{"id":19166,"date":"2021-07-06T09:13:18","date_gmt":"2021-07-06T07:13:18","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=19166"},"modified":"2021-07-05T18:13:40","modified_gmt":"2021-07-05T16:13:40","slug":"le-personnage-spectateur-dans-les-fictions-audiovisuelles","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/aac-evenement\/le-personnage-spectateur-dans-les-fictions-audiovisuelles\/","title":{"rendered":"Le personnage-spectateur dans les fictions audiovisuelles"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Mis en ligne le<\/span><span class=\"doubledot\"><\/span> 5 juillet 2021\t\t\t\t<\/div>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-images-cinema-medias-audiovisuels-et-industries-culturelles\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/thematiques\/images-cinema-audiovisual-media-and-cultural-industries\/\" title=\"Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles\"><span class=\"termslist-itemname\">Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>R\u00e9ponse attendue pour le<\/span><span class=\"doubledot\"><\/span> <strong>30\/09\/2021<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Type de r\u00e9ponse<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Type d\u2019\u00e9v\u00e9nement<\/span><span class=\"doubledot\"><\/span> <strong>Journ\u00e9e d\u2019\u00e9tude<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-coordinators\">\n<h3 class=\"zn-singledetail-section-title\">Coordinateurs<\/h3>\n<ul class=\"zn-singledetail-coordinators-list\">\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Julien<\/span> <span> Achemchame<\/span>, <span>RIRRA21<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:julien.achemchame@univ-montp3.fr\">julien.achemchame@univ-montp3.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Chlo\u00e9 <\/span> <span>Delaporte<\/span>, <span>RIRRA21<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:chloe.delaporte@univ-montp3.fr\">chloe.delaporte@univ-montp3.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Jules <\/span> <span>Sandeau<\/span>, <span>RIRRA21<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:sandeau.jules@gmail.com\">sandeau.jules@gmail.com<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-eventinfo\">\n<div class=\"zn-singledetail-eventinfo-inner\">\n<div class=\"zn-singledetail-eventdates\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Dates de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><\/p>\n<ul class=\"zn-singledetail-eventdates-list\">\n<li class=\"zn-singledetail-eventdates-item\">\n\t\t\t\t\t\t\t\tDu 25\/02\/2022 au 25\/02\/2022\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<p class=\"zn-singledetail-eventplace\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Lieu de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><br \/>\n\t\t\t\t\t\t<span class=\"zn-singledetail-eventplace-adr\"><\/p>\n<p>\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"adr-place\">Universit\u00e9 Paul-Val\u00e9ry Montpellier 3<\/span>,<\/p>\n<p>\t\t\t\t\t\t<span class=\"adr-city\">Montpellier<\/span>\t\t\t\t\t\t<span class=\"adr-cp\">34<\/span>, <span class=\"adr-country\">France<\/span><br \/>\n\t\t\t\t\t\t<\/span>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-annonce wig-content\">\n<p>Parmi les objets de pr\u00e9dilection des \u00e9tudes acad\u00e9miques sur la r\u00e9flexivit\u00e9 au cin\u00e9ma et, en particulier, le \u00ab&#160;m\u00e9tafilm&#160;\u00bb, on trouve g\u00e9n\u00e9ralement des \u0153uvres d\u00e9peignant le tournage d\u2019un film ou se d\u00e9roulant plus largement au sein de l\u2019industrie cin\u00e9matographique. Viennent en t\u00eate des \u0153uvres embl\u00e9matiques du \u00ab&#160;classicisme&#160;\u00bb hollywoodien, comme les <em>A Star Is Born <\/em>(William A. Wellman, 1937&#160;; George Cukor, 1954), <em>Sunset Boulevard <\/em>(Billy Wilder, 1950), <em>Singin\u2019 in the Rain <\/em>(Gene Kelly &amp; Stanley Donen, 1952), <em>The Bad and the Beautiful <\/em>(Vincente Minnelli, 1952), ou de la \u00ab&#160;modernit\u00e9&#160;\u00bb europ\u00e9enne, comme <em>Le M\u00e9pris <\/em>(Jean-Luc Godard, 1963), <em>8\u00bd <\/em>(Federico Fellini, 1963), <em>La Nuit am\u00e9ricaine <\/em>(Fran\u00e7ois Truffaut, 1973).