Archives par mot-clé : Television studies

Parution : Du savon et des larmes. Le soap opera, une culture féminine (D. Chedaleux)

Delphine Chedaleux, Du savon et des larmes. Le soap opera, une culture féminine, Amsterdam, 2022. 

Dallas, Dynastie, Les Feux de l’amour… ces titres évoquent un univers désuet, stéréotypé et associé au féminin : celui du soap opera. Né à la radio au début des années 1930, puis transposé à la télévision, il est d’abord financé par des fabricants de produits d’hygiène et d’entretien – d’où son nom saugrenu. Les feuilletons qui en relèvent, diffusés l’après-midi à l’intention des femmes, sont alors construits autour d’un personnage de mère courage qui prodigue des conseils moraux et pratiques à son entourage, à grand renfort de produits dont les mérites sont ainsi vantés aux consommatrices.
Cet ouvrage se veut une invitation à découvrir ce format et son histoire, à l’intersection du capitalisme, des médias et du genre. Si le soap s’est largement transformé au gré des mutations médiatiques, sociales et politiques, il reste une « technologie de genre » qui circonscrit le féminin à la vie domestique et sentimentale. Mais il crée aussi, paradoxalement, des espaces individuels et collectifs de contestation des hiérarchies sexuées, tant par sa narration ouverte, qui permet l’expression de multiples points de vue et ne délivre aucune morale, qu’à travers les sociabilités qu’il suscite.

Parution : “Télévision : les publics” (Réseaux 2021/5, N° 229)

Réseaux, 2021/5, n° 229, “Télévision : les publics”, dir. Dominique Pasquier et Frank Rebillard. 




Appel à contributions : Television histories in development (en ligne / hybride)

Televisions Histories in Development

Sept. 30 – Oct. 01 2021 (Online/Hybrid)

Deadline : May 01 2021

On October 2nd 2021 we will celebrate 70 years of television in the Netherlands. While this is a milestone worth celebrating, it also offers an opportunity to look back at the medium’s rich international histories. Television has survived its many predicted deaths and adapted constantly to changing social, cultural and technological trends and demands. We now invite scholars to respond to the call for papers below and contribute to a two-day international conference to further existing debates and reflect on the academic study of television history so far.

The conference will be hosted by the Netherlands Institute for Sound and Vision in Hilversum, one of the most extensive audio-visual archives in Europe. It will be part of several activities related to the 70-year anniversary of Dutch television.

Organising committee: Professor Huub Wijfjes and Dr Josette Wolthuis.

This conference will offer opportunities to share ideas and exchange research on the medium’s international histories. Scholars of all backgrounds and disciplines are invited to think about the question what role and influence television has had over the last seventy years. The conference seeks to address how television has created its own media logic that has influenced other cultural practices like journalism, sport, politics, theatre and drama, entertainment, youth cultures and education. We invite papers based on academic, preferably historic research about these perspectives. During the conference, we will encourage discussion on the development of the academic discipline of Television Studies from the 1950s until now. 

Continuer la lecture de Appel à contributions : Television histories in development (en ligne / hybride)


Conference : Algorithms in Film, Television and Sound Cultures:New Ways of Knowing and Storytelling

April 29-30, April

Virtual Event

Abstract Submission Deadline (EXTENDED): March 15, 2021

Organized by: Istanbul Bilgi University, Faculty of Communication, Department of Film and Television

Venue: Virtual Zoom Event

Confirmed Keynote Speakers:

  • Christian Katzenbach (Alexander von Humboldt Institute for Internet and Society, Berlin)
  • Robert Prey (University of Groningen, Faculty of Arts)
  • Diğdem Sezen (Teesside University, School of Computing, Engineering and Digital Technologies, Department of Transmedia Digital Art and Animation)

Contemporary visual and sound cultures which increasingly rely on algorithmic analytics raise important questions on subjectivity and creativity in our ways of seeing and hearing, the ethics of the visual and the aural, the quantified self, the aesthetics and the provenance of the image. The use of algorithmic analytics to create media content, including films, series, trailers and teasers have proliferated with the advent of networking and digital streaming platforms. Digital data sets have become commodities in the global media industry. The knowledge obtained from digital data sustains the flow of knowledge on the users’ choices, governing production and consumption processes. Although algorithmic data appears to be computationally generated, it is bound with actors, networks, businesses and their ways of thinking and imagining the world. A line of research focuses on how the algorithmic calculation of taste data in film, sound and television have transformed and possibly subverted the mediums. Hence, algorithms are objects of critical cultural and political analyses.

