Archives par mot-clé : télévision

Journée d'études: Séries télévisées, sciences et science-fiction (11 octobre 2013)

Séries télévisées, sciences et science-fiction

(CPER GUEST-Normandie)

Vendredi 11 octobre après-midi – salle de conférence, Hôtel de ville du Havre

14h00 : Donna ANDREOLLE et Mehdi ACHOUCHE : «Séries de science-fiction : sciences, utopie et Histoire des Etats-Unis»

15h00 : Débat et pause

15h30 : Sylvaine BATAILLE : «Science et technologies dans Battlestar Galactica»

16h00 : Claire CORNILLON : «Science et technologies dans Stargate SG1»

16h30 : Sarah HATCHUEL : «Lost : Science et foi dans le récit»

Call for papers : Branding TV : Transmedia to the Rescue!

CALL FOR PAPERS: Branding TV: Transmedia to the Rescue!

special-themed edition of Networking Knowledge: Journal of the MeCCSA-PGN

Guest Editor: Benjamin W. L. Derhy (University of East Anglia / Université Paris Ouest)

Journal Editor: Matthew Freeman (University of Nottingham)

Deadline for Abstracts: 10 June 2013

The television world is changing: as films and programmes become brands on their own – derivable in a variety of ways – and as technology has evolved so much that even the concept of narrative has been affected, marketing strategies have changed forever.

Transmedia storytelling is ‘a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience’ (Jenkins, 2006, 95-6). Though both a challenge and an opportunity for conventional industry production methods, it represents a marketing goldmine. Indeed, the rise of transmedia platforms – offering the possibility to create websites, mobile games, alternative reality games, interactive exhibitions, e-books, e-comics, webseries, etc. – and the increasing involvement of the audience have provided marketers with a whole new range of possibilities to boost both brand recognition and profits: rather than selling the show to networks, they now sell the story directly to consumers.

Rather than ‘reducing’ Transmedia storytelling to the augmenting effect it has had on the concept of narrative as a result of its ability to create an immersive environment, this special issue seeks to discuss the wide range of economic perspectives available to a Film/Television brand due to this very same immersive environment. The transmedia phenomenon has, so far, mostly been approached from an either textual or participatory perspective, but rarely so from a multidisciplinary perspective encompassing the marketing aspect. Providing insight on this topic through contributions from researchers in media, communications and cultural studies, but also in marketing, would enrich our collective understanding of Transmedia storytelling thanks to complementary viewpoints, in the hope of offering a more holistic approach.

Branding TV: Transmedia to the Rescue! welcomes articles from postgraduates and early career researchers of 5,000 to 6,000 words.

Areas of interest include (but are not limited to):

  • The textual and creative impact on Transmedia strategies
  • The technological, creative or financial limits of Transmedia strategies
  • The relationship of Transmedia storytelling with promotional and branding strategies
  • The differences between Transmedia branding and franchising
  • Study cases or historical examples of Transmedia strategies
  • The relationships between marketers and screenwriters and other practitioners
  • The cultural impact of such strategies to society
  • The relationships between marketers and participatory cultures
  • The reception of such practices by fan communities
  • Future developments of Transmedia practices

Please send abstracts (up to 300 words) along with a 50 word biography by June 10, 2013 to Benjamin W. L. Derhy (B.Derhy-kurtz@uea.ac.uk) and Matthew Freeman (aaxmaf@nottingham.ac.uk). Articles are due on October 15, 2013. Feel free to contact the editors for further information.

Appel à contributions : "Les stars du petit écran", revue Télévision

APPEL À PROPOSITIONS D’ARTICLES

“Les stars du petit écran”, revue Télévision

La revue Télévision (Éditions du CNRS) prépare un dossier thématique sur « Les stars du petit écran » pour une publication prévue en mars 2015

Le terme de star est ici entendu dans une acception large (pas restreinte aux comédiens) : les animateurs, les speakerines, les journalistes, les candidats de la téléréalité, etc.

