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Marie Lorange 2018 Memoire.Pdf (8.222Mo) Université de Montréal Analyse intersectionnelle des séries télévisées Orange is The New Black (2013-) et Transparent (2014-). par Marie Lorange 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 Avril 2018 © Marie Lorange, 2018 Résumé Ce mémoire propose d’identifier et d’analyser dans une perspective intersectionnelle la représentation des diverses formes d’oppression existant dans les séries Orange is The New Black (2013-) de Jenji Kohan et Transparent (2014-) de Jill Soloway. Les séries télévisées contemporaines possèdent le langage nécessaire pour soulever des enjeux éminents liés à la représentation des identités et elles peuvent témoigner, dans certains cas, d’un désir de transgresser les normes et de déconstruire l’hégémonie. Nous proposons d’adopter une posture intersectionnelle qui nous permettra une analyse inclusive des différentes identités représentées dans les séries télévisées tout en questionnant les rapports de pouvoir qui y sont dépeints. En prenant en considération la simultanéité des oppressions et des nombreux éléments constitutifs d’une identité (sexe, genre, classe, « race », etc.), l’intersectionnalité permet une analyse approfondie des problématiques abordées dans les séries télévisées. Nous analyserons donc les représentations et les enjeux liés aux personnages issus de minorités et d’identités opprimées afin de voir comment les séries télévisées les représentent et en quoi l’intersectionnalité peut devenir un outil intéressant pour mieux les comprendre. Mots clefs : séries télévisées, intersectionnalité, représentation, Orange is The New Black, Transparent II Abstract This thesis proposes to identify and analyze in an intersectional perspective the representation of the various forms of oppression existing in Jenji Kohan’s series Orange is The New Black (2013-) and Jill Soloway’s Transparent (2014-). Contemporary television series have the language to raise prominent representational issues and reflect a desire to transgress norms and deconstruct hegemony. We propose to adopt an intersectional posture that will allow us an inclusive analysis of the different identities represented in said television series while questioning the power relations that are portrayed in them. By taking into consideration the simultaneity of oppression and the many elements constituting an identity (sex, gender, class, « race », etc.), intersectionality allows a thorough analysis of the issues addressed in the television series. We will analyze representations and issues related to characters from minorities and oppressed identities, in order to see how such television series represent them and how intersectionality can become an interesting tool to better understand them. Keywords : television series, intersectionality, representation, Orange is The New Black, Transparent III Table des matières RÉSUMÉ .............................................................................................................................................................. II ABSTRACT ....................................................................................................................................................... III LISTE DES FIGURES ..................................................................................................................................... VI REMERCIEMENTS ....................................................................................................................................... VII 1 CHAPITRE 1 : PROBLÉMATIQUE ....................................................................................................... 1.1 INTRODUCTION........................................................................................................................ 8 1.2 LE CONTEXTE ........................................................................................................................ 12 1.2.1 Introduction à l’intersectionnalité ..................................................................................... 14 1.3 ÉTAT DE LA QUESTION ........................................................................................................... 17 1.3.1 Problématique et hypothèse .............................................................................................. 25 1.4 CORPUS : DESCRIPTION DES SÉRIES ......................................................................................... 27 2 CHAPITRE 2 : LES SÉRIES TÉLÉVISÉES CONTEMPORAINES ................................................ 2.1 ÉMERGENCE D’UN NOUVEL ART : LES SÉRIES TÉLÉVISÉES CONTEMPORAINES ........................... 29 2.2 NETFLIX ET AMAZON : ENJEUX DES NOUVELLES PLATEFORMES ............................................... 32 2.3 QUAND LA TRANSGRESSION BOUSCULE LES LIMITES DES SÉRIES TÉLÉVISÉES ............................ 36 3 CHAPITRE 3 : CADRE THÉORIQUE ET MÉTHODOLOGIE : COMMENT UTILISER L’INTERSECTIONNALITÉ DANS LES ÉTUDES MÉDIATIQUES ? ..................................................... 3.1 POSITIONNEMENT .................................................................................................................. 41 3.1.1 Identité ............................................................................................................................. 42 3.1.2 Normativité et matrice hétérosexuelle ............................................................................... 43 3.1.3 Norme et hégémonie ......................................................................................................... 44 3.1.4 L’oppression et le domaine hégémonique du pouvoir ........................................................ 47 3.1.5 L’intersectionnalité comme outil d’analyse pour les séries télévisées : Patricia Hill Collins et Sirma Bilge ................................................................................................................................ 48 4 CHAPITRE 4: ANALYSE DE LA SÉRIE ORANGE IS THE NEW BLACK : LA DIVERSITÉ EMPRISONNÉE .................................................................................................................................................... 4.1 DESCRIPTION DE LA SÉRIE TÉLÉVISÉE ..................................................................................... 54 4.2 DIVISION RACIALE, LA SYMÉTRIE DE LITCHFIELD .................................................................... 59 4.2.1 WAC pack : « Just pretend it’s the 1950s. It makes it easier to understand »...................... 60 4.2.2 Analyse du personnage de Piper Chapman ....................................................................... 64 4.2.3 « Oh, don’t get all PC on me. It’s tribal, not racist » ......................................................... 66 4.2.4 Analyse du personnage Tiffany « Pennsatucky » Doggett .................................................. 71 4.2.5 « I only accept Visa, Mastercard or Mountain Dew » ........................................................ 72 4.2.6 Analyse du personnage Poussey Washington .................................................................... 76 4.2.7 « They didn’t even say her name » .................................................................................... 78 4.3 CONCLUSION DU CHAPITRE .................................................................................................... 85 5 CHAPITRE 5 ANALYSE DE LA SÉRIE TRANSPARENT : DE LA TRANSPARENCE À LA VISIBILITÉ ............................................................................................................................................................ 5.1 DESCRIPTION DE LA SÉRIE TÉLÉVISÉE ..................................................................................... 87 5.2 ANALYSE INTERSECTIONNELLE DU PERSONNAGE DE MAURA................................................... 92 5.2.1 « This is my father, and he’s a woman. He has every right to be in this bathroom » ........... 97 5.2.2 « Man on the land! Man on the land! Man on the land! » .................................................. 99 5.2.3 « I can’t pat her down. She’s got a penis » ...................................................................... 103 5.3 ANALYSE INTERSECTIONNELLE DU PERSONNAGE D’ALI PFEFFERMAN : DANS LES MÉANDRES DE L’IDENTITÉ ....................................................................................................................................... 106 5.3.1 « You’ve been queer for, like, 30 seconds » ..................................................................... 109 5.3.2 « It’s basically like intersectionality as the holy other »................................................... 110 IV 5.3.3 « Men on one side, women on the other » ........................................................................ 113 5.3.4 « Maybe it runs in the family. It’s like dyslexia. You’re born with it; you can’t help it » ... 116 5.4 CONCLUSION DU CHAPITRE .................................................................................................. 119 6 CONCLUSION DU MÉMOIRE ......................................................................................................... 121 7 BIBLIOGRAPHIE................................................................................................................................. 126 V Liste des figures Figure 1 : photogrammes [28:00 et 28:47] (S1E09) tirés de la série Orange is The New Black (Jenji Kohan 2013-)
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