{"id":20708,"date":"2021-12-07T10:45:27","date_gmt":"2021-12-07T09:45:27","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=20708"},"modified":"2021-12-04T20:46:07","modified_gmt":"2021-12-04T19:46:07","slug":"memoire-et-reecritures-dans-les-series-televisees","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/publication\/memoire-et-reecritures-dans-les-series-televisees\/","title":{"rendered":"M\u00e9moire et r\u00e9\u00e9critures dans les s\u00e9ries t\u00e9l\u00e9vis\u00e9es"},"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> 4 d\u00e9cembre 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-type\">\n\t\t\t\t\t\t\t<span>Type de publication<\/span><span class=\"doubledot\"><\/span> <strong>Num\u00e9ro de revue<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-name\">\n\t\t\t\t\t\t\t<span>Nom de la publication<\/span><span class=\"doubledot\"><\/span> <strong>\u00c9crans<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-edition\">\n\t\t\t\t\t\t\t<span>\u00c9dition<\/span><span class=\"doubledot\"><\/span> <strong>Classiques Garnier<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-annonce wig-content\">\n<h2><strong>Sommaire<\/strong><\/h2>\n<p><strong>Fabien BOULLY et Penny STARFIELD&#160;:<\/strong> Introduction&#160;: Amn\u00e9sie, m\u00e9moire et r\u00e9\u00e9critures s\u00e9rielles&#160;: questions actuelles \/<em>\u00a0Current issues in amnesia, memory and serial rewriting<\/em><\/p>\n<h2><strong>Premi\u00e8re partie\/<em>\u00a0Part I<br \/>\n<\/em><\/strong><\/h2>\n<h3><strong>R\u00e9\u00e9critures s\u00e9rielles \/ <em>Serial rewritings<\/em><\/strong><strong>\u00a0<\/strong><\/h3>\n<ul>\n<li><strong>Jonathan BIGNELL<\/strong><em><strong>&#160;:<\/strong> Adventures<strong>\u00a0<\/strong>between TV and film, and between Britain and America<\/em>\u00a0\/ Aventures en s\u00e9rie entre la t\u00e9l\u00e9vision et le cin\u00e9ma, et entre la Grande-Bretagne et les \u00c9tats-Unis<\/li>\n<li><strong>Penny STARFIELD&#160;:<\/strong> R\u00e9\u00e9critures en s\u00e9rie&#160;: le cas\u00a0<em>Winnetou \/ A never-ending story&#160;: from Karl May to<\/em>\u00a0Winnetou le Mescalero<\/li>\n<li><strong>Andrei VALLA&#160;:<\/strong> Kratos et la col\u00e8re d\u2019Achille&#160;: r\u00e9\u00e9criture des origines de l\u2019Occident par la violence \/\u00a0<em>Kratos and the wrath of Achilles&#160;: rewriting the origins of the West by violence<\/em><\/li>\n<li><strong>David GAILLARD\u00a0<\/strong><em><strong>&#160;:<\/strong>\u00a0<\/em><em>Bandersnatch&#160;:<\/em>\u00a0collaboration entre interactivit\u00e9 et transfictionnalit\u00e9 dans un film actable\u00a0\/\u00a0<em>Combining interactivity and transfictionality&#160;:\u00a0<\/em>Bandersnatch<em>, an actable film<\/em><\/li>\n<li><strong>Dominique SIPI\u00c8RE&#160;:<\/strong> M\u00e9moire et r\u00e9\u00e9critures dans les s\u00e9ries polici\u00e8res\u00a0<em>\/ Memory and rewriting in crime series<\/em><\/li>\n<\/ul>\n<h2><strong>Deuxi\u00e8me partie\u00a0 \/ <em>Part II<\/em><\/strong><\/h2>\n<h3><strong>M\u00e9moire et oublis \/ <em>Memory and Forgetting<\/em><\/strong><\/h3>\n<ul>\n<li><strong>Philippe ORTOLI&#160;:<\/strong> La grande \u00e9vasion.