<br \/>\nTous ces films, et bien d\u2019autres, sont centr\u00e9s sur le processus de cr\u00e9ation cin\u00e9matographique et peupl\u00e9s principalement de r\u00e9alisateurs, de producteurs, de sc\u00e9naristes et de stars. Cette focalisation sur la production, m\u00eame si elle permet quelques s\u00e9quences dans lesquelles les cr\u00e9ateur\u2219ice\u2219s deviennent spectateur\u2219ice\u2219s de leurs films, tend \u00e0 maintenir \u00e0 la marge un acteur essentiel de la mise en signification des films et de leur succ\u00e8s&#160;: le public. Rares sont en effet les \u00e9tudes sur la r\u00e9flexivit\u00e9 et la m\u00e9tafiction \u00e0 se pencher sp\u00e9cifiquement sur les personnages de spectateur\u2219ice\u2219s et sur la mani\u00e8re dont l\u2019exp\u00e9rience spectatorielle est repr\u00e9sent\u00e9e \u00e0 l\u2019\u00e9cran, si l\u2019on excepte les analyses revenant r\u00e9guli\u00e8rement sur des \u00ab&#160;incontournables&#160;\u00bb tels que, sur un mode implicite, <em>Rear Window <\/em>(Alfred Hitchcock, 1954) ou, sur un mode explicite, <em>The Purple Rose of Cairo <\/em>(Woody Allen, 1985).<\/p>\n<p>&nbsp;<\/p>\n<p>Cette journ\u00e9e d\u2019\u00e9tude se donne un double objectif. D\u2019une part, d\u00e9placer l\u2019attention de la production \u00e0 la r\u00e9ception, en se tournant vers les repr\u00e9sentations explicites des spectateur\u2219ice\u2219s et de leurs exp\u00e9riences et pratiques spectatorielles pendant et au-del\u00e0 du moment du visionnage. Il s\u2019agira d\u2019\u00e9tudier la mani\u00e8re dont les fictions audiovisuelles repr\u00e9sentent le ou leur public, que celui-ci soit d\u00e9peint comme une masse homog\u00e8ne, ou comme un ensemble h\u00e9t\u00e9rog\u00e8ne de sujets socialement situ\u00e9s, aux trajectoires individuelles diverses. Nous souhaitons ainsi interroger les propri\u00e9t\u00e9s formelles de ces repr\u00e9sentations et en cartographier les implications sociales et politiques. De m\u00eame, il serait int\u00e9ressant de voir comment les \u0153uvres entrent, par le biais de ces repr\u00e9sentations, en r\u00e9sonance avec les th\u00e9ories de la r\u00e9ception aux sens large (Eco, Jauss, Staiger, etc.).<br \/>\nD\u2019autre part, cette exploration des repr\u00e9sentations de \u00ab&#160;personnages-spectateurs&#160;\u00bb ne se bornera pas au cin\u00e9ma, mais s\u2019int\u00e9ressera plus largement \u00e0 toutes les fictions audiovisuelles, notamment les s\u00e9ries, encore trop peu explor\u00e9es sous cet angle alors qu\u2019elles regorgent de tels personnages \u2013 mentionnons par exemple, dans des registres diff\u00e9rents, <em>The Simpsons <\/em>(1989 \u2013 \u2026), <em>Twin Peaks <\/em>(1990-1991), <em>Dream On <\/em>(1990-1996), <em>Dawson\u2019s Creek <\/em>(1998- 2003) ou <em>Dear White People <\/em>(2017-2021) \u2013, ou encore les clips \u2013 comme <em>Thriller <\/em>de Michael Jackson (John Landis, 1983), <em>Money for Nothing <\/em>de Dire Straits (Steve Barron, 1985) ou <em>Baby Did a Bad Bad Thing <\/em>de Chris Isaak (Herb Ritts, 1999).