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Université De Montréal La Série Mad Men: Une Élégie De La Révolution

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Université De Montréal La Série Mad Men: Une Élégie De La Révolution Université de Montréal La série Mad Men: une élégie de la révolution créative dans les années soixante. Par Felicia Traistaru Département d’histoire Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures En vue de l’obtention du grade de Maitre ès art (M.A) en histoire Août 2017 © Felicia Mihali, 2017 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : La série Mad Men et la publicité dans les années soixante : une élégie de la révolution créative. Présenté par Felicia Traistaru A été évalué par un jury composé par les personnes suivantes : Yakov Rabkin Président-rapporteur Bruno Ramirez Directeur de recherche Marta Boni Membre du jury iii RÉSUMÉ Ce mémoire est consacré à l’analyse de la télésérie américaine Mad Men en tant que reflet de la révolution créative aux États-Unis. À travers la fictive agence de publicité Sterling Cooper & Partners et de son charismatique directeur artistique, Don Draper, la série personnifie la culture corporatiste des cols blancs et les nouveaux défis encourus par l’homme de l’organisation dans les années soixante. Basée sur la méthode de l’historicisme, cette analyse historique met en évidence la manière dont Mad Men incarne cette décennie à partir des sources populaires telles que les romans, les films ou les magazines. Ce type de documents sont pris par les créateurs de la série comme l’expression des certaines valeurs et attitudes des années soixante mais aussi bien comme outil pour la critique des idées consacrées. Mad Men nous permet de comprendre la manière dont la révolution des techniques publicitaires se déroule dans le décor d’une société où les grands enjeux restent encore non résolus. Contrairement à l’image d’une époque caractérisée par les mouvements des droits civiques ou la guerre au Vietnam, cette nouvelle production se distingue par la reprise des aspects oubliés de la décennie tels que le machisme du monde corporatiste, la répression des femmes, les préjugés ethniques, le paradis mensonger de la banlieue. Grâce à sa vision iconoclaste des happy days, la série Mad Men est devenue une véritable œuvre culte à l’échelle mondiale. Diffusée sur la chaine AMC entre 2007 et 2015, elle n’a pas seulement atteint de grandes côtes d’écoute, elle a été aussi encensée par la critique et récompensée avec de nombreux prix. Mots clé : États-Unis, télésérie, Mad Men, années soixante, révolution créative, publicité, historicisme, cols blancs, la culture corporatiste, Deuxième Guerre mondiale. iv ABSTRACT This thesis is dedicated to the analysis of the American television drama series Mad Men as a representation of the creative revolution in the United States. Through the fictional advertising agency, Sterling Cooper & Partners and its charismatic creative director, Don Draper, the series embodies the white collar corporate culture and the new challenges incurred by the organizational man in the sixties. Based on the historicism, a method borrowed from the postmodern theories, this historical study analyses the way in which Mad Men represents this decade through the interpretation of some popular sources from that period such as novels, films or magazines. These kinds of documents are read as an expression of specific values and attitudes characteristic of the sixties; meanwhile they serve as a tool for criticizing a few common ideas about this period. Mad Men allows us to understand how the revolution in advertising techniques occurs against the backdrop of a society where the big social issues remained unsolved. In contrast to the image of a decade usually associated with civil rights movements or the Vietnam war, this new production brings up some forgotten aspects of the decade such as the male chauvinism of the corporate world, the repression of women, the prejudices against ethnics, the suburban false paradise. Due to its iconoclastic vision of the happy days, Mad Men has gained a cult status worldwide. Run on the cable network AMC between 2007 and 2015, the series has not only been highly rated, but it has been praised by critics and awarded many times. Key words : United States, TV drama series, Mad Men, the sixties, the creative revolution, white collars, corporate culture, World War Two. v TABLE DES MATIÉRES RÉSUMÉ ................................................................................................................................ iii ABSTRACT ............................................................................................................................. iv TABLE DES MATIÉRES ....................................................................................................... v ÉQUIPE .................................................................................................................................. vii INTRODUCTION.................................................................................................................... 1 Le cinéma et l’histoire – état de la question ....................................................................... 2 Les téléséries et l’histoire ..................................................................................................... 7 Les années soixante et le trauma de la guerre contemporaine ......................................... 9 Problématique..................................................................................................................... 12 Méthodologie....................................................................................................................... 13 Chapitre 1 : L’APOGÉE DE LA PUBLICITÉ AUX ÉTATS-UNIS ................................ 21 1.1 La culture de bureau et la révolution créative .......................................................... 22 1.1.1 Le canevas historique des années soixante ........................................................ 22 1.1.2 La culture des cols blancs .................................................................................. 24 1.1.3 L’apogée de la publicité aux États-Unis ............................................................ 25 1.1.4 Mad Men et la révolution créative des années soixante .................................... 28 1.1.5 L’honnêteté et l’esprit ludique : deux pierres angulaires de la révolution créative 34 1.1.6 Le nouveau visage du consommateur ................................................................ 36 1.1.7 Entre nostalgie et utopie .................................................................................... 38 1.2. Sterling Cooper & Partners : dans le dédale de la révolution créative .................. 40 1.2.1 L’épopée d’une petite agence dans les années soixante................................... 40 1.2.2 La création des trusts ....................................................................................... 44 1.2.3 Une agence divisée par les guerres .................................................................. 46 1.2.4 Les femmes, les jeunes et les Afro-Américains chez SC&P .............................. 51 Conclusion ........................................................................................................................... 54 Chapitre 2 : DON DRAPER : L’HOMME AU COSTUME GRIS DANS LES ANNÉES SOIXANTE ............................................................................................................................. 56 2.1 Lorsque la fiction dépasse la réalité............................................................................ 57 2.2 Don Draper : un Tom Rath des années soixante ....................................................... 64 2.3 Ayn Rand et “les gens qui sont en charge” ................................................................ 69 vi 2.4 Don Draper et les intellectuels..................................................................................... 71 2.5 Don Draper : un J.F.Kennedy de la Nouvelle sentimentalité ................................... 76 2.6 Don Draper et la maison en banlieue ......................................................................... 80 Conclusion ........................................................................................................................... 83 Chapitre 3 : MAD MEN ET LA FEMME DÉMYSTIFIÉE .............................................. 85 3.1 L’épouse de banlieue et l’empire de la cuisine .......................................................... 86 3.2 Lolita : le remède contre la mère de banlieue ............................................................ 92 3.3 Le sexe et la vie de bureau ........................................................................................... 95 3.3.1 Peggy Olson ................................................................................................................... 96 3.3.2 Joan Holloway ............................................................................................................. 104 3.4 Sally Draper et les enfants de banlieue..................................................................... 106 Conclusion ......................................................................................................................... 108 CONCLUSION .................................................................................................................... 110 ANNEXE I ............................................................................................................................ 116 A1.1 - Liste alphabétique des personnages .................................................................... 116 ANNEXE II..........................................................................................................................
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