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FHT MÉMOIRE Principal- FINAL-Dépôt-3 Université de Montréal Serial Killer / Serial TV : l’adaptation du « slasher » dans Scream: the TV Series (2015-) par Florence Huard-Tremblay Département d’histoire de l’art et d’études cinématographiques Faculté des arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de M.A en cinéma option cheminement international Avril 2019 © Florence Huard-Tremblay, 2019 Unité académique : Histoire de l’art et études cinématographiques, Faculté des arts et des sciences Ce mémoire intitulé Serial Killer / Serial TV : l’adaptation du « slasher » dans Scream: the TV Series (2015-) Présenté par Florence Huard-Tremblay A été évalué par un jury composé des personnes suivantes Bernard Perron Président-rapporteur Marta Boni Directrice de recherche Richard Bégin Membre du jury Résumé : Inspiré par la résurgence en popularité de l’horreur télévisuelle, ce mémoire propose une analyse du processus d’adaptation du « slasher » dans la série Scream : the TV Series (2015-, É.U, MTV et Netflix) de Jill Blotevogel. Naviguant entre le récit cinématographique condensé et la forme longue et épisodique de la télévision, l’apparition du « slasher » au petit écran se positionne dans une reconsidération de l’écriture télévisuelle. Déjà structuré selon des meurtres…en série, le « slasher » est-il le phénomène sériel parfait ? La problématique de cette recherche questionne la définition du phénomène sériel qu’est le « slasher » et de quelle façon celui-ci est importé sur le format télévisuel. Au travers de l’analyse de la dimension sérielle de la trilogie originale de Scream (Craven, 1996, 1997, 2000), nous verrons comment les diverses conventions du « slasher » cinématographique se retrouvent transformées par les spécificités de la télévision. Mots clés : sérialité, horreur, télévision, narration, « slasher », Scream, Scream : the TV Series III Abstract : Inspired by the resurgence in popularity of TV horror, this thesis offers an analysis of the adaptation process of the slasher in Scream: the TV Series (2015-, USA, MTV and Netflix) created by Jill Blotevogel. Navigating between the condensed cinematographic narrative and the long and episodic format of television, the appearance of the TV slasher is positioned in a rehandling of television writing. Already based around serial killers, is the slasher the perfect serial phenomenon? The problematic of this research Questions the definition of the serial phenomenon that is the slasher, and how it is imported on the television format. Through the analysis of the serial dimension of Scream's original trilogy (Craven, 1996, 1997, 2000), we will see how the various cinematographic slasher conventions find themselves transformed by the specificities of television. Key Words: seriality, horror, TV series, narrative, slasher, Scream, Scream : the TV Series IV Table des matières TABLE DES MATIÈRES ..................................................................................................................... V LISTE DES FIGURES ........................................................................................................................ VII INTRODUCTION ................................................................................................................................. 11 CORPUS D’ANALYSE ........................................................................................................................... 14 La trilogie Scream (1996-2000) ...................................................................................................... 15 Scream : the TV Series (2015-) ....................................................................................................... 16 QUESTIONS DE RECHERCHE .............................................................................................................. 19 CHAPITRE 1 : L’HORREUR À LA TÉLÉVISION ......................................................................... 22 1.1 TYPOLOGIE ET HISTORIQUE ....................................................................................................... 23 1.1.1 Le « Made-for-TV-movie » ................................................................................................... 25 1.1.2 La minisérie ........................................................................................................................... 25 1.1.3 La série anthologique ............................................................................................................. 26 1.1.4 « Monster-of-the-week » ou « Flexi-narrative » .................................................................... 27 1.2 ÉTAT DE LA QUESTION/REVUE DE LA LITTÉRATURE ................................................................ 31 1.2.1 Imaginaire et figures de l’horreur .......................................................................................... 31 1.2.2 La peur : au cœur de la conception de l’horreur .................................................................... 33 1.2.3 Différenciation des états de peur ........................................................................................... 35 1.2.4 L’esthétique du dégoût .......................................................................................................... 37 1.2.5 Entre cinéma et télévision : la tension narrative et promesse de dénouement ....................... 38 1.2.6 Infinitude du texte et tension narrative à la télévision ........................................................... 40 1.2.7 Attachement et approfondissement des personnages ............................................................ 41 1.3 POUR UNE DÉFINITION DE LA SÉRIE D’HORREUR ...................................................................... 43 1.4 LE « SLASHER » ............................................................................................................................ 45 1.4.1 Historique .............................................................................................................................. 46 1.4.2 Les conventions du « slasher » .............................................................................................. 47 1.4.3 « Neo-slasher » et les cycles .................................................................................................. 49 1.4.4 L’humour « hyperconscient » ................................................................................................ 50 1.4.5 Le « slasher » télévisuel ......................................................................................................... 51 CHAPITRE 2 : LES ASPECTS SÉRIELS DE LA MARQUE SCREAM ...................................... 54 2.1 LA SÉRIALITÉ DE L’HORREUR : LA MARQUE SCREAM .............................................................. 55 2.1.1 De la série de films à la série télé : extension de la marque .................................................. 56 2.1.2 « Sequel » et série : Pratique réflexive .................................................................................. 57 2.1.3 Réflexivité ou exploitation du succès? .................................................................................. 59 2.2 LA FORMULE DU « SLASHER » SCREAM : THE TV SERIES ........................................................ 60 2.2.1 Ville et personnages ............................................................................................................... 62 2.2.2 Tragédie passée ...................................................................................................................... 63 2.2.3 Le retour de Ghostface et le premier meurtre : mode d’emploi ............................................ 64 V 2.2.4 L’autoréférentialité ................................................................................................................ 65 2.3 LE MEURTRE EN SÉRIE : LA SÉRIALITÉ AU CŒUR DE LA FORMULE ......................................... 66 2.3.1 La structure narrative ............................................................................................................. 67 2.3.2 La structure saisonnière de Scream : the TV Series ............................................................... 69 2.3.3 La scène de meurtre ............................................................................................................... 71 2.3.4 « Stalker » / « slasher » : l’observation des victimes ............................................................. 72 2.3.5 « Gore », vraiment? ............................................................................................................... 75 2.4 TRANSFORMATION DE LA PEUR PAR LA SÉRIALITÉ TÉLÉVISUELLE: CONSTRUCTION DU TEMPS ET CONSTRUCTION DE LA PEUR ............................................................................................ 77 2.4.1 La série à quête ou à énigme .................................................................................................. 77 2.4.2 Approche de la peur par le dénouement ................................................................................ 79 2.4.3 Morcellement et fragmentation .............................................................................................. 81 2.4.4 Entre peur et engagement ...................................................................................................... 83 CHAPITRE 3 : ANALYSE DES PERSONNAGES ........................................................................... 85 3.1 LE TUEUR .....................................................................................................................................
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