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Histoire en Séries en VO Anglais

Des émissions proposées, présentées et animées  par 
Morgane JULIA



Émilie Mitran earned her PhD in 2019 from Aix-Marseille University where she teaches American history. She obtained a Master’s degree in American and British History & Literature from Aix-Marseille University in 2012. After spending a year as a French Teaching Assistant at Wellesley College, she passed the Agrégation, and earned a second Master’s degree in Teaching English as a Foreign Language. Her current research focuses on Gouverneur Morris’s private writings, and has involved in addition the translation of Morris’s diary into French -- published by Droz Publishing Company, Geneva. She is interested in the eighteenth-century Atlantic world, the representations of an American identity abroad, and the relationship between digital humanities and history.



Claire Schiano-Locurcio is a PhD candidate at Aix-Marseille University where she teaches early modern British history and literature. She earned a Master’s degree in British and American history & literature from Aix-Marseille University in 2016. Her research focused on female religious life & spirituality within English Poor Clares communities from 1600 to 1750 and led her to work in various conventual archives in Much Birch and Durham University. She published a first article entitled “Entre Réforme Catholique et impératifs de survie : vie religieuse et activisme féminin chez les clarisses anglaises du XVIIème siècle exilées sur le continent”. She is interested in Early Modern French and English monasticism, lived religion and the relationship between spirituality and corporality.


Morgane JULIA

Morgane Julia earned her Master’s degree in British and American History & Literature from Aix-Marseille University in 2019. Her research focused on antifeminist women’s publications in newspapers in 19th Century Great Britain and notably concentrated on finding the elements of their ideology and the ethos they displayed in their texts. This led to an internship in 2018 with the Women & the F-Word research group which studies women’s resistance to feminism. She gave a conference on her research topic at the Bibliothèque Méjanes in Aix-en-Provence in 2019. From 2019 to 2020 she was a Teaching Assistant at Wellesley College.


Histoire en séries en VO ANGLAIS

01 TREME with Aurélie GODET
04 WHEN THEY SEE US with Marion Miclet
05 RIPPER STREET with Florence Largillière
06 LEILA avec Paul Veyret
07 LOVECRAFT COUNTRY with Lucas Cantinelli



with Aurélie Godet

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Aurélie GODET

Ancienne étudiante de l’ENS Lyon et agrégée d’anglais, Aurélie Godet est depuis 2013 maîtresse de conférence en histoire des États-Unis à l’Université de Paris. Après avoir longtemps consacré ses recherches aux idées et aux mouvements conservateurs (une dizaine d’articles + Le Tea Party, livre paru aux éditions Vendémiaire en 2012), elle travaille maintenant sur un sujet bien différent, à l’intersection de l’histoire politique, de l’histoire culturelle et des études urbaines : la fête et ses avatars dans les villes étatsuniennes. Elle est depuis 2019 rédactrice en chef du Journal of Festive Studies, revue internationale d’études sur les pratiques festives. Son prochain livre, Festive City : The Politics of Play in New Orleans, proposera une lecture politique de la fête à La Nouvelle-Orléans du XVIIIe à nos jours. Elle a passé neuf mois à La Nouvelle-Orléans, en 2018 puis 2019, invitée par l’université Tulane.

Former student of the ENS Lyon, Aurélie Godet has worked an Associate Professor of American History at the Université de Paris since 2013. She spent nine months in New Orleans as a visiting researcher at Tulane University. Her research initially focused on American conservative movements and ideas (see her book Le Tea Party, éditions Vendémiaire, 2012) but she recently started researching the political dimensions of US festive practices (see her upcoming book Festive City : The Politics of Play in New Orleans). Since 2019, she has been the lead editor of the Journal of Festive Studies. 

In this episode, Dr Godet talks about the show named Treme, which ran from 2010 to 2013 on cable channel HBO, and discusses the multiple representations of Mardi Gras in the series.


Summary episode 01

Carnival in New-Orleans


02 VO All in the Family

with Dennis Tredy

Those Were the Days of 'Serious Comedy': Norman Lear and All in the Family’

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Dennis TREDY

Dennis Tredy est maître de conférences en littérature américaine à l’Université de la Sorbonne Nouvelle, enseignant d’adaptation filmique à Sciences Po Paris, et co-fondateur de la Société Européenne des Etudes Jamesiennes (ESJS). Il a publié trois volumes sur James, Reading Henry James in the Twenty-First Century (2019), Henry James and the Poetics of Duplicity (2013) et Henry James’s Europe : Heritage and Transfer (2011), ainsi que de nombreux articles sur James et d’autres auteurs américains. Il a également publié des études sur l’adaptation filmique des auteurs américains, ainsi que des études sur la série télévisée américaine, notamment sur la sitcom, sur l’adaptation des émissions radio au milieu du vingtième siècle, et sur la représentation des minorités et de la contreculture dans les années 1950, 1960 et 1970.

