"Eight years ago, Sheila Buckworth's ten-year-old son, Michael, disappeared with another young boy. The authorities classified them as runaways--no ransom note, no reason to believe they were abducted. Now, Sheila thinks she knows what happened to Michael and wants Donald Youngblood to prove it. The case soon intersects with an FBI terrorist investigation when Youngblood and sheriff's deputy Bill Two-Feathers find themselves in the desert of southwest Arizona on the Tohono O'Odham Indian Reservation uncovering a sinister plot to inflict damage on the U.S. government. Racing against time to discover the lair of the terrorist group known as the Midnight Riders, Youngblood and the FBI must thwart the plan before the group can execute its "big event." Meanwhile, Youngblood's adopted daughter, Lacy, asks him to investigate the death of a classmate. Clay Carr, a local all-state football player, has crashed his car and killed his girlfriend. As Clay remains in a coma, Youngblood learns the crash was no accident. Working with his police-detective wife, Mary, he travels through a maze of dead ends trying to find the person responsible. Juggling two cases at the same time is nothing new for Donald Youngblood, who once again proves he is up to the tast."--BOOK JACKET. / https://dc.etsu.edu/alumni_books/1006/thumbnail.jpg

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(in English): This work will consist in an analysis of the antiheroes in modern French literature, especially in "Roman Noir". Before treating the topic of antiheroes in mystery fiction we will describe the history of this type of protagonists in world literatures, from the classic literature to the modern one. To be able to understand the problematics of antiheroes in Roman Noir, we will also describe the history of French mystery fiction. Regarding the analysis of antiheroes in this sub- genre of crime fiction, we will start with the character of Maigret. Although the novels of G. Simenon are not real Romans Noirs, we consider them as a "passage" of the detective novel - in the traditional sense - to the Roman Noir. Furthermore, in this work, we will analyze characters of real Romans Noirs; first, the crude and surprising behavior of Nestor Burma, a famous character of Léo Malet, then the mediocrity of protagonists of the novels Morgue pleine and Le Petit Bleu de la côte ouest of Jean-Patrick Manchette, and finally, Fabio Montale, an atypical investigator from a novel series of the late twentieth century written by Jean-Claude Izzo.

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Ce mémoire est une description et une analyse de la mise en scène dans trois films screenlife – Unfriended (Leo Gabriadze, 2014), Unfriended: Dark Web (Stephen Susco, 2018) et Searching (Aneesh Chaganty, 2018) – qui est principalement défini par les interfaces utilisateur graphiques (IUG) affichées dans les représentations des enregistrements d'écran d'ordinateur par lesquels ces films sont définis. Le but de cette étude était de découvrir – en utilisant la recherche sur les IUG par Lev Manovich et Anne Friedberg – comment la nature modulaire des médias numériques – vidéo, photo et texte – positionnés à l'intérieur de chaque IUG permet de transposer certaines conventions cinématographiques, techniques de narration et de roman policier sur les IUG. La recherche révèle qu'en raison des IUG (associées au système d'exploitation et à des applications), certaines traditions narratives ont été présentées de manière multiple, simultanée et superposée dans la mise en scène, par opposition à la manière singulière et séquentielle que les films ont généralement représenté le temps et l'espace en montrant un plan à la fois. Le premier chapitre raconte l'histoire du film screenlife et comment il a connu plusieurs itérations en raison de ce qui avait pu être affiché dans les IUG à différentes périodes entre 2002 et 2018, notamment les types d'appels vidéo, de sites Web et de médias sociaux. Le deuxième chapitre propose une mise en scène screenlife qui divise l'espace de l'écran en trois niveaux pour articuler comment les traditions cinématographiques et narratives ont été transposées dans Unfriended, Unfriended: Dark Web et Searching. Le troisième chapitre est une continuation de ce processus, mais avec un accent sur les techniques de roman policier, les indices et les fausses pistes, présents dans chacun de ces trois films screenlife. La description et l'analyse confirment que ces traditions de mystification sont également transposées dans les IUG de manière multiple, simultanée et superposée à partir de la manière singulière et séquentielle dont elles ont été présentées dans les romans policiers et les films policiers traditionnellement tournés. / This master’s thesis is a description and analysis of the mise en scène in three screenlife films – Unfriended (Leo Gabriadze, 2014), Unfriended: Dark Web (Stephen Susco, 2018) and Searching (Aneesh Chaganty, 2018) – that is primarily defined by the graphical user interfaces (GUIs) displayed within the representations of computer screen recordings these films (and this format) are defined by. The purpose of this study was to find out – using the research into GUIs by Lev Manovich and Anne Friedberg as a framework to interpret the space within a computer screen – how the modular nature of individual digital media – video, photo and text – positioned within each GUI permit certain cinematic conventions, storytelling and mystery fiction techniques to be transposed onto a computer screen’s interfaces (GUIs). The research reveals that due to the GUIs (associated with the computer’s operating system and its various applications) certain narrative traditions have been presented in a multiple, simultaneous and overlapping way within the mise en scène as opposed to the singular and sequential manner that films have typically represented time and space by showing one shot, one spatio-temporality, within the frame at a time. The first chapter recounts the history of the screenlife film and how it has had several iterations because of what had been possible to display within GUIs at various periods between 2002 and 2018, notably the types of video calls, websites and social media. The second chapter proposes a screenlife mise en scène that divides the screen space into three levels to articulate how cinematic and narrative traditions have been transposed into Unfriended, Unfriended: Dark Web and Searching. The third chapter is a continuation of this process, but with a focus on mystery fiction techniques, clues and red herrings, present in each of these three screenlife films. The description and analysis confirms that these mystification traditions are also transposed into the GUIs in a multiple, simultaneous and overlapping way from the singular and sequential manner that they have been presented in detective novels and traditionally shot mystery genre films.

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