\u00a0<em>Prison Break\u00a0<\/em>et\u00a0la trag\u00e9die de Michael Scofield\u00a0<em>\/ The great escape<\/em>&#160;: Prison Break\u00a0<em>and the<\/em>\u00a0<em>tragedy of Michael Scofield<\/em><\/li>\n<li><strong>Rapha\u00eblle COSTA DE BEAUREGARD<\/strong><em><strong>&#160;:<\/strong> Remembering and forgetting in television series&#160;: the case of the first two seasons of\u00a0<\/em>Downton<em>\u00a0<\/em>Abbey<em>\u00a0\/<\/em><em>\u00a0<\/em>M\u00e9moires et oublis dans les s\u00e9ries t\u00e9l\u00e9vis\u00e9es&#160;: les deux premi\u00e8res saisons de<em>\u00a0Downton Abbey<\/em><\/li>\n<li><strong>Faika SACI<em>&#160;:\u00a0<\/em><\/strong><em>Twin Peaks&#160;: The Return<\/em>\u00a0ou l\u2019irruption du souvenir d\u2019une s\u00e9rie \/\u00a0Twin Peaks&#160;: The Return,\u00a0<em>memory\u2019s incursion in a TV series<\/em><\/li>\n<li><strong>Florent FAVARD&#160;:<\/strong> Mondes palimpsestiques et personnages-vestiges&#160;: comment (ne pas) faire table rase dans les s\u00e9ries t\u00e9l\u00e9vis\u00e9es \/\u00a0<em>Palimpsestic worlds and remnant-characters&#160;: how (not) to wipe the slate clean in TV series<\/em><\/li>\n<li><strong>H\u00e9l\u00e8ne BREDA&#160;:<\/strong> Tisser les (trous de) m\u00e9moires dans le r\u00e9cit de la s\u00e9rie t\u00e9l\u00e9vis\u00e9e belge\u00a0<em>La Tr\u00eave \/ Weaving (gaps in) memories in the narrative of\u00a0<\/em>The Break<strong>\u00a0<\/strong><\/li>\n<\/ul>\n<h2><strong>Troisi\u00e8me partie \/ <em>Part III<\/em><\/strong><\/h2>\n<h3><strong>M\u00e9moire et histoire, M\u00e9moire et v\u00e9rit\u00e9 \/<\/strong><strong><em>Memory and history, memory and truth<\/em><\/strong><\/h3>\n<ul>\n<li><strong>Victor FAINGNAERT<\/strong><em><strong>&#160;:<\/strong> Rome<\/em>, un retour aux sources \/ Rome<em>&#160;: a return to the sources<\/em><\/li>\n<li><strong>Nadia AIT BACHIR&#160;:<\/strong> Changement, consensus et r\u00e9conciliation. Pour des repr\u00e9sentations \u2013 simplifi\u00e9es et didactiques \u2013 de la Transition espagnole dans la s\u00e9rie\u00a0<em>Verano Azul \/<\/em>\u00a0<em>Change, consensus and reconciliation.\u00a0<\/em><em>Simplifying didactic representations of the Spanish Transition in\u00a0<\/em>Verano Azul<\/li>\n<li><strong>Nadia TAHIR<\/strong><em><strong>&#160;:<\/strong> Narcos<\/em>, une histoire d\u2019archives \/ Narcos,\u00a0<em>rewriting<\/em>\u00a0<em>history with archives<\/em><\/li>\n<li><strong>Fabien BOULLY<\/strong><em><strong>&#160;:<\/strong> The Keepers<\/em>&#160;: une \u00e9thique de la m\u00e9moire \/ The Keepers&#160;:<em>\u00a0memory<\/em>\u00a0<em>as<\/em>\u00a0<em>ethics<\/em><\/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-memoire\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/memory\/\" title=\"M\u00e9moire\"><span class=\"termslist-itemname\">M\u00e9moire<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-series\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/series\/\" title=\"S\u00e9ries\"><span class=\"termslist-itemname\">S\u00e9ries<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-television\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/en\/tag\/television\/\" title=\"t\u00e9l\u00e9vision\"><span class=\"termslist-itemname\">t\u00e9l\u00e9vision<\/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 4 d\u00e9cembre 2021 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Type de publication Num\u00e9ro de revue Nom de la publication \u00c9crans \u00c9dition Classiques Garnier Sommaire [&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":[70,31],"tags":[405,326,471],"thematique":[35],"sfsic":[],"class_list":["post-20708","post","type-post","status-publish","format-standard","hentry","category-numero-revue","category-publication","tag-memoire","tag-series","tag-television","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>M\u00e9moire et r\u00e9\u00e9critures dans les s\u00e9ries t\u00e9l\u00e9vis\u00e9es<\/title>\n<meta name=\"description\" content=\"Le num\u00e9ro 15 de la revue \u00c9crans vient de para\u00eetre. 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