Dennis Tredy is an associate professor of American Literature at the Sorbonne Nouvelle in Paris and teaches literature and film adaptation at Sciences Po Paris. He is co-founder of the European Society of Jamesian Studies and has published three volumes on Henry James: Reading Henry James in the Twenty-First Century (2019), Henry James and the Poetics of Duplicity (2014) and Henry James’s Europe: Heritage and Transfer (2011). In addition to his publications on James and on other American novelists, Dennis has published studies on film and television adaptations of the works of Henry James, Edgar Allan Poe, Vladimir Nabokov and other authors, as well as on literary adaptation and radio adaptation for television, on TV series past and present, and on the representation of American culture, diversity and counter-culture in the 1950s, 1960s and 1970s.


Summary episode 2

'Those Were the Days': The Impact of the Series All in the Family on American Television and Culture’'

   This year marks the 50th anniversary of the first episode of All in the Family, one of the most ground-breaking and influential sitcoms ever broadcast on American television and the first of many controversial series and spin-offs from showrunner Norman Lear. The series revolutionized American television, not only by being the most watched prime-time series of the 1970s and winning the most Emmys, but by creating the character of Archie Bunker, the archetype for the loudmouthed American bigot who resists the changing times, along with those of Edith Bunker, Gloria Stivic and Mike Stivic, Archie’s liberal son-in-law. These iconic characters and so many of their breakthrough television moments are common references today in the U.S., yet the series was remarkably never broadcast in France.

   For this podcast then, Ariane Hudelet interviews Dennis Tredy, an Associate Professor at the Sorbonne Nouvelle and Sciences Po Paris, who, though a specialist in Henry James and American literature has also published extensively on American television and culture in the 1950s, 1960s and 1970s. Here, Dennis Tredy takes us down Memory Lane to 704 Hauser Street, the Bunkers’ address, and discusses the impact of All in the Family on American culture and television, both in the 1970s and today, showcasing many short clips of the show’s most memorable and controversial moments.

Bibliography and List of Series Referred to in the Podcast:

Series referred to during the poscast:

All in the Family. Created by Norman Lear and Bud Yorkin. CBS Television City, 1971- 1979. 9 seasons, 205 episodes. Perf. Carroll O’Connor, Jean Stapleton, Rob Reiner, Sally Struthers.

Spin-offs of All in the Family:
Maude. Created by Norman Lear and Bud Yorkin. CBS Television City, 1972-1978, 6

seasons, 141 episodes. Perf. Beatrice Arthur, Bill Macy, Adrienne Barbeau.

The Jeffersons. Developed by Norman Lear. Created by Don Nicholl, Michael Ross and Bernie West. CBS Television City, 1975-1985. 11 seasons, 253 episodes. Perf. Isabel Sanford, Sherman Hemsley, Mike Evans.

Gloria. Created by Joe Garnon, Pat Shea and Harriett Weiss. CBS Television, 1982-1983. 1 season, 21 episodes. Perf. Sally Struthers, Burgess Meredith.

Spin-Offs of Spin-Offs of All in the Family:

Good Times. (spin-off of Maude). Created by Norman Lear, Eric Monte and Mike Evans. CBS Television City, 1974-1979. 6 seasons, 133 episodes. Perf. Esther Rolle, John Amos, Jimmie Walker.

Checking In. (spin-off of The Jeffersons). Created by Mike Milligan and Jay Moriarty. CBS Television, 1981. 1 season, 4 episodes. Perf. Marla Gibbs, Larry Linville.

Sequels & Reboots to All in the Family:
Archie Bunker’s Place. Created by Norman Lear and Bud Yorkin. CBS Television, 1979-

1983. 4 seasons, 97 episodes. Perf. Carroll O(Connor, Martin Balsam, Danielle Brisebois.

704 Hauser. Created by Norman Lear. CBS Television, 1994. 1 season, 6 episodes. Perf. John Amos, Lynnie Godfrey.

Live in Front of a Studio Audience: Norman Lear's All in the Family and The Jeffersons. Prod. Norman Lear and Jimmy Kimmel. ABC, May 22, 2019. Live Performance. Perf Woody Harrelson, Marisa Tomei, Jamie Foxx, Wanda Sykes, Kerry Washington.

