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L'évolution Des Formats Et Des Contenus Narratifs Des Séries Télévisées De Fiction Étasuniennes (1950-2018)

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L'évolution Des Formats Et Des Contenus Narratifs Des Séries Télévisées De Fiction Étasuniennes (1950-2018) L’évolution des formats et des contenus narratifs des séries télévisées de fiction étasuniennes (1950-2018) François Peltier To cite this version: François Peltier. L’évolution des formats et des contenus narratifs des séries télévisées de fiction étasuniennes (1950-2018). Sciences de l’Homme et Société. 2018. dumas-01897821 HAL Id: dumas-01897821 https://dumas.ccsd.cnrs.fr/dumas-01897821 Submitted on 17 Oct 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Université Rennes 2 – Haute Bretagne UFR Arts, Lettres, Communication L'évolution des formats et des contenus narratifs des séries télévisées de fiction étasuniennes (1950-2018) PELTIER François Master recherche mention Arts Spécialité Études cinématographiques sous la direction de Grégory WALLET 2017/2018 Remerciements Ce travail de recherche, bien que solitaire, doit beaucoup aux soutiens et conseils apportés par mes professeurs, mes camarades de classe, mes amis et ma famille et je les en remercie. Je remercie mon directeur de recherche Gregory Wallet, pour m'avoir guidé, encouragé et aidé à avancer. Je n'aurai pas pu me plonger dans ce sujet passionnant sans son aide. Pour leur aide dans mes recherches, je tiens à remercier les documentalistes de la bibliothèque universitaire de Rennes 2. Denis, thank you for letting me borrow your library card. It has been a great help. Merci à Charles pour m'avoir entraîné à choisir un thème qui me tenait personnellement à cœur et à Briac pour ses nombreux conseils de visionnage. Je remercie tout particulièrement et chaleureusement mon épouse pour l'aide précieuse qu'elle m'a apportée dans nos discussions post-épisodes et surtout dans les moments où la motivation a pu me faire défaut. Enfin, je remercie mes parents pour m'avoir laissé regarder de nombreuses séries télévisées dès mon plus jeune âge ; tant de mercredis et de week-ends qui ont nourri mon imaginaire. SOMMAIRE Remerciements..….....….....….....….....….....….....….....….....…..….....….....…..............................2 Sommaire..….....…...….....….....….....….....…....….....….....….....….....….....….....….....................3 Introduction.....….....….....….....….....….....….....….....….....….....….....….....................................5 Bornes historiques et géographiques..….....….....…............................….....…...............................16 Terminologie, méthodologie et sources du travail.....….....…….....….....…......….........................18 Problématisation et plan.....….....….....….....…..........….....….....…................................................21 Partie I-Le contexte audiovisuel et les formats narratifs du « premier » au « troisième âge d'or » : de 1950 à 2013.….....….....….....….....…..............…......….........................25 Chapitre 1 : Le paysage télévisuel étasunien et ses mutations créés durant le « premier âge d'or » (1950 à 1970)....….....….....….....….....…......….....….....….....….....…...................26 I-1-1 : Formation d'un média de masse : les séries télévisées entre les années 1950 et 1970...........................................26 I-1-2 : De l'importance de la diffusion en saison dans la chronologie de la diffusion.....….....….....….....….….............36 Chapitre 2 : Le contexte télévisuel étasunien et les formats narratifs des séries télévisées jusqu'à leur « deuxième âge d'or » (1970-1980)....….…........….......….....…...................40 I-2-1 : La place du financement dans la diffusion : du rôle des stations affiliées, des émissions syndiquées et de la diffusion à l'étranger.....….….....….....…........….....….....….....…......…....................41 I-2-2 : La série et le feuilleton : déclinaison des fictions sérielles télévisuelles jusqu'au « deuxième âge d'or ».....….....….....….....….....…........….....….....…..............................................….............45 Chapitre 3 : Le « deuxième âge d'or » : l'émergence du showrunner, des séries de « niches » et du visionnage personnel...…...............….....…........….....….....