L’appel concerne les chercheurs issus de plusieurs disciplines : histoire, sociologie, anthropologie, sémiologie, économie, sciences de l’information et de la communication, droit.

Parmi les pistes possibles, le dossier s’intéresse aux thèmes suivants :

Les formes spécifiques de la starification à la télévision

La télévision comme machine à produire une célébrité d’une nature très particulière . Qu’est-ce qu’une star de télévision ? À partir de quel moment peut-on parler de star ? Qui fait la star ? La star est-elle construite par l’émission ? Par la chaîne ? Le public ? Comment se construisent les carrières à la télévision ? Les modes de consécration des stars ont-ils évolué avec le temps ? Quel rôle joue la presse télévisuelle dans la starification ? Les « stars » se reconnaissent-elles à leur comportement ? Ont-elles un traitement télévisuel spécifique ? Sont-elles attachées à une chaîne ou peuvent-elles migrer d’une chaîne à l’autre, être reçues dans des émissions qui ne sont pas les leurs ?

Les stars de la télévision sur le marché du travail

D’où viennent les stars de télévision, comment se construisent leurs parcours, y a-t-il des schémas de carrière ? La starification télévisuelle est-elle dangereuse pour les comédiens voulant se faire reconnaître dans des secteurs plus « légitimes » comme le cinéma ou le théâtre ? Comment se négocient les transferts de la télévision vers la radio, le cinéma, le théâtre, et inversement.

La vie sociale et économique de la star

Les revenus des stars de la télévision, les contrats, la marge de manœuvre des dirigeants face aux stars. Les obligations de promotion vis-à-vis du public. Comment les stars sont-elles perçues et acceptées par les autres professionnels du petit écran ? Y a-t-il un modèle universel de la starification télévisuelle ou différentes cultures télévisuelles qui ont chacune leurs stars privilégiées ?

La star et son public de téléspectateurs

Les liens particuliers des téléspectateurs aux stars du petit écran. Les formes d’appropriation de la star à travers les produits dérivés et les pratiques fans. Qu’est-ce que le public attend d’une star de télévision ? Comment la star interagit avec son public ?

Les responsables du dossier sont Dominique Pasquier (sociologue, directrice de recherche au CNRS) et Myriam Tsikounas (historienne, professeur à l’Université Paris 1). Les projets peuvent leur être envoyés aux adresses mails suivantes :

Les propositions, qui seront examinées en double aveugle par des membres du comié de rédaction et des chercheurs extérieurs à celui ci, ne devront pas dépasser 1000 mots (environ 6.000 signes, deux pages et demie). Elles indiqueront de façon précise les méthodes utilisées (corpus étudié ou terrain réalisé) et les pistes de recherche qui seront développées dans l’article.

Calendrier

Envoi des propositions : avant le 1er septembre 2013 ;

Réponse des organisateurs aux projets d’articles : 30 octobre 2013 ;

Date limite de réception de la première version des articles : 1 mai 2014 ;

Articles définitifs : 15 octobre 2014.

CFP: Upstairs and Downstairs: The British Historical Costume Drama on TV

Upstairs and Downstairs:

The British Historical Costume Drama on TV

(from The Forsyte Saga to Downton Abbey)

The recent popular success of “Downton Abbey” calls for a renewed examination of such earlier BBC/ITV/Masterpiece Theatre serialized period dramas as “Upstairs Downstairs,” “The Pallisers,”and “The Forsyte Saga,” among others, that have aired (and have been repeated)since the 1970s. We also want to examine how more recent dramas like “Downton Abbey” engage with these earlier productions in terms of style, thematic content, and programming.

