Il est question d’analyser une tendance marquée des séries de science-fiction contemporaines, qui proposent un récit complexe et feuilletonnant, impliquant une intense participation de la part des spectateur.ice.s ; ces dernie.re.s se voient promettre, via l’énigme, la quête et/ou le voyage dans le temps, un dénouement qui serait la conséquence logique des évènements mis en scène. Au travers des énigmes de Lost (2004-2010, ABC), de la quête des humains dans Battlestar Galactica (2004-2009, Sci-Fi) ou de l’utilisation du voyage dans le temps dans Doctor Who (2005- ?, BBC1), il est possible de déceler des mécanismes narratifs visant à entretenir l’illusion d’une progression réfléchie vers un dénouement tantôt mis en avant, tantôt repoussé, dans un contexte de production où les scénaristes ne sont pas maîtres de leur récit. Babylon 5 (1993-1999, TNT), série dont le récit a été effectivement prévu à l’avance, sert de maître-étalon, tandis que Fringe (Fox, 2008-2013) permet d’envisager les limites de cette tendance. La capacité de ces programmes à construire une « intrigue macroscopique » à l’échelle de la série toute entière, éclaire plus largement les processus narratifs à l’œuvre dans la majorité des séries narrativement complexes contemporaines (au sens de Mittell). Au fil des liens avec l’intrigue des cycles littéraires, et d’une méthodologie centrée sur la visualisation de l’intrigue macroscopique, on peut, en s’appuyant sur une narratologie des séries télévisées encore expérimentale, entrevoir une poétique de l’écriture prospective télévisuelle. Dans une perspective contextualiste, il est vital de garder en vue les conditions d’écriture, de production et de réception de ces objets atypiques ; en retour, ces récits prospectifs apportent un nouvel éclairage au projet d’une narratologie transmédiatique porté par les études contemporaines du récit. / The aim of this work is to analyse a specific trend in contemporary science-fiction TV series : narratively complex programs (Mittell) that require an increased investment from the viewer and seem to make the promise of a logical and fulfilling ending where truth is revealed, quests are achieved and time-travel paradoxes are resolved. Looking at the mysteries from Lost (2004-2010, ABC), the quest of the Thirteenth Tribe in Battlestar Galactica (2004-2009, Sci-Fi) or the never-ending use of time-travel in Doctor Who (2005- ?, BBC1), it is possible to isolate narrative mechanisms that alternately foreshadow and defer the ending, in a world where writers can’t have full control over the plot. Babylon 5 (1993-1999, TNT), a show written in advance by its creator, will be our Rosetta Stone, while Fringe (Fox, 2008-2013) will take us to the edge of that growing trend. These programs’ ability to construct a “macroscopic plot” on the scale of the entire series, shines a light on narrative process operating in the majority of narratively complex TV series. Taking a closer look at research on literary cycles, and creating narrative diagrams to visualize this macroscopic plot, it is possible to outline a poetic of prospective writing, drawing on television series narratology. Following a contextualist view, it is important to consider the writing, production, reception of these programs; in return, studying macroscopic plots in TV series can give new clues for transmedial narratology (Herman).

