Contenu du sommaire : Fictions politiques

This paper aims at studying RTBF's fake newscast of December 2006 which announced the fictitious end of Belgium as such. It first provides a short presentation of the programme and dwells briefly on its context before it puts it under scrutiny as an argumentative mechanism. As a matter of fact, the TV viewer is affected by a fictitious emersion impulse that involves three major devices, an enunciative interlocking, fictitious processes and a communicational duality. The study eventually leads to a theoretical debate on opposition between news and fiction, argumentation and narrative with an aim to reassess the reflexive and political qualification of media devices.

This paper tends to demonstrate that Spike Lee's Do the Right Thing and movies directed by African American encouraged by the success of this film, constitute a second Blaxploitation. The issue does'nt consist so much in demonstrating the political dimension of this wave, than to analyze how the fictionalization of these productions contributes to the construction of that political dimension. Indeed, excluding Spike Lee, the directors, after a first movie, tend to diminish their militant rhetoric, in order not to disappear.

The aim of this article is to show how the typical super-hero nowadays is likely to evolve in uchronical narratives – those real stories having been altered into fiction so as to disapprove of their drifts. To do so, the article focuses on what is specific to such works, the way they dissociate themselves from the real while remaining intrinsically meta-fictitious, closely related to remarkable historical issues. Hence the super-hero is likely to evolve into a satirical criticism of American politics, a figure whose beneficent character is being misappropriated to the benefit of denouncing an aspect of America he is supposed to embody.

This article deals with the first volume of comic strip Quai d'Orsay. Chroniques diplomatiques, volume I (Blain, Lanzac, 2010 ). It is not so much a presentation of the narrative of the comic strip itself. It's more an analysis of the way the narrative is told. The article advocates that the way the narrative folds on helps putting forward meaning. In other terms, the choice of dialogues, the way of drawing, the way plates are displayed are all part of the making of the fictitious process and convey a message about the main characters as well as the diplomatic function. More to the point, the paper aims at showing that beyond the cartoon form of a verbal sparring between the Foreign Minister and his Head of Departmental Staff, a critical assessment of political communication comes to the fore alongside a rather technical, bureaucratic and discreet approach to the diplomatic function.

France 3, national and regional television channel, always produced stories about territories in a national way. This role is reflected by the production of specific TV series. In this article, we focus on episodes with a large audience in prime time over the period 2005-2011. Three series stand out : Louis la Brocante, Famille d'accueil, Un village français. Finally, the purpose is to understand how this TV channel produces national political fiction in connection with television producers.

This article aims at showing to what extent the TV serial Plus belle la vie, a France 3 production, can bear a political dimension within an entertaining programme by means of giving a boost to cultural diversity and portraying socio-cultural debates. Hence this case study questions the role the cultural industry is likely to play in conveying political messages within a TV channel whose mission claims a public service character. It also questions the impact a televised fiction may have within the process of making symbolic representations.

This article examines the denunciation of the stereotypes in the TV serial Inside Jamel Comedy Club broadcast in 2009 on Canal +. This fiction focuses on relational production of exclusions within a stand-up troop. It creates an impression of reality by making a pastiche in documentary style and asserting its fictitious aspect through overstatements and satirising of characters. A study of comments hosted on YouTube questions the implications in terms of collective struggle revolving around a pleased/displeased reception of the stereotypical verbal sparring.

For the last two decades the National Police has been pursuing a policy of integrating press relations so as to occupy the media stage. However such a pro-activity is being hindered by tighter and feverish control, primarily exercised by the political supervisory institution. Yet, within the department studied here the bureaucratisation of media relations remains an unfinished task due to the establishment of personal relations between police officials and local journalists and also because of the militancy of Police trade unions.