….....................54 I-3-1 : Chaînes à péage, magnétoscopes et paiement à la séance : la multiplication des supports de diffusions (1980-1990)..............................................................................................................................54 I-3-2 : L'émergence du rôle de showrunner dans les années 1980 : le renouveau dans la production.............................60 I-3-3 : Les années 1990 : l'essor de séries télévisées « de niches » et des feuilletons sérialisant.....................................63 Chapitre 4 : Le « troisième âge d'or » (1999-2013) : l'arc narratif au cœur d'une nouvelle narration et d'une complexification des personnages.......................................................70 I-3-1 : Complexification des intrigues via l'arc narratif....................................................................................................70 I-3-2 : Complexification des personnages via l'arc narratif..............................................................................................78 Partie II : Le contexte télévisuel et les formats narratifs des années 2000 et 2010....…......….....….83 Chapitre 5 : De l'importance des technologies numériques dans l'évolution de la diffusion et de la consommation des séries télévisées.….....….....….....….......................84 II-5-1 : L'impact des technologies numériques sur les pratiques légales et illégales de diffusion des séries télévisées....….....….....….....….....…........….....….....….....….....…........….....…........................85 II-5-2 : L'impact des technologies numériques sur les pratiques des spectateurs des séries télévisées............................95 II-5-3 : La place du « Peak TV » et de l'utilisation des données des spectateurs dans l'industrie télévisuelle étasunienne..........................................................................................................................103 Chapitre 6 : Les formats et contenus narratifs des séries télévisées à l'ère du numérique....…...….....110 II-6-1 : La remise en question de l'épisode comme unité de la série télévisée dans les dramas produits par les plateformes de SVOD.......................................................................................................................................................110 II-6-2 : Le mélange des contenus et des formats à l'ère du numérique dans les sitcoms produites par les plateformes de SVOD................................................................................................................................................................................121 II-6-3 : La narration transmédiatique..............................................................................................................................127 Conclusion Générale..….....….....….....…......….....….....….....….....….....…..............................135 Glossaire..….....….....….....….....….....….....….....….....….....….....…..........................................147 Index des séries télévisées...….....….....….....….....….....….....….....…........................................155 Bibliographie.….....….....….....….....….....….....….....….....….....….....…...................................168 Introduction L'importance des fictions télévisuelles sérielles dans notre vie culturelle est aujourd'hui évidente. La place accordée aux séries télévisées, non seulement dans le champ des cultural studies, mais également, dans la vie quotidienne des spectateurs ne fait que s'accroître. Ces fictions audiovisuelles sont particulières. Elles ont en commun avec le cinéma la particularité de s'établir à la jonction entre art et industrie. La critique cinématographique et la recherche universitaire les prennent de plus en plus en considération. Ce sont cette place et cette reconnaissance croissante dans le paysage audiovisuel mondial qui ont attisé la curiosité à l'origine de ce travail de recherche. Une part de plus en plus importante des séries télévisées nous a semblé digne d'intérêt. Un intérêt d'autant plus important à faire naître et à entretenir chez les spectateurs que les séries télévisées, pour être appréciées pleinement, demandent un temps bien plus long que pour l'appréciation d'un long métrage. Une série télévisée comme Firefly (Joss Whedon, Fox, 2002) qui n'a bénéficié que d'une saison de 14 épisodes de 45 minutes demandera 10h30 pour un visionnage complet. Ces fictions reposent sur la sérialité de leurs récits, c'est-à-dire sur le découpage du récit en fragments diffusés au spectateur en un rythme quotidien, hebdomadaire ou mensuel1. Cette technique narrative de découpage d'un récit n'est pas né avec la télévision. En effet, dès le XIXe siècle, on trouve des récits sérialisées dans les journaux : les romans-feuilletons. Ainsi, avec l'invention de grandes presses rotatives mécaniques, l'impression devient moins coûteuse et la quantité d'impressions possibles
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