L’adaptation existe depuis les débuts du cinéma. Dès lors, le nombre de versions filmiques d’œuvres littéraires ne cesse de croître et l’adaptation reste au cœur de la production cinématographique partout dans. Toutefois nous constatons que l’adaptation se trouve dans une situation quelque peu paradoxale. Ce qui motive sa conception est également à l’origine de la majeure partie des critiques. D’une part, le bénéfice économique est évident. La notoriété d’un roman à succès garantit un public nombreux. D’autre part, le contexte créatif se révèle difficile car, du point de vue ontologique, l’adaptation préserve la comparaison traditionnelle en s’appuyant sur un paradigme oppositionnel des arts où le film se doit de se justifier face au texte source. Se situant à la croisée des arts, l’adaptation focalise un débat sur une hiérarchie notionnelle des arts où la narration à travers des images serait toujours perçue comme inférieure aux autres formes. Dans cette thèse, nous étudions ce phénomène dans le contexte de la résurgence de la fantasy lors des années 2000. Ce fait culturel du monde anglophone atteindra un niveau inattendu au cinéma avec le succès des adaptations des romans de J. R. R. Tolkien et de J. K. Rowling tandis que la réception des versions filmiques des œuvres de C. S. Lewis peut paraître mitigée. À partir de ces constats, nous nous interrogeons parallèlement sur le processus et le produit de l’adaptation en plaçant notre corpus au centre du débat à travers une approche descendante de comparaison. Nous espérons ainsi pouvoir apporter quelques éléments de réflexion sur l’engouement du public pour ces histoires et sur l’adaptation comme domaine d’étude. / Adaptation has been a part of cinema since its very beginning. Since then, the number of film versions of literary works which appear on screen has never ceases to increase and adaptation is still at the heart of cinematic production around the world. Adaptation actually exists in a rather paradoxical situation. What motivates its conception is also the source of the majority of criticism against it. On one hand, the economic advantage is clear. The fame of a popular novel guarantees a large audience. On the other hand, its creative context can prove to be difficult since ontologically adaptation serves to preserve the traditional comparison based on an oppositional paradigm of the arts where the film has to justify itself in front of the source text. Standing at a crossroads between the arts, adaptation is the focus of a debate on a notional hierarchy within the arts where narration through images could still be perceived as inferior compared to other forms.We wanted to study this phenomenon within the context of the resurgence of fantasy witnessed in the 2000’s in this thesis. In the English-speaking world this cultural event reached an unexpected level with the success of the adaptations of J. R. R. Tolkien and J. K. Rowling’s novels while the film versions of C. S. Lewis’ works were less well received. With these points in mind, we consider the process and the product of adaptation in order to situate our corpus in the debate through a top down approach of comparison. We thus hope to bring some elements of reflections on the craze for these stories and the domain of adaptation studies.

Films, séries télévisées ou jeux vidéo, les fictions audiovisuelles populaires encouragent et alimentent la consommation de produits culturels variés, apparentés instinctivement à un univers fictif, une marque, un genre ou une organisation spécifique. L’analyse de ce réflexe au moment de la réception permet de mettre au jour les mécanismes établissant les liens entre les œuvres, au moyen du concept central de marqueur, élément en apparence anodin dans la fiction mais fondant une allusion compréhensible sous certaines conditions. L’étude des stratégies de réduction du risque mises en place par les organisations produisant les fictions audiovisuelles montre que les marqueurs jouent un rôle essentiel dans la conception, la production et la mise sur le marché de ces produits culturels, sans en garantir systématiquement le succès, difficilement mesurable. Ces stratégies autorisent, voire encouragent un usage et une appropriation ludique des marqueurs qui conditionnent l’exploration des univers fictifs (parfois génériques) de la culture populaire par ses publics, et sa réutilisation par ses créateurs. / Be they video games, movies or TV shows, popular audiovisual fictions encourage the consumption of diverse cultural works, instinctively linked to a specific fictitious universe, brand, genre or organisation. Analyzing this audience’s reflex leads to the inner working of how cultural products are linked together, thanks to an apparently innocuous element which indeed supports an allusion. This marker, as we will call it, can be understood as such only under certain conditions. When it is, it can play a central role in the risk-reduction strategies implemented by entertainment industries during the design, production and marketing of mainstream fictions, with no guarantees of of a success that can hardly be summed up by box-office numbers. These strategies, in turn, promote a playful use of markers in fictions, allowing the audience’s exploration of popular culture universes, and their recycled use as allusions by creative teams in the TV show, film and video game industries.