Some YouTube links to episodes discussed in the podcast:

The first episode of All in the Family: The early episode on homosexuality (S01E04, “Judging Books by Covers”):
Richard Nixon’s Reaction to episode 4, season 1 (Watergate tape, with captions):

The Sammy Davis, Jr. episode (S02E21):
The Cousin Liz episode (S08E03): Edith’s Crisis of Faith (S08E13 & E14): &



EDGERTON, Gary R. The Columbia History of American Television. New York: Columbia University Press, 2007.

HAMAMOTO, Darrell Y. Nervous Laughter: Television Situation Comedy and Liberal Democratic Ideology. New York: Praeger Publishers, 1989.

HOBSON, Laura Z. “As I Listened to Archie Say ‘Hebe’.” The New York Times. Sept. 12, 1971. Section D, p.1.

LEAR, Norman. “As I Read How Laura Saw Archie.” The New York Times. Oct. 10, 1971. Section D, p. 17.

LEVY, Daniel S. “How a Foulmouthed Bigot Named Archie Bunker Charmed—and Changed—America.” Time Magazine. February 9, 2021. in-the-family-anniversary/

LIFE MAGAZINE EDITORIAL BOARD. “All In The Family: TV's Groundbreaking Comedy.” LIFE Magazine, Single Issue. January 8, 2021.

MCGROHAN, Donna. Archie and Edith, Mike and Gloria: The Tumultuous History of All in the Family. New York: Strauss & Giroux, 1984.

NIXON, Richard. “Richard Nixon on Civil Rights.” October 2011. ‘On the Issues’ Website.

OZERSKY, Josh. Archie Bunker’s America: TV in an Era of Change 1968-1978. Carbondale IL: Southern Illinois University Press, 2003.

ROLSKY, R. Benjamin. “The Return of Archie Bunker.” CNN Opinion. April 26, 2019. trump-era-rolsky/index.html

TREDY, Dennis. “‘Those Were the Days...’: All in the Family and the ‘Primetiming’ of U.S. Diversity and Counterculture.” Expressions artistiques et politiques de la contre- culture: La Contestation en images, 1955-1975. The E.O.L.L.E. Review, Vol. II, n°4 (Dec. 2012 – Jan. 2013).

VON HODENBERG, Christine. “Archie Bunker actually helped race relations: How All in the Family led to Key and Peele." Salon (Sept. 9, 2015). w_all_in_the_family_led_to_key_and_peele/

Related Articles by Dennis Tredy:

On the many ground-breaking sitcoms of the 1970s:
Tredy, Dennis. “Reflecting the Changing Face of American Society: How 1970’s Sitcoms and Spin-Offs Redefined American Identity”, TV/Séries. Vol 4 (Dec. 2013).


On early LGBTQ TV representation in the 1970s:
Tredy, Dennis. “’Kind of a Drag’: Gender-Bending in the Early 1970’s American Sitcoms (with a special focus on ABC’s The Odd Couple and CBS’s M*A*S*H”, Représentations, revue électronique du CEMRA, Université Stendhal Grenoble III (January 2017).

On M*A*S*H and military sitcoms:
Tredy, Dennis. “’War, What Is It Good For?’— The Development of the Military Sitcom in the 1950s, 1960s and 1970s.” TV/Séries vol. 10b: Guerres en Séries II (Oct. 2016).



With Justine BRETON


Justine Breton

Justine Breton is a lecturer in French literature at the University of Reims Champagne-Ardenne (INSPE de Troyes). She studies medievalist and fantasy productions, in particular audiovisual adaptations of the Arthurian legend. She is the author of The King Who Was and Who Will Be. Representations of Arthurian power on small and large screens (Classiques Garnier, 2019), and has signed with Florian Besson the works Kaamelott, a history book (Vendémiaire, 2018) and A story of fire and blood. The Middle Ages of Game of Thrones (PUF, 2020).


Summary episode 3

Presentation of  Disenchantment
Princess Bean
The world of Disenchantment 
Not a “dreamy” image of the Middle Ages...
Rewriting fairy-tales
The future of the show

This episode presents the Netflix TV series Disenchantment (Désenchantée), an animated program directed by Matt Groening, creator of The Simpsons and Futurama. We study the way the series present a twisted fairy-tale world based on our contemporary view of the Middle Ages: in this satirical representation, the supposedly wonderful realm of Dreamland is filled with poverty, death and obscurantism, all linked to the traditional image of the medieval period as a time of ignorance and violence. The initial appearance of a wonderful medievalist world is just that: an excessive appearance made to create laughter, but which does not hide the reality of our own disillusioned expectations about the Middle Ages. In this dark world, the series follows Princess Bean, an alcoholic bored teenager who just aspires to a normal and rebellious life with her elf friend Elfo and her personal demon Luci. The madcap adventures of this resolutely different kind of princess mix traditional fantasy tropes, postmodern rewritings of fairy-tales and mythological legends, but also pop-culture references and ironic discrepancies between the Middle Ages and our contemporary society. Histoire en séries en VO welcomes you to Dreamland.

