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Desperate Housewives, Miroir Tendu Au(X) Féminisme(S) Américain(S) ?

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Desperate Housewives, Miroir Tendu Au(X) Féminisme(S) Américain(S) ? UNIVERSITÉ FRANÇOIS - RABELAIS DE TOURS ÉCOLE DOCTORALE SCIENCES DE L’HOMME ET DE LA SOCIÉTÉ GROUPE DE RECHERCHE ANGLO-AMÉRICAINE DE TOURS (GRAAT) THÈSE présentée par : Virginie MARCUCCI soutenue le : 27 novembre 2010 pour obtenir le grade de : Docteur de l’Université François - Rabelais Discipline/ Spécialité : Anglais/Civilisation américaine DESPERATE HOUSEWIVES, MIROIR TENDU AU(X) FÉMINISME(S) AMÉRICAIN(S) ? THÈSE dirigée par : M. GUILBERT, Georges-Claude Professeur des Universités, Université François – Rabelais - Tours RAPPORTEURS : Mme ANDREOLLE, Donna Professeur des Universités, Université Stendhal Grenoble III Mme FILLARD, Claudette Professeur des Universités, Université Lumière Lyon II JURY : Mme ANDREOLLE, Donna Professeur des Universités, Université Stendhal Grenoble III Mme FILLARD, Claudette Professeur des Universités, Université Lumière Lyon II Mme FRAU-MEIGS, Divina Professeur des Universités, Université Paris III (Présidente) M. GUILBERT, Georges-Claude Professeur des Universités, Université François-Rabelais Mme MICHLIN, Monica Maître de Conférences, Université Paris IV A Nicolas, qui rend tout possible 1 Remerciements Merci tout d’abord à Monsieur Georges-Claude Guilbert d’avoir accepté de diriger ce travail de recherche, de m’avoir guidée tout au long de ces trois années par ses conseils avisés, de m’avoir encouragée dans les moments de doute et fait découvrir un monde d’idées que je n’imaginais pas. Merci à Mesdames Donna Andréolle, Claudette Fillard, Divina Frau-Meigs et Monica Michlin d’avoir accepté de faire partie de mon jury et de lire ce travail de recherche. Merci aux doctorants du GRAAT pour leur écoute et leurs conseils et merci à mes collègues (parfois compagnons de thèse) Mathias, Romain et Valérie. Merci à mes parents, pour tout et plus encore. Merci à mon petit frère pour son assistance logistique et sa patience d’ange. Merci à ma grand-mère qui est la preuve qu’il n’y a pas d’âge pour être une femme libre et heureuse. Je pense aussi à mes grands-parents qui ne sont plus là mais auraient été très fiers. Merci à ma famille et à ma belle-famille pour leur soutien et leur compréhension. Merci à mes amis et amies qui m’ont soutenue (parfois supportée) tous à leur manière : Agnès et Antoine, Alexandre et Tatiana, Andréane, Anne et Raphaël, Damien, Sarah et Thomas, Elise et Marius, Florent, Marie et Olivier, Sandrine. Merci aussi à ceux qui sont rentrés dans ma vie il y a maintenant plus de sept ans pour ma plus grande joie : Hélène, Gaëtan et Lénaïk, Julien, Mathieu et Sophie, Matthieu et Aurore et le reste de la bande des joyeux ripailleurs. Ma dernière pensée est pour Anne-Laure avec qui j’ai partagé mes premières théories sur la télévision et les séries télévisées (et tant d’autres choses), dont le souvenir a accompagné la rédaction de chacune de ces pages et dont l’absence reste cruelle. 2 Résumé Ce travail s’attache à étudier les éventuels féminismes de Desperate Housewives. La peinture que la série propose de femmes et mères au foyer américaines désespérées est a priori le lieu d’une dénonciation de leur vie et de leur condition qui n’est pas sans rappeler celle de Betty Friedan dans The Feminine Mystique au début des années soixante. De plus, de nombreuses contradictions du féminisme américain (en fait constitué de nombreuses sous-catégories et sensibilités) y trouvent un écho. Cette multiplicité des interprétations possibles de Desperate Housewives, ainsi que sa composante postmoderne et camp, en font le lieu privilégié d’un féminisme queer propre à la série. Mots-clé : féminisme, série télévisée, Desperate Housewives, postmoderne, camp, queer Résumé en anglais This study investigates the feminist messages conveyed by Desperate Housewives. The depiction of desperate American housewives and stay-at-home mothers seems at first to be a scathing indictment of their plight, not unlike that of Betty Friedan in The Feminine Mystique. Furthermore many inner dissensions of American feminism (a term far more pluralistic than one might think) are voiced in the television series. The different ways Desperate Housewives can be interpreted, along with its postmodern and camp components, make it possible for an idiosyncratic brand of queer feminism to emerge. Key words : feminism, television series, Desperate Housewives, postmodern, camp, queer 3 Tables des matières Remerciements .......................................................................................................................... 2 Résumé ...................................................................................................................................... 3 Résumé en anglais ..................................................................................................................... 3 Table des matières ..................................................................................................................... 4 Introduction.............................................................................................................................. 9 Première partie : Le succès d’une série miroir ................................................................... 28 I. Une série au succès phénoménal .................................................................................................29 1. Des téléspectateurs nombreux................................................................................................29 A. L’audimat.............................................................................................................................................29 B. Un engouement immédiat....................................................................................................................30 2. L’omniprésence médiatique ...................................................................................................32 A. La presse ..............................................................................................................................................32 a. Introduction......................................................................................................................................32 b. Vanity Fair.......................................................................................................................................33 c. Ms. ...................................................................................................................................................35 B. La télévision : le Oprah Winfrey Show................................................................................................36 3. L’apparition rapide d’un attirail critique.............................................................................37 A. Reading Desperate Housewives ..........................................................................................................38 B. Welcome to Wisteria Lane ...................................................................................................................39 4. Le succès auprès de la profession...........................................................................................40 5. Intégration de Desperate Housewives dans le paysage audio-visuel américain..................42 A. Internet et les communautés de téléspectateurs...................................................................................42 B. L’utilisation commerciale de l’univers de la série...............................................................................45 a. Les produits dérivés officiels... ........................................................................................................45 b. ...et les autres. ..................................................................................................................................46 C. La création de rituels de visionnage ....................................................................................................47 a. Chez les téléspectatrices du Oprah Winfrey Show ..........................................................................47 b. Chez la Première Dame ...................................................................................................................48 c. Chez les journalistes ........................................................................................................................49 II. Les raisons du succès..................................................................................................................52 1. Une large base de téléspectateurs...........................................................................................52 A. La composition de l’audience..............................................................................................................52 a. Introduction......................................................................................................................................52 b. Les téléspectateurs masculins ..........................................................................................................53 c. Le succès dans des États aux sensibilités politiques différentes......................................................54 2. Des raisons structurelles .........................................................................................................57 A. Une production de qualité....................................................................................................................57 a. Le décor ...........................................................................................................................................57
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