La pratique documentaire trouve de nouveaux canaux au-delà de l’écran de cinéma. Grâce à ces différents moyens, le documentaire ouvre des espaces en ligne et hors ligne pour la construction de sens à travers des collaborateurs, y compris l’auditoire. Le projet documentaire transmédia Who is Dayani Cristal ? a été choisi pour comprendre les ressources d’un projet s’intéressant à l’activisme, et plus précisément, dans ce cas-ci, aux problématiques migratoires. Dans le cadre de cette recherche, ce projet sera analysé en tant qu’i-Doc à travers une méthodologie multimodale, ce qui favorisera le discernement en lien avec la construction de sens par les créateurs du projet ainsi que par les collaborateurs qui y participent. Cette co-construction de sens mobilise des valeurs qui rassemblent des participants qui ne sont pas nécessairement dans le même contexte géographique, mais qui deviennent une communauté dans le cadre de la collaboration polyphonique de ce documentaire transmédial. À travers des significations modales et leurs fonctionnalités dans l’ensemble d’un projet interactif non fictionnel à des fins politiques, les espaces ouverts à la co-création de sens offrent les circonstances pour engager les publics vers le changement social. Ainsi, le documentaire transmédia et sa nature interactive peuvent favoriser la rencontre de participants qui prennent conscience de la nécessité d’agir et se mobiliser par un mimétisme politique. / Documentary practice finds new media beyond the cinema screen. Through these different channels, the documentary opens online and offline spaces for the construction of meaning through collaborators, the audience included. The transmedia documentary project Who is Dayani Cristal? was chosen to understand the resources of a project aimed at activism, in this case on migration issues. Within the framework of this research, this project will be analysed as an i-Doc through a multimodal methodology which make possible the discernment about the construction of meaning by the creators of the project as well as by the collaborators who participate in it. This co-construction of meaning mobilizes values that bring together participants who are not necessarily in the same geographical context, but they become a community within the framework of the polyphonic collaboration of this transmedial documentary. Through modal meanings and their functionalities throughout a non-fictional interactive project for political purposes, open spaces encourage co-creation of meaning providing the circumstances for audiences to engage in social change. Thus, the transmedia documentary and its interactive nature can motivate the meeting of participants who become aware of the need to act and mobilize themselves through a kind of political mimesis.

[pt] Com foco em processo criativo e transmidialidade, esta pesquisa propõe investigar a dinâmica criativa irreversível impulsionada por Lewis Carroll, através de suas duas obras aclamadas, as Alices. Da era vitoriana à arte contemporânea, Wonderland e Looking-Glass se mantêm em devir, reinventadas nas mãos de artistas que, inspirados pelo universo do autor, mesclam realidade e ficção ao integrar a biografia à obra. O fenômeno cultural se torna transmidiático, não de maneira estratégica e centralizada, mas de forma orgânica e caótica, através de inúmeros produtores visuais dispersos no tempo e no espaço. Muitos desses produtores têm formação em design e, ao atuarem em áreas correlacionadas e mídias diversas – como ilustração, fotografia, arte, cinema e games –, parecem desenvolver uma atitude projetual criativa que os permite colaborar com o fenômeno cultural em expansão. Propõe-se, assim, identificar não só as convergências e divergências entre linguagens visuais e mídias, como o pensamento do produtor visual em seu fazer projetual, artístico e poético. Ao mapear exemplos da visualidade de Alice, a intenção é a de delinear as características dessa dinâmica, que, através da repetição e dos desvios, permite à narrativa uma constante ressignificação. Acredita-se que, como obras abertas à iniciativa do leitor e do artista, as histórias nonsense contribuam como elementos catalizadores de novos processos criativos: na dinâmica de Alice, criam-se novas relações de autoria e coautoria, de produção, recepção e mediação. Ao fazer reverberar, sobretudo, diferentes vozes interdisciplinares, esta pesquisa pretende apresentar uma abordagem teórica, crítica e filosófica sobre questões da pós-modernidade presentes em Alice. / [en] Focusing on the creative process and transmedia, this research proposes investigating the irreversible creative dynamic driven by Lewis Carroll through his two acclaimed works: the Alices. From the Victorian era to contemporary art, Wonderland and Looking-Glass continue to be reinvented through the hands of artists who, inspired by the author s universe, mix reality and fiction by integrating biography into the artwork. The cultural phenomenon becomes transmedia, not in a strategic and centralized way, but organically and chaotically, through countless visual producers dispersed in time and space. Many of these producers are designers working in related areas and different media – such as illustration, photography, art, cinema and games –, who seem to develop a creative design attitude that allows them to collaborate with the expansion of the cultural phenomenon. The proposal includes identifying convergences and divergences not only between visual languages and media but also between the ideas and thoughts of the visual producers, during their artistic and poetic work in process. By mapping examples of the multiple visuality of Alice, the intention is to outline this dynamic s characteristics, which, through repetition and deviations, allows the narrative to be continuously reframed. It is believed that, as works that are open to the initiative of the reader and the artist, the nonsense story contributes as a catalyst element for new creative processes: in the Alice dynamic, there are new relationships of authorship and co-authorship, of production, reception and mediation. By echoing mainly different interdisciplinary voices, this research aims to present a theoretical, critical and philosophical approach to postmodernity issues present in Alice.