We are seeking essays for a critical anthology that addresses such topics (but are not limited to) as the following:
 How the small screen period drama interrogates past and present gender/ class/race relations and notions of historical “authenticity”
 Transatlantic reception /interpretations
 How these TV serials fulfill and/or disrupt notions of “quality television”
 The afterlife of the serialized period drama on video/DVD
 The role of fans in shaping the content/reception of these dramas (message boards, role playing, Facebook and other social media sites that connect fans, etc)
 The relationship between history, heritage, and the costume drama
 Adaptation and the translation from historical novel to the TV miniseries
 How history and culture are commodified for popular audiences
 The feminization of history via the costume drama
 The relationship between these series and wider developments in TV or popular culture more generally
 How these programs have engaged with, or been received in relation to, ideas of region and regional difference
 How the development of the genre been bound up with technological changes, such as the use of video, widescreen and (more recently) HD

Please submit a 500 word abstract and brief CV by April 15 to the editors,
Julie Anne Taddeo, University of Maryland, USA
taddeo@umd.edu
And
James Leggott, Northumbria University, UK
james.leggott@northumbria.ac.uk
If accepted, the first draft of essays (approx. 7000 words) will be due
Sept. 15, 2013 (guidelines from press will follow).
Please note: Individual authors are responsible for permissions for any images reproduced in their essays.

Call for papers : ‘Spaces of Television: Production, Site and Style’, University of Reading, 18-20 September 2013.

Call for Papers:

‘Spaces of Television: Production, Site and Style’

University of Reading

Wednesday 18 – Friday 20 September 2013

The culminating conference arising from the AHRC ‘Spaces of Television’ project will be held at the University of Reading from Wednesday 18th to Friday 20th September, 2013. Proposals are invited for papers and/or panels on the theme of ‘Spaces of Television: Production, Site and Style’. The project is about television fiction produced in the UK from 1955-94. It analyses how the material spaces of production (in TV studios and on location) conditioned the aesthetic forms of programmes. We are interested in how fictional spaces represented on the screen across a range of drama during this period negotiated the opportunities and constraints of studio and exterior space, film and video technologies, and live-ness and recording.

While we particularly welcome papers that specifically address British TV drama during this period, we will also consider comparative perspectives concerning dramas from other television industries, import/export, transnational exchange, co-productions and spatially-themed studies of earlier or later dramas.

Possible topics include but are not limited to:

  • The institutional and aesthetic relationships between the spaces of television production (studio, location) and dramas’ social, political and cultural meanings.
  • Histories and historiographies of television drama, particularly relating to production strategies and institutional contexts.
  • The social and cultural meanings of the spaces depicted in télévision drama: e.g. heritage spaces, the urban and the rural, regional, national and foreign spaces, fantasy spaces.
  • Case studies of television dramatists, actors, directors, producers, designers, or other production staff focusing on mise-en-scene and issues of space.
  • The relationship between television dramatic space and performance, and the social and cultural meanings of performance in different spatial and aesthetic contexts.
  • Analysis of the dramatic conventions of television genres and their realisation through the use of space and mise-en-scene.
  • The spatial significance of particular production techniques and/or special effects in television drama.

Proposals for 20 minute papers in the form of a 250 word abstract (or outline of a three person panel) should be submitted to Dr Billy Smart (w.r.smart@reading.ac.uk) by Friday 25 January 2013.

We welcome proposals from both established scholars and early career researchers including postgraduate students.

‘Spaces of Television’ is an AHRC-funded research project led by the University of Reading in collaboration with the University of Leicester and the University of Glamorgan.

Further details of the project can be found at:

http://www.reading.ac.uk/ftt/research/Spacesoftelevision.aspx

Appel à contributions: Télévision n°5, La télévision et les autres médias (15 décembre 2012)

Appel à contribution

Télévision n°5,

La télévision et les autres médias

(CNRS éditions)

(Coord. Virginie SPIES, avril 2014)

Date limite : 15 décembre 2012

Les liens entre la télévision et les autres médias ont toujours existé, et ils semblent aujourd’hui encore plus resserrés. Qu’il s’agisse de formats empruntés à la radio ou au cinéma, ou encore de l’expansion des discours sur la télévision dans les autres médias, ce numéro se propose d’explorer les liens qui se tissent entre la télévision et les autres médias, à partir de plusieurs pistes :

. Aussi bien dans l’histoire de la télévision qu’à l’heure actuelle, nombre de programmes trouvent leur genèse dans des émissions radiophoniques. Qu’il s’agisse de jeux radiophoniques devenus des émissions à succès, ou même des programmes de variétés ou de divertissements qui ont commencé à la radio, quels formats ont pu être adaptés de la radio à la télévision, quelles transformations furent opérées ?