Continuer la lecture de Appel à contributions : ALGORITHMS IN FILM, TELEVISION AND SOUND CULTURES: NEW WAYS OF KNOWING AND STORYTELLING (Istanbul Bilgi University, en ligne)

Parution : Lesbians on Television. New Queer Visibility & The Lesbian Normal

Kate McNicholas Smith, Lesbians on Television. New Queer Visibility & The Lesbian Normal, Intellect, 2020. 

The twenty-first century has seen LGBTQ+ rights emerge at the forefront of public discourse and national politics in ways that would once have been hard to imagine. This book offers a unique and layered account of the complex dynamics in the modern moment of social change, drawing together critical, social and cultural theory as well as empirical research, which includes interviews and multi-platform media analyses.

This original new study puts forward a much-needed analysis of twenty-first century television and lesbian visibility. Books addressing the representation of lesbians have tended to focus on film; analysis of queer characters on television has usually focused on representations of gay males.  Other recent books have attempted to address lesbian, gay and trans representation together, with the result that none are examined in sufficient detail – here, the exclusive focus on lesbian representation allows a fuller discussion. Until now, much of the research on lesbian and gay representation has tended to employ only textual analysis. The combination of audience research with analysis in this book brings a new angle to the debates, as does the critical review of the tropes of lesbian representation. The earlier stereotypes of pathological monsters and predators are discussed alongside the more recent trends of ‘lesbian chic’ and ‘lesbianism as a phase’. 

Kate McNicholas Smith is lecturer in television theory at the University of Westminster. Continuer la lecture de Parution : Lesbians on Television. New Queer Visibility & The Lesbian Normal

Parution : Screening Twentieth Century in Europe. Television, History, Memory

Ib Bondebjerg, Screening Twentieth Century Europe. Television, History, Memory, Palgrave Macmillan, 2020. 

This book offers a comparative study of historical television genres in Europe, with a special focus on Germany and Great Britain and their way of narrating twentieth century European history. The book analyses our common European past and memory through central historical television narratives. Each chapter looks at how historical TV genres, fictional and documentary, have dealt with the most salient and defining periods, events and changes in the twentieth century— an age of extremes. Bondebjerg offers unique theoretical and analytical insight into the role of television in mediating and shaping the past. The book explores television’s creation of transnational cultural encounters across Europe in relation to our common and national past. The book addresses how television has influenced our understanding of history, collective memory and public debate over the twentieth century. It is fundamentally a book about the importance of the past in present day Europe and the centrality of media for transnational understanding.

Ib Bondebjerg is Professor Emeritus in the Department of Communication at the University of Copenhagen, Denmark. He co-directed the research projects Changing Media – Changing Europe (2000-2004) and Mediating Cultural Encounters through European Screens (2013-2016). His recent books include Engaging with Reality: Documentary and Globalisation (2014), European Cinema and Television: Cultural Policy and Everyday Life (co-ed. 2015), and Transnational European Television Drama: Production, Genres and Audiences (co-auth. 2017).

Parution : Fanvids.Television, Women, and Home Media Re-Use

E. Charlotte Stevens, Fanvids. Television, Women, and Home Media Re-Use, Amsterdam University Press, 2020. 

Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form’s creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it’s been aired? How and by whom is it used and shared? Is it still television?

E. Charlotte Stevens is a Lecturer in Media and Communication at Birmingham City University.

Parution: Théorème, n°32 “Dans l’intimité des publics: réceptions audiovisuelles et production de soi”

Delphine Chedaleux, Myriam Juan & Thomas Pillard (dir.), Théorème, n°32, “Dans l’intimité des publics: réceptions audiovisuelles et production de soi”, Presses Sorbonne Nouvelle, 2020
Pages : 238 pages
Date de parution : 2020
Format : 19×23


Quoi de plus personnel, et en même temps inséparable de dynamiques collectives et sociales, que le choix de visionner un film en salle, l’envie de partager une expérience audiovisuelle et le fait d’en cultiver le souvenir, ou encore l’acte banal et routinier consistant à jouer chez soi à un jeu vidéo ? C’est à partir de ce constat paradoxal, ouvrant la voie à de multiples questions, que ce volume entend explorer dans une optique inter et pluridisciplinaire les usages et les appropriations intimes des images animées autour d’une variété d’études de cas, du cinéma muet jusqu’aux médias numériques sans oublier le rapport si particulier tissé avec le petit écran.