<\/p>\n<p>Si l\u2019on trouve des \u00ab&#160;personnages-spectateurs&#160;\u00bb d\u00e8s les premiers temps du cin\u00e9ma, par exemple dans <em>Uncle Josh at the Moving Picture Show <\/em>(Edwin S. Porter, 1902), cette journ\u00e9e d\u2019\u00e9tude se focalisera sur la p\u00e9riode allant des ann\u00e9es 1980 \u00e0 aujourd\u2019hui, afin d\u2019explorer les m\u00e9tamorphoses de cette figure dans les fictions audiovisuelles durant ces d\u00e9cennies caract\u00e9ris\u00e9es entre autres par une intensification des ph\u00e9nom\u00e8nes de r\u00e9flexivit\u00e9 et un recours accru au \u00ab&#160;m\u00e9ta&#160;\u00bb. On s\u2019int\u00e9ressera aux repr\u00e9sentations directes des publics et exp\u00e9riences spectatorielles, en privil\u00e9giant les approches esth\u00e9tiques et culturelles en lien avec les enjeux \u00e9thiques, politiques et sociaux de ces repr\u00e9sentations de la r\u00e9ception.<\/p>\n<p>Les communications pourront porter par exemple sur&#160;:<\/p>\n<ul>\n<li>Un ou plusieurs personnage(s)-spectateur(s) d\u2019une \u0153uvre fictionnelle sp\u00e9cifique (film, s\u00e9rie, clip, etc.)<\/li>\n<li>Les dispositifs et enjeux esth\u00e9tiques par lesquels l\u2019exp\u00e9rience spectatorielle est repr\u00e9sent\u00e9e \u00e0 l\u2019\u00e9cran.<\/li>\n<li>Les repr\u00e9sentations de l\u2019exp\u00e9rience et des pratiques sociales et culturelles spectatorielles pendant et au-del\u00e0 du moment du<\/li>\n<li>Les r\u00e9sonances de ces repr\u00e9sentations spectatorielles avec les th\u00e9ories de la r\u00e9ception (Fiske, Staiger, Hanich, etc.)<\/li>\n<li>La mani\u00e8re dont les publics de genres sp\u00e9cifiques (horreur, com\u00e9die, action, etc.) sont repr\u00e9sent\u00e9s dans une forme de singularit\u00e9.<\/li>\n<li>Les repr\u00e9sentations des publics en fonction de leur appartenance \u00e0 diff\u00e9rents groupes sociaux (genre, classe, race, \u00e2ge, etc.).<\/li>\n<li>Une comparaison entre publics repr\u00e9sent\u00e9s et publics r\u00e9els d\u2019une \u0153uvre, d\u2019un genre ou d\u2019un m\u00e9dia.<\/li>\n<li>Les repr\u00e9sentations de diff\u00e9rents types de publics, notamment en fonction de leur rapport \u00e0 l\u2019expertise (spectateur\u2219ice\u2219s ordinaires, cin\u00e9philes, fans, critiques, ).<\/li>\n<li>L\u2019\u00e9volution des repr\u00e9sentations des spectateur\u2219ice\u2219s des fictions audio-visuelles contemporaines au cours de la p\u00e9riode \u00e9tudi\u00e9e (1980-2021) et leurs enjeux \u00e9thiques, sociaux et<\/li>\n<\/ul>\n<h2>Comit\u00e9 d\u2019organisation<\/h2>\n<ul>\n<li>Julien Achemchame (RIRRA21)<\/li>\n<li>Chlo\u00e9 Delaporte (RIRRA21)<\/li>\n<li>Jules Sandeau (RIRRA21)<\/li>\n<\/ul>\n<h2>Modalit\u00e9s de soumission<\/h2>\n<p>Les propositions de communication (r\u00e9sum\u00e9 de <strong>300 mots <\/strong>environ, accompagn\u00e9 d\u2019un titre et d\u2019une notice biographique) devront \u00eatre envoy\u00e9es au format PDF conjointement \u00e0 <a href=\"mailto:julien.achemchame@univ-montp3.fr\">julien.achemchame@univ-montp3.fr,<\/a>\u00a0 <a href=\"mailto:chloe.delaporte@univ-montp3.fr\">chloe.delaporte@univ-montp3.fr<\/a>,\u00a0 et <a href=\"mailto:sandeau.jules@gmail.com\">sandeau.jules@gmail.com <\/a><strong>avant le 30 septembre 2021.<\/strong><\/p>\n<p>Les r\u00e9ponses seront envoy\u00e9es mi-octobre 2021.