et espaces : elle répond aux principales caractéristiques du genre littéraire auquel elle va rendre hommage à de nombreuses reprises. Si cette démarche de pastiche et de détournement participe de la nature postmoderne de Charmed, elle se double d’aspirations féministes. En effet, le renversement des rôles genrés traditionnels visant à réhabiliter la figure de l’héroïne devient le biais par lequel la subversion du genre littéraire va s’opérer. Néanmoins, il faudra s’interroger sur le terme même de féminisme : dans le cas de la série, parle-t-on plutôt de féminisme deuxième vague hérité des années 1960 ou bien de post-féminisme, en vogue depuis les années 1990 ?This article seeks to explore the way fantasy TV series Charmed incorporates and recycles fairy tales within its diegetic universe. Studying a range of episodes, we argue that Charmed maintains a close relationship with fairy tales. From its characters to its imagery and spaces, the series meets the main characteristics of the literary genre to which it pays homage in numerous episodes. True, this undertaking of pastiching and subverting the original tales participates in the overall postmodern dimension of Charmed, still it is coupled with feminist aspirations. In fact, the reversal of traditional gender roles aiming to reinstate the feminine heroine becomes the means through which subverting the literary genre is made possible. Nonetheless, we need to question the very term “feminism”: as far as Charmed is concerned, are we looking at second-wave feminism, the social movement that rose in the 1960s, or rather post-feminism, the contemporary form of feminism

Representing the War on Terror in American television series "24" (Fox, 2001-2010 ; 2014) and "Homeland" (Showtime, 2011-)

Ce travail s’appuie sur les études culturelles et historiques, la géopolitique, la narratologie, et la sémiologie de l’image pour étudier la guerre contre le terrorisme et ses représentations dans les séries télévisées américaines "24 heures chrono" et "Homeland". Produites à dix ans d’intervalle, ces deux fictions majeures de l’après-11 Septembre ont souvent été mises en opposition du fait de leur idéologie supposée, dans la lignée de la présidence républicaine de George W. Bush pour la première, de la présidence démocrate de Barack Obama pour la seconde. Cependant, l’on trouve de nombreuses ressemblances qui tendent non seulement à rapprocher "24" et "Homeland", mais également les présidences Bush et Obama. Notre travail consistera ainsi à mettre au jour l’ambivalence politique des deux programmes afin de s’interroger plus généralement sur les ruptures et les continuités de cette guerre mondiale contre le terrorisme que les États-Unis mènent depuis bientôt deux décennies.This work uses cultural and historical studies, geopolitics, narratology, and visual semiotics to analyse the representations of the War on Terror in "24" and "Homeland", two emblematic post-9/11 American television series. These shows, which started airing almost a decade apart, have often been opposed to each other because of their presumed ideologies. Both dealing with the War on Terror, "24" has been said to reflect the conservatism of the Bush years, while "Homeland" would correspond to Obama’s liberal presidency. However, upon closer examination, many similarities can be found – which would not only bridge "24" and "Homeland", but also George W. Bush and Barack Obama’s presidencies. This work thus aims to deconstruct the preconceptions surrounding the two series by exploring their political ambivalence in order to question the ruptures and continuities in the global War on Terror which the United States has been conducting for almost twenty years now

La septième saison de 24 heures chrono : illusion d’un tournant moral et éthique ?

This article seeks to analyse the moral and ethical evolutions in TV series 24’s seventh season. In its first years, the show was accused of overtly supporting the utilitarian antiterrorism policy of the Bush administration. Still, it arguably initiated an ideological reorientation in its seventh season which started airing in January 2009 just a few days before Obama’s inaugural address. All the controversies surrounding the show – the first of which being its highly criticised depiction of torture – were now being thoroughly questioned within the diegesis, which fuelled an overall philosophical debate on which ethics to espouse in the War on Terror. Two normative ethical theories were opposed, namely Emmanuel Kant’s deontology and Jeremy Bentham’s utilitarianism. Hence, this article highlights the ideological tensions at work in 24’s seventh season and assesses the extent to which the show actually departed from its original ethical stand in the wake of Obama’s election

Why do I hate all the female characters in 24?’: An Etiology of 24’s Misogyny

International audienceThis article investigates the misogyny at work in Fox’s hit series 24. Filled with stereotyped female characters, 24 seems to provide a univocal portrayal of women which spurs the viewers’ misogyny. Still, 24’s defiance towards women needs to be understood in the light of a particular context, the post-9/11 years, during which the Bush administration and conservative pundits targeted women as responsible for the 2001 terrorist attacks and fought a political and cultural ‘War on Women’. Therefore, we may postulate that with the election of Barack Obama in 2008, America took a liberal turn which impacted television series, and 24 in particular. This may account for the more progressive later seasons of the show where female characters are no longer ascribed to secondary roles but become action heroines, acting directors of intelligence agencies and, for one of them, elected Commander in Chief.Cet article analyse la misogynie à l’œuvre dans 24 heures chrono. Émaillée de personnages féminins stéréotypés, la série semble dresser un portrait des femmes univoque attisant les penchants misogynes des spectateurs. Cette tendance doit néanmoins être appréhendée à l’aune d’un contexte particulier, celui de l’après-11 Septembre. Durant cette période, l’administration Bush, assistée par de nombreux idéologues conservateurs, mena une « guerre contre les femmes » aussi bien politique que culturelle. L’élection du démocrate Barack Obama en 2008 vint temporairement mettre un terme à cette guerre et inaugura une période de renouveau des représentations genrées. Cela pourrait expliquer le virage progressiste opéré par 24 heures chrono lors de ses dernières saisons : jadis cantonnées à des rôles caricaturaux et secondaires, les femmes devinrent agent fédéral, directrice des agences gouvernementales, ou encore présidente des États-Unis