. La relation de la fiction aux autres médias et les spécificités télévisuelles : Les premiers réalisateurs de la télévision provenaient du monde du cinéma, et de nombreuses émissions dramatiques ont puisé dans le savoir-faire radiophonique de l’époque, inspiré lui-même des mises en scènes théâtrales. Comment s’est forgée l’écriture de la fiction télévisuelle, quels récits appartiennent aujourd’hui spécifiquement à la télévision, et en retour, comment la télévision inspire-t-elle d’autres formes artistiques et médiatiques ?

. Les relations entre les programmes télévisuels et le web : une attention particulière pourra être portée sur le web social et notamment la pratique du live-tweet. Pratique nouvelle en 2009, le fait de commenter les programmes sur Twitter est devenu une pratique banale pour de nombreux utilisateurs. Elle a été par ailleurs institutionnalisée par les chaînes et les sociétés de production : certaines émissions, comme The Voice sur TF1, déclinent d’abord un dispositif spécifique sur le web social, avant même d’arriver à l’antenne. Dès lors, les programmes connaissent une nouvelle temporalité, ils continuent d’exister entre deux diffusions, et leur communication a évolué.

. Dans un autre mouvement, la télévision fait l’objet de nombreux discours dans les autres médias : qu’il s’agisse de la radio, de la presse écrite ou d’Internet, nombreux sont les lieux médiatiques d’où surgissent des discours sur la télévision : on parle de l’actualité de la télévision, de promotion ou d’un regard plus analytique voire critique. De quoi est-il question, lorsque les autres médias se penchent sur la télévision ?

Par une approche décloisonnée, ce numéro aura pour ambition d’étudier les  formats, les dispositifs médiatiques et artistiques qui ont inspiré la télévision, et donc de dégager les spécificités de l’écriture télévisuelle. Il s’agira également d’observer comment la télévision est abordée dans le champ médiatique, et donc d’éclairer les rapports entre télévision et société. Les pistes évoquées ici ne sont pas exclusives, et les propositions épistémologiques, méthodologiques et historiques, ainsi que les analyses de corpus sont les bienvenues.

Les projets sont à envoyer avant le 15 décembre 2012 au responsable du numéro, Virginie Spies : Virginie.spies@univ-avignon.fr

Les auteurs des articles retenus seront prévenus le 30 janvier 2013 et les articles seront à rendre pour le 30 juin 2013 .

Appel: NeMLA 2013: Theorizing Tension in Television Drama

NeMLA 2013:

Theorizing Tension in Television Drama

Appel à contribution

Date limite : 30 septembre 2012

Recent years have seen the rise of TV dramas (Mad Men, Luck) that downplay tension in favour of atmosphere and characterization: yet tense dramas like True Blood and 24 have also thrived. What can theoretical readings reveal about these diverse series? Papers on all current and recent televised drama series welcomed. Possible approaches include, but are not limited to, psychoanalytic, chronotopic, formalist and ecocritical.

300-word abstracts (include name, affiliation and email) to Rod Cooke,rpc2108@columbia.edu.

