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De Série Monde À Série Phénomène : Analyse Diégétique Et De La Réception De Xena La Guerrière (1995- 2001)

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De Série Monde À Série Phénomène : Analyse Diégétique Et De La Réception De Xena La Guerrière (1995- 2001) Université de Montréal De série monde à série phénomène : Analyse diégétique et de la réception de Xena la guerrière (1995- 2001) par Chloé Glangeaud Département d’Histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de Maîtrise en études cinématographiques Mars 2020 © Chloé Glangeaud, 2020 i Résumé Ce mémoire propose d’analyser une série phénomène à travers le concept de série monde développé dans les études télévisuelles et cinématographiques. Notre objet d’analyse est Xena la guerrière (Syndication 1995-2001), une série des années 1990 connue à l’ère contemporaine pour son phénomène de fandom autour de la série et des personnages Xena et Gabrielle. Les séries de la fin des années 1990 s’inscrivent dans une ère de transition, où numérique et mutations narratives vont participer à la création d’objets denses et complexes. Nous tenterons d’établir un parallèle entre la structure d’une série télévisée et sa réception qui reposent toutes les deux sur une logique de densification, à observer sous différentes formes : l’extension, la continuité et la dérivation, ainsi que sur deux niveaux : le texte et le fandom. L’analyse diégétique de la série nous permettra d’établir une conception de la série comme une expérience dense et complexe qui invite et suggère une pluralité interprétative. Les spectateurs/fans investissent l’objet de différentes façons jusqu’à produire des lectures riches et variées. Définir un phénomène sériel reviendrait donc à s’intéresser à cette corrélation : producteurs, texte, fans et contextes, qui permet l’expansion de l’objet dans de multiples directions. L’analyse de Xena la guerrière autour d’une logique de densification nous permettrait de mieux comprendre certains phénomènes de fandom autour de séries contemporaines. Mots-clés : série télévisée, sérialité, mondes, phénomène, fan, fandom, sous-texte, Xena la guerrière, féminisme, queer. ii Abstract This dissertation proposes an analysis of a series phenomenon through the concept of world series developed in television and film. Our object of analysis is Xena: Warrior Princess (Syndication 1995-2001), a television series from the 1990s known in the contemporary era for the phenomenon of fandom created around the series and characters Xena and Gabrielle. The series of the late 1990s are part of an era of transition, where digital and narratives mutations come together in the creation of dense and complex objects. We will try to draw a parallel between the structure of a television series and its reception, both of which are based on a logic of densification, to be observed in different forms: extension, continuity, and derivation, as well as on two levels: the text of Xena and the fandom of Xena. The diegetic analysis of the series will allow us to establish the conception and origins of the series as something dense and complex that invites and suggests a plurality of interpretations. Spectators/fans invest time and effort in the show in a variety of ways to produce rich and varied interpretations and fandom content. Defining a serial phenomenon would therefore take us back to examining the correlation of: producer, text, fans, and context, which allows this expansion of the series in multiple directions. The analysis of Xena: Warrior Princess around a logic of densification will allow us to better understand certain phenomena of fandom around contemporary series. Keywords: TV series, seriality, worlds, phenomenon, fan, fandom, subtext, Xena: Warrior Princess, feminism, queer. iii Table des matières Résumé ...................................................................................................................................... ii Abstract .................................................................................................................................... iii Table des matières ................................................................................................................... iv Liste des figures ....................................................................................................................... vi Introduction .............................................................................................................................. 1 Les années 1990-2000 : une nouvelle logique de marché .................................................. 1 Xena la guerrière : une série à l’ère de la transition .......................................................... 3 Une série monde .................................................................................................................... 5 Hypothèse .............................................................................................................................. 7 Méthodologie ......................................................................................................................... 8 Plan ........................................................................................................................................ 9 Chapitre 1. Lorsque les séries sont pensées comme des mondes ? .................................... 12 1. Du concept d’univers au concept de série monde : panorama des recherches ...... 12 1.1. L’univers fictionnel (Pavel 1988) et l’univers filmique (Souriau 1953) .......... 13 1.2. Matt Hills (2002) et la formation d’une « hyperdiegesis » ............................... 14 2. Série monde et principe de densification ................................................................... 15 2.1. Nouveaux formats et logique feuilletonnante ........................................................ 16 2.2. Une complexité narrative ........................................................................................ 20 Chapitre 2. Monde et Culture fan ......................................................................................... 24 1. Stuart Hall : circuit de l’information ........................................................................ 25 2. Les fans : braconnage (De Certeau) et dérivation du texte (Janet Staiger) ........... 26 3. Henry Jenkins et la culture participative .................................................................. 29 3.1. Culture participative : définition ........................................................................ 29 3.2. Expérience sociale et interactive ......................................................................... 30 3.3. Production et créativité des fans ......................................................................... 31 3.3.1. Le fanart ......................................................................................................... 31 3.3.2. La fanfiction .................................................................................................. 32 3.3.3. La fanvidéo .................................................................................................... 33 4. Une culture fan ............................................................................................................ 34 4.1. Communauté de fans : fandom et ses déclinaisons ........................................... 35 4.2. Les fans : phénomène transmédiatique .............................................................. 36 Chapitre 3. Genèse d’un univers : le Xenaverse .................................................................. 39 1. Xena la guerrière : une série spin-off ......................................................................... 39 2. Xena la guerrière et Hercule : des mondes connectés ............................................... 42 3. Xena la guerrière : de série spin-off à série autonome, phénomène de dérivation . 47 iv 3.1. Phénomène de dérivation : Xena, de Hercule à Xena la guerrière ....................... 47 3.2. Diffusion : vers la distinction de deux mondes .................................................. 48 3.3. Xena la guerrière : une série autonome .............................................................. 51 Chapitre 4. Xena la guerrière, une série monde : analyse diégétique ................................ 56 1. Vers un modèle feuilletonnant ................................................................................... 56 1.1. Formule ................................................................................................................. 56 1.2. Personnage Xena : de super-héroïne à une icône féministe ............................. 59 1.3. Double épisode et arcs narratifs ......................................................................... 63 2. Xena la guerrière : une série complexe ...................................................................... 66 2.1. Format ................................................................................................................... 67 2.2. Collectif de personnages : de deux héroïnes à un collectif ............................... 69 2.3. Manipulations spatio-temporelles : rupture d’une lecture linéaire ................ 72 Chapitre 5. Histoire du fandom de Xena la guerrière .......................................................... 76 1. De 1995 à 2001 : fandom et continuité de la série ..................................................... 76 2. Entre deux : diffusion internationale de Xena la guerrière (Extension) ................. 82 3. De 2001 à aujourd’hui : dérivation de la série .......................................................... 84 3.1. De nouveaux espaces de discussions ..................................................................
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