Un tel projet se situe dans le prolongement du renouveau des études de réception et du tournant émotionnel des sciences sociales, qui voient l’essor de recherches sur les publics d’une part et sur l’intime en tant qu’objet et catégorie analytique d’autre part. Il semble dès lors pertinent d’adosser ces notions en apparence contradictoires, la première renvoyant censément au « privé » et la seconde à la sphère dite « publique », pour mieux dépasser cet antagonisme afin d’évaluer toute la fécondité de leur rapprochement. Plonger dans « l’intimité des publics » revient, de ce point de vue, à interroger l’imbrication des mondes sociaux et des pratiques liées aux écrans, en envisageant celles-ci tant comme des lieux de négociation ou de tension entre l’individu et le collectif que des techniques de production et de connaissance de soi. Continuer la lecture de Parution: Théorème, n°32 “Dans l’intimité des publics: réceptions audiovisuelles et production de soi”

Call for papers: Doing Women’s Film and Television History V (Hybrid Conference)

DWFTH 5 revised for 2021: New call for papers–‘Histories of Women in Film and Television: Then and Now.’ A Hybrid Conference

July 10 – 11, 2021 (virtual and on-campus)

Conference Website

Call for Papers

Supported by Women’s Film & Television History Network, this call for papers is made in collaboration with ‘Women and the BBC’, a special themed issue of Critical Studies in Television.

The year 2020 has caused a great deal of sorrow, anxiety and difficulty across the world. With health and safety of paramount concern, conferences and research events – including the planned Doing Women’s Film and Television History conference – have been either impossible to hold in-person or, given the challenges presented by the need to sustain teaching and student welfare, deprioritized.  As we look towards 2021, we understand that social distancing measures and travel limitations will possibly continue. With this in mind, we plan to host a hybrid conference as an outlet for our research that will enable us to share our scholarship with others, form connections and offer potential for collaboration. If national and institutional public health measures allow, the conference will combine on-campus and virtual events. While virtual conferences present new technical and communicative challenges, we also see the opportunities that this type of conference affords. Not requiring travel, it both reduces expense and can broaden networks of scholars.

Continuer la lecture de Call for papers: Doing Women’s Film and Television History V (Hybrid Conference)

Parution : Séries de l’ORTF

Blephégor de Claude Barma, 1965

B. Papin, M. Tsikounas, S. Chalvon-Demersay (dir.), Fictions sérielles au temps de la RTF et de l’ORTF (1949-1974), L’Harmattan-Ina, collection “Les médias en actes”, 2018.

Actes du colloque international « Feuilletons et séries diffusés sur les écrans de la RTF et de l’ORTF (1949-1974) », Paris 6 et 7 juin 2017, organisé par l’Université Paris 1 Panthéon-Sorbonne (Centre d’histoire du XIXe siècle-équipe ISOR), l’Université Paris 3 Sorbonne Nouvelle (CIM-CEISME), l’EHESS/CNRS et l’INA.

La télévision française a connu une époque où le générique de Janique Aimée ou du Chevalier de Maison Rouge fédérait autour de la petite lucarne un public fervent et passionné… Les Français, tous âges confondus, frémissaient devant Belphégor, tremblaient pour Thierry la Fronde ou Josh Randall, … Mais si les feuilletons et séries mettant en scène tous ces héros demeurés dans la mémoire collective sont devenus des « classiques », on a un peu oublié qu’à côté des incontournables Cinq dernières minutes, il y eut aussi Les Petites enquêtes du père Fichau et que « l’affaire Faber » enflamma les esprits, à une époque où le 8e art s’inventait et où l’audace formelle, visuelle et sonore, était fréquemment de mise.

Les auteurs des textes rassemblés dans le présent ouvrage s’intéressent de près à cette préhistoire des séries, diffusées par une télévision de service public, d’abord à canal unique et longtemps en noir et blanc, qui proposa les premières productions américaines mais fit également la part belle aux réalisations anglaises, canadiennes… et françaises. Il était temps d’essayer de mesurer la place que cette fiction plurielle occupait dans la programmation d’un « office » dont l’ambition première était de faire de la télévision un outil de promotion culturelle et de s’intéresser à l’accueil que lui réserva le « grand public » .


Continuer la lecture de Parution : Séries de l’ORTF