CFP:Tabletop Board Games and the Televisual Imagination (deadline: july 25)

TABLETOP BOARD GAMES AND THE TELEVISUAL IMAGINATION

(SCMS – Chicago, March 6 – 10, 2013)

submission deadline: July 25, 2012

Tabletop Board Games and the Televisual Imagination

Call for Papers: SCMS 2013

[panel proposal for next year’s Society for Cinema and Media Studies conference in Chicago (March 6 – 10, 2013)]

Beginning in the early 1950s, when the Milton Bradley Company contributed to the widespread appeal and fervent fan following of the DuMont Television Network’s science-fiction series Captain Video (1949-1955), tabletop board games have played an important, if critically overlooked, role in expanding the paratextual horizons of cult TV programs. Indeed, because play itself is such an engrained part of the board game experience, the many television shows blessed (or, perhaps, “burdened”) with such paratexts can likewise be said to exude a kind of ludic aura, luring audiences into a playfully participatory arena of “textual gaming.” Although much of the recent scholarly work on immersive and extendable fictions in popular culture (such as Frank Rose’s The Art of Immersion, a chapter of which is entitled “Television: The Game”) has focused on video games, online RPGs, and virtual worlds, little attention has been given to older, more “traditional” forms of gameplay, which continue to draw TV audiences to material sites of individual strategizing and small-group interaction where luck and skill each play a part.

This panel seeks to fill a gap in the critical discourse surrounding both board games and television, two mediums with distinct, yet overlapping, histories whose reciprocal influence can be traced back to the 1950s and 1960s. During those decades, programs as diverse as Dragnet (1951-1959), Perry Mason (1957-1966), The Munsters (1964-1966), Lost in Space (1965-1968), and Star Trek (1966-1969) spawned a host of fun and interactive, if sometimes crude and simplistic, board games, setting a precedent for more recent releases built around such contemporary TV series as The Simpsons (1989- ), Futurama (1999- ), CSI: Crime Scene Investigation (2000- ), NCIS (2003- ), Battlestar Galactica (2004-2009), Lost (2004-2010), It’s Always Sunny in Philadelphia (2005- ), The Office (2005- ), The Walking Dead (2010- ), and A Game of Thrones (2011- ). Many of these board games are considerably more complex than their 1950s and 1960s predecessors, matching the narrative intricacies of their respective television series while fostering a deeper understanding of the original shows’ textual universes.

Panel participants are encouraged to select any TV-themed board game and adopt a variety of methodologies or modes of critical engagement so as to highlight its cultural significance.

Potential paper topics include, but are not limited to:

• Theories of play and their applicability to televisual hermeneutics
• Theories of fandom and their applicability to board gaming culture
• Online board game communities (http://boardgamegeek.com, etc.)
• In-game social interaction (player partnerships, negotiation, bluffing, etc.)
• Paratextuality and television’s game-related promotional culture
• Board game collectability and connoisseurship
• Material culture and the physicality/tactility of play (game pieces, dice, cards, bodies, etc.)
• The aesthetics of board games (visual design, layout, colors, etc.)
• Game-play mechanics, televisual “turn-taking,” and narrative organization
• Character-based role-play and board game performativity
• Ethnicity, gender, and identity in TV-themed board games
• Board game/TV franchise crossovers (Seinfeld Monopoly, Family Guy Operation, etc.)
• Gaming subcategories/subdomains:
o TV-themed card games (Buffy the Vampire Slayer: Pergamum Prophecy, Doctor Who: The Twelve Doctors, Vampire Diaries, etc.)
o TV-themed party games (Bullwinkle and Rocky, The Bachelorette, Big Bang Theory, etc.)
o TV-themed trivia games (M*A*S*H, Friends, Sex and the City, The Sopranos, Modern Family, Nick at Night Classic TV, etc.)
• Board game auteurs and production companies:
o Designers of TV-themed board games (Cory Jones, Corey Konieczka, Christian Petersen, etc.)
o Publishers of TV-themed board games (Cardinal, Edge Entertainment, Cryptozoic Entertainment, etc.)

Please send a 250-300-word abstract with at least 3 bibliographic references and a brief biographical note to David Scott Diffrient (scott.diffrient@colostate.edu) by July 25, 2012. Selections for the panel will be made by August 1, 2012.

Call for papers : Cinéma&Cie – European TV series

Special Issue no. 19

European TV series

Call for Essays

This monographic issue of Cinéma & Cie will deal with the audiovisual serial production within the European Union.