Relectures, réécritures, réinventions : Charmed ou l’art du recyclage postmoderne

This article proposes a study of postmodern aesthetics through the fantasy series Charmed. With the works of the French theoretician Gérard Genette as a basis, we will consider one of the major characteristics of postmodern works: intertextuality, which is to say, in the broad sense, the referential relationship that a text B maintains with a text A. Charmed is an intertextual series insofar as it recycles past works and abounds with references and nods to popular and elitist culture. Nevertheless, the series makes an original use of these past works that appear across the episodes by incorporating them into the diegesis and giving them a narrative role and sense. The reference is rewritten to introduce an echo, an additional depth. Beyond this intertextual recycling, Charmed undertakes its own rewriting and mobilizes another key figure in the postmodern aesthetic that Gérard Genette defines as well: the palimpsest. By its recurrent recourse to shifts in time and alternative endings, the series presents itself as a work that experiments with narrative frames, crossing out and rewriting itself. Finally, we will focus on the ambiguous relationship that Charmed sustains with influence, in other words the works that preceded it. From the concept of the “anxiety of influence” theorized by the American critic Harold Bloom, who situates the idea influence as not only a source but also something ardently sought (the double sense of the word “anxiety” in English), we will show that the series offers a dialectic resolution to this tension: it seems to argue that acceptance of influence’s origin permits, in the end, the emergence of originality

Séries et espace

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Représentations de la guerre contre le terrorisme : les séries télévisées américaines 24 heures chrono (Fox, 2001-2010 ; 2014) et Homeland (Showtime, 2011-)

This work uses cultural and historical studies, geopolitics, narratology, and visual semiotics to analyse the representations of the War on Terror in 24 and Homeland, two emblematic post-9/11 American television series. These shows, which started airing almost a decade apart, have often been opposed to each other because of their presumed ideologies. Both dealing with the War on Terror, 24 has been said to reflect the conservatism of the Bush years, while Homeland would correspond to Obama’s liberal presidency. However, upon closer examination, many similarities can be found – which would not only bridge 24 and Homeland, but also George W. Bush and Barack Obama’s presidencies. This work thus aims to deconstruct the preconceptions surrounding the two series by exploring their political ambivalence in order to question the ruptures and continuities in the global War on Terror which the United States has been conducting for almost twenty years now.Ce travail s’appuie sur les études culturelles et historiques, la géopolitique, la narratologie, et la sémiologie de l’image pour étudier la guerre contre le terrorisme et ses représentations dans les séries télévisées américaines 24 heures chrono et Homeland. Produites à dix ans d’intervalle, ces deux fictions majeures de l’après-11 Septembre ont souvent été mises en opposition du fait de leur idéologie supposée, dans la lignée de la présidence républicaine de George W. Bush pour la première, de la présidence démocrate de Barack Obama pour la seconde. Cependant, l’on trouve de nombreuses ressemblances qui tendent non seulement à rapprocher 24 et Homeland, mais également les présidences Bush et Obama. Notre travail consistera ainsi à mettre au jour l’ambivalence politique des deux programmes afin de s’interroger plus généralement sur les ruptures et les continuités de cette guerre mondiale contre le terrorisme que les États-Unis mènent depuis bientôt deux décennies

Élaboration et expansion d’un piège addictif télévisuel : le cas de la série 24 heures chrono

International audienceThis book establishes, and then analyses, the interrelation between series and dependence by focusing on two aspects of their connection: the overconsumption of TV series, and the production devices that lead to it. Due to its two-sided nature, the volume brings together specialists from different backgrounds. On the one hand, it involves people working with addiction, such as psychiatrists, psychologists, and social workers, whose analytical tools and statistics are extremely useful in assessing the prevalence of TV series addiction, as well as its consequences, in order to make sense of its mechanics. For similar reasons, the authors also include professionals working with children and teenagers, since youths under 18 are largely affected by addictive tendencies. On the other hand, other contributions here are authored by TV series specialists, producers and scriptwriters, as well as academics in the fields of film and TV series studies, cultural studies, and narratology. Their specific perspectives on the topic help better understand what it is about the construction or reception of TV series that aims to create, maintain, amplify, or, on the contrary, curb their ingrained addictive effects

Homeland : un antidote à la guerre contre le terrorisme ?

This article investigates the way TV series Homeland represents and remedies the War on Terror. Because of the culture of fear that was developed by the Bush administration after 9/11, many Americans have suffered from visual and perceptive disorders. In that regard, we contend that Homeland helps us regain our capacity to see through three strategies. First, the series confronts us with apocalyptic scenes picturing terrorist attacks that conjure up the 9/11 attacks. In so doing, it invites us to exorcise the original trauma and teaches us how to defuse and live with terror. Second, by offering types of “enemies within” which are sometimes far from the widespread Arab-Islamic terrorist archetype, Homeland questions the official vision of the (hi)story of the War on Terror and highlights a probable American responsibility in the emergence of terrorist attacks on US soil. Third, the show tries to twist our stereotyped, negative vision of Islam that was also inherited from the culture of fear of the 2000s. However, such an enterprise is not without contradiction due to Homeland’s inherent ideological instability

Récits et discours de l’après-11 Septembre : Homeland , illusion d’un anti- 24 heures chrono ?

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