Actors Behind the Camera

Respectivement diffusées entre 1999 et 2006 sur ITV et depuis 2013 sur Netflix, Bad Girls et Orange Is The New Black sont deux séries centrées sur une prison de femmes qui explorent les rapports de pouvoir et de désir au sein de l’univers carcéral, que ce soit entre les détenues elles-mêmes, entre celles-ci et le personnel de la prison, ainsi qu’entre les gardien.ne.s et leurs supérieur.e.s hiérarchiques. Nous nous proposons de comparer ces deux séries afin d’étudier la manière dont chacune traite des questions de genre et de sexualité et quels enjeux elles soulèvent, en tenant compte des spécificités socioculturelles de leur contexte de production, de diffusion et de réception. Si Bad Girls est une série dramatique qui emprunte au modèle narratif du soap opera, Orange Is The New Black relève de la comédie dramatique et est construite autour d’un personnage principal. Cependant, elles présentent aussi des points communs : prison dirigée par une femme, arc narratif sur une histoire d’amour lesbienne, abus de pouvoir et violences sexuelles exercées par un gardien sur des détenues. Nous tenterons de voir dans quelle mesure ces deux séries – créées par des femmes (Ann MacManus, Eileen Gallagher, Maureen Chadwick pour la première, Jengi Kohan pour la seconde) - et le genre de la série carcérale féminine en général, interrogent voire remettent en cause les normes de genre hégémoniques et dénoncent les rapports de pouvoir et de domination entre les sexes, à l’intersection avec les rapports de classe et de race. Pour cela, nous nous appuierons tout particulièrement sur l’analyse des partis-pris des deux séries en termes de narration, de mise en scène, de caractérisation des personnages et de leur trajectoire.

Communication du 3 septembre 2015 au 21ème Congrès de la SERCIA.

NeMLA Annual Meeting. Baltimore, March 24, 2017

The ESSE Messenger, 2016

The present article seeks to provide a comprehensive annotated guide to the publications related to the field of Shakespeare on Screen for the period 2002-16. Conceived as an update to two articles previously published in The European English Messenger, its entries have been classified and annotated in four categories: the first section includes a list of bibliographies, filmographies and databases; the second features monographs and collections of essays focusing exclusively or substantially on the subject whereas the third deals with representative journals and specific journal issues. Published screenplays and other works on the making of the films are listed in the fourth section. A thoroughly revised, expanded and updated versión was published in the French journal Cahiers Élisabéthains in a special issue on Shakespeare on screen in the digital era (2021).

TV/Series

This excerpt from the prologue of The Leftovers introduces the traumatic event that propels the narrative of Tom Perrotta's novel The Leftovers (2012): two per cent of the world population suddenly disappeared on that fateful day of October 14 th creating immediate chaos. The novel focuses on the community of Mapleton and relates how its residents cope with the memory of the rapture three years after it occurred. An omniscient narrator gives insight into the characters' intimate journeys, raising philosophical questions about the meaning of individual and community life. The protagonists embody different life choices, suggesting the long-lasting imprint of the past over the present: Laurie Garvey has decided to join the Guilty Remnants, a community whose members are determined to honour the departed, while her husband Mayor Kevin Garvey strives to preserve social order in Mapleton. Although the novel's narrative structure borrows from the best-selling evangelical apocalyptic literary series entitled Left Behind by Tim LaHaye and Jerry B. Jenkins, which sheds light on the chaos that follows the rapture of those individuals chosen by God to be saved, The Leftovers departs from this tradition by highlighting the paths of survival on which the characters engage individually. Left Behind characteristically opens with a scene of rapture that prompts the unsaved to convert to Christianity as they face ensuing chaos in the forms of plagues, earthquakes, and wars 2. By contrast, The Leftovers articulates a secular response to the rapture and its adaptation into a television series prompts viewers to question the sacred texts and to ponder metaphysical questions that are in tune with contemporary cultural anxieties. 2 Drawing on Robert Stam's understanding of adaptation as a transformative process, this presentation aims at underlining how words turn into dramatic visuals in The Leftoversa television series that associates writer Tom Perrotta as co-creator alongside Lost

Melvyn Stokes et Gilles Ménégaldo (éds), Cinéma et Histoire. Film and History, Actes du Colloque SERCIA, University College London, 2004. Michel Houdiard Éditeur, Paris, 2008, p. 197-204.

Adapting the short-story by W. Irving, Tim Burton stages the history of human fears, from medieval images to cinematic intertextuality. Beyond the references of XVIIIth New England, the Hudson River painters and Arthur Rackam, the haunted space of the forest with the headless kinght and its victims, becomes the transition between the Midde Ages and the modern times, the disappearance of the unconsious and the emergence of rationality.

LISA e-Journal