<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-partners\">\n<h3 class=\"zn-singledetail-section-title\">Partenaires<\/h3>\n<div class=\"zn-singledetail-partners-list row small-up-2 medium-up-3 large-up-5 partnerlist\" data-equalizer data-equalize-on=\"medium\">\n<article class=\"summarypartner partner-5841 column\">\n\t<a class=\"summarypartner-box\" href=\"https:\/\/www.univ-montp3.fr\/\" title=\"Universit\u00e9 Paul-Val\u00e9ry &#8211; Montpellier 3\">\t\t<\/p>\n<div class=\"summarypartner-box-inner\" data-equalizer-watch>\n<div class=\"summarypartner-imgbox\">\n<figure class=\"summarypartner-figure\">\n\t\t\t\t\t<img decoding=\"async\" class=\"summarypartner-img\" src=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/skp-membership\/demande_adh\/logo_de_luniversite_paul_valery_-_montpellier_3.jpg\" alt=\"Logo Universit\u00e9 Paul Val\u00e9ry\"><br \/>\n\t\t\t\t\t\t\t\t\t<\/figure>\n<\/p><\/div>\n<div class=\"summarypartner-content\">\n<div class=\"summarypartner-content-inner\">\n<header class=\"summarypartner-header\">\n<h3 class=\"summarypartner-title\">\n\t\t\t\t\t\t\tUniversit\u00e9 Paul-Val\u00e9ry &#8211; Montpellier 3\t\t\t\t\t\t<\/h3>\n<\/header><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<p>\t<\/a><\/article>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-attachedfiles\">\n<h3 class=\"zn-singledetail-section-title\">Fichier(s) attach\u00e9(s)<\/h3>\n<ul class=\"zn-singledetail-attachedfiles-list\">\n<li class=\"zn-singledetail-attachedfiles-item\">\n\t\t\t\t\t\t\t<a class=\"zn-singledetail-attachedfiles-link button outline for-download\" href=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/skp-membership\/demande_adh\/aac-_journee-detude_le-personnage-spectateur-dans-les-fictions-audiovisuelles_2021.pdf\" title=\"T\u00e9l\u00e9charger : \u00ab aac-_journee-detude_le-personnage-spectateur-dans-les-fictions-audiovisuelles_2021.pdf \u00bb\" target=\"_blank\" rel=\"noopener\"><br \/>\n\t\t\t\t\t\t\t\t<span class=\"button-txt\"><span class=\"button-txt-type\"> (pdf)<\/span><\/span><br \/>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Mots-cl\u00e9s<\/h3>\n<ul class=\"termslist termslist-post_tag\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Mots-cl\u00e9s<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-post_tag term-audiovisuel\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/audiovisual\/\" title=\"Audiovisuel\"><span class=\"termslist-itemname\">Audiovisuel<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-cinema\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/cinema-en\/\" title=\"Cin\u00e9ma\"><span class=\"termslist-itemname\">Cin\u00e9ma<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-fiction\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/fiction\/\" title=\"Fiction\"><span class=\"termslist-itemname\">Fiction<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-publics\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/publics\/\" title=\"Publics\"><span class=\"termslist-itemname\">Publics<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-spectacle-vivant\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/spectacle-vivant\/\" title=\"Spectacle vivant\"><span class=\"termslist-itemname\">Spectacle vivant<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><!-- \/fxzn:singledetail --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mis en ligne le 5 juillet 2021 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 30\/09\/2021 Type de r\u00e9ponse R\u00e9sum\u00e9 Type d\u2019\u00e9v\u00e9nement Journ\u00e9e d\u2019\u00e9tude Coordinateurs Julien [&hellip;]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29,58],"tags":[111,375,592,383,474],"thematique":[35],"sfsic":[],"class_list":["post-19166","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-journee-etude","tag-audiovisuel","tag-cinema","tag-fiction","tag-publics","tag-spectacle-vivant","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le personnage-spectateur dans les fictions audiovisuelles<\/title>\n<meta name=\"description\" content=\"Appel \u00e0 contributions pour une journ\u00e9e d&#039;\u00e9tudes sur la th\u00e9matique &quot;Le personnage-spectateur dans les fictions 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