In the past years, television serial narratives have gone through some severe changes in the way they are organised from a narrative point of view, as well as in the way they are perceived and “used” by audiences. This new wave of serial production has been quite well analysed by scholars from different countries; several books and essays focused on different aspects of serial productions, from the narrative construction to audience reception. However, the main focus of these studies seems to always be on US productions. This issue of Cinéma & Cie aims to draw attention to EU TV series, trying to answer the following question: does a European television market exist?

The European Community is nowadays working in the direction of a more inclusive society, a goal that implies the understanding of the social transformations in Europe through a variety of tools, not least the study of the circulation of audiovisual cultural products in Europe. Since technological advances in the field of audiovisual media are affecting the consumer and user behaviours, as well as the structure of production, it is quite relevant to focus on the role and influence of cultural products from a transnational perspective.

Several factors warrant the focus of this issue on television series produced in Europe.

First, serials have become one of the most successful formats among transnationally distributed media products, benefiting both producers and distributors. Second, these cultural products appeal to a wide range of consumers: they are a common factor across European markets (otherwise differing in many significant aspects) and are designed to be enjoyed through different devices (from conventional broadcast television to the Internet). These factors make audiovisual serialized formats suitable for investigating potential transformations/trends and the construction of the cultural imagery of media convergence in Europe. The digital production, distribution and consumption of contemporary television series permit a continuous reshaping of content; this modularity, flexibility and fast-paced adaptation offers the opportunity for serialized content to engage directly with European communities, and to better suit their needs and values.

In a media landscape characterised by an overabundance of entertainment offers, audiovisual serialized products and formats must deal with problems arising from information overload and the “attention economy”. Today, Europe is facing an important paradigm switch: the prominent role taken by consumers and users in the media industry has put them in the first position in the value production chain. The scarcity of spectators’ attention has become a crucial factor in the creation of the value connected to cultural products, as well as in the creation of products capable of exploiting all the possibilities of the newly converged media landscape. Finally, serialized audiovisual contents now represent a large percentage of media industry production, so that they might constitute an urgent opportunity for European audiovisual industries.

Essays on the following topics are welcome:

  • State of the Art – How is the situation of the scientific literature on this topic in EU countries? Are research and studies on the production of European TV dramas and series only popular within the context of national studies? How much of the scientific production on TV series is monopolized/dedicated to studies on US productions?
  • Circulation of European TV dramas within the EU as well as outside of the EU
  • Case studies: national productions of TV dramas and series mostly relevant (with regard to their production modes, narrative, themes, style…) to enlighten the features of the European TV market
  • Domestic and American characteristics of EU TV dramas (formats, genres…)
  • Does a European identity exist within the narrative construction of EU serials? Can European series contribute to the creation of a European identity, and how? Are there exemplary case studies with reference to this topic?
  • European production modes: different productions for different channels (free, pay, broadcasting, narrowcasting). How relevant is the production of TV dramas in each national entertainment market?
  • Serial formats for the WWW: do web series aim to go beyond the national borders to reach a wider audience, and how is that achieved?
  • Consumption modes: do transnational modes of consumption exist? How much are they affected by the TV scheduling and programming pattern of each country? Does file sharing contribute or prevent this kind of circulation?
  • Do cult series exist within the European context? Are these national or transnational phenomena?
  • Does European quality TV exist? If so, does it coincide with TV drama productions or with other formats? Do common indicators for quality definition and evaluation exist?
  • How do co-productions with the US or among different EU member states work? What are features of runaway productions (America in the EU)? How co-productions affect training of professionals and can contribute to the creation of a domestic production/market? What are the institutions involved in the training of professionals?

Submission details

Please send your abstract (300-500 words in English, French or Italian) and a short bio to submissions.cinemaetcie@gmail.com by May 31, 2012.

All notifications of acceptance will be emailed no later than June 15, 2012.

http://cinemaetcie.net/cfe