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The study is practice-led in visual art and it explores the impact of intermediality to validate that new knowledge emerges via processes that lead to possibilities of transformative hybridity. Intermediality was established and generated through a productive reciprocity between practice and theory as well as between analogue and digital art. The research created a community of enquiry through an exhibition entitled TRANSCODE: dialogues around intermedia practice (2011) in order to model innovative approaches towards improvement of transmedial artistic practice. The diversity of work by artists involved in this exhibition allowed exploration of a range of creative processes to investigate and understand characteristics of productive intermediality. The concept of transcoding in this study was derived from Deleuze and Guattari, which describes how one milieu functions as a foundation for another, implying an intermedial tension. TRANSCODE alludes to the mediation that transcribes meanings across boundaries and within complexity. Selected characteristics of narratives, space, embodiment and visual systems were researched through the lens of mediamatic thinking, which refers to thinking via media. The study proposes that intermediality is best seen as a construct of the tensional differences that become enriched within the grey areas. In applying Deleuze and Guattari‘s metaphor of the rhizome and Tim Ingold‘s concept of the mycelial mesh, the research project not only prompted structured collective thinking through practice, but also captured various case studies relevant to practice-led methodology. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

Tato diplomová práce, ​Byla, nebyla jedna firma, a ta se jmenovala Patagonie​, se zabývá případovou studií outdorové značky Patagonia a jejích aktivistických transmediálních obsahových projektů, s důrazem na nejaktuálnější kampaň značky: ​Zachraňte Bears Ears​. Park Bears Ears je obdobou české chráněné krajinné oblasti, jejíž status ale současný americký prezident Donald Trump nedávno neautorizovaně sebral. Zatímco se firma zabývá výrobou a prodejem kvalitního outdoorového oblečení, tak se Patagonie ve stejnou dobu také aktivně angažuje do veřejného dění. Firma informuje své zákazníky zejména o stavu životního prostředí prostřednictvím svćyh multimediálních poutavých příběhů nesoucí prvky žurnalistiky. Patagonie usiluje o podněcování veřejnosti a ostatních firem zapojovat se do občanské společnosti, změnit spotřební chování nejen zákazníků, ale i výrobců, s konec̆ným cílem udržitelné ochrany této křehké planety, kterou my všichni obýváme. Patagonie potvrzuje své altruistické odhodlání prostřednictvím svého oficiálního firemního hesla: "Jsme v businessu, abychom zachránili planetu."

Diploma thesis The Relationship between the Computer Game and its Audiovisual Pattern deals with the similarities and differences between the computer games and audiovisual works. The thesis presents some theories reflecting different points of view to the influence and blending of these media forms. Those theories are the base for a suggestion of typology of games and movies adaptations that were made according to a pattern. In each of three suggested categories, there are mentioned some particular examples of computer games that were inspired by movie or series and also examples of movies that were inspired by computer game. The final chapter is a case study which compares the computer game Lost: Via Domus to its audiovisual pattern - series Lost.

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