Although The Simpsons is a frequently studied TV show, Matt Groening’s other series do not arouse a lot of interest from academia. But interesting points about Disenchantment, Groening’s works, rebellious heroines, fairy tales or fantasy will be found in these studies:

Bacchilega Cristina, Fairy Tales Transformed? Twenty-First Adaptations and the Politics of Wonder (Detroit: Wayne State University Press, 2013).

Bassil-Morozow Helena, “Persona and Rebellion in Trickster Narratives. Case Study: Fleabag (BBC 2016-2019)”, in Persona Studies, 6 (1), 2019, p. 30-42.

Besson Anne (ed.), Dictionnaire de la fantasy (Paris : Vendémiaire, 2018).

Henry A. Matthew, The Simpsons, Satire, and American Culture(New York, Palgrave Macmillan, 2012).

Lemoine Émilie, « Génériques & ‘teen series’: le désenchantement du monde », in Réjane Hamus-Vallée and Alexandre Vuillaume-Tylski (eds.), L’art des génériques [Télélvision], Revue CIRCAV n°28, Univeristé de Lille, Paris, L’Harmattan, 2019, p. 67-85.

Schlegel Christian, Futurama : Looking Backward at Present Day America (Anchor Academic Publishing, 2014).


04 VO When they see us

avec Marion Miclet

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Marion Miclet is a French-Irish writer based in London. She is the author of Binge Watching New York & Binge Watching London (Abrams, 2019), a socio-cultural analysis of the two cities inspired by TV series. She has a Masters from Sciences Po Lyon and studied American film and television history at UCLA, UPenn and Paris 7. Before moving to London in 2015 to work at Sky TV, she spent five years in New York as editorial assistant at the Museum of the Moving Image. She is now a TV critic for Le Point Pop.


Summary episode 4

1) When They See Us by Ava DuVernay: Presentation and Dramatization of the Central Park Five case
2) Contextualization of the events
3) A terrible miscarriage of justice
4) The role of the media and the construction of an urban myth
5) The genre of true crime


05 VO Ripper Street

avec Florence Largillière



I am a researcher specialised in modern European history with a focus on the years 1870-1945 and Jewish communities. More specifically, I study the social and cultural history of these decades – I am especially interested in people’s history and their experiences of the post-war years, immigration, and nationalism. I recently started to work on the representation of history in popular culture and media, and I am now developing a project on the experiences and representations of veterans suffering from shell-shock and PTSD and their families.  

I recently completed a PhD in Modern European History at Queen Mary, University of London under the direction of Professor Julian Jackson and Dr Daniel Wildmann. Entitled ‘Conservative Jews and their Nation: A Comparative Study of France, Germany, and Italy from 1918 to 1942’, it looked at how patriotic, assimilated Jews defined, presented, and adapted their Jewish and national identities in the interwar years and after the implementation of Racial Laws. Before that, I completed a Research Master in History at Sciences Po Paris (with Professor Marc Lazar) and an MPhil in Modern European History at the University of Cambridge (with Dr John Pollard). 

You can find me on Twitter (@Firenze_L) and here:


Summary episode 05

  1. Presentation of the show (focus on the first couple of seasons)

When it starts (1889) – Jack the Ripper not at the centre

Main characters

Format of the shows in its first two seasons (“crime of the week”). 

Diversity of themes covered (social inequalities, photography, prostitution, antisemitism, eugenics, immigration, etc.) 

  1. Context 

  • London, and specifically Whitechapel, in the late Victorian era

= the largest city in the world. 

East end = the Docklands and industries, the working poor

Whitechapel manufactured as a site of gothic horror, depravity, and danger but a very diverse neighbourhood

  • A word on the police force

= Who were they? What were the main issues at the time? 

  1. Historical (in)accuracy in Ripper Street

  • What the creators were looking for and how they worked with historians 

Richard Warlow relying on historical consultants, but more to know what to keep or “throw away” as creators and story-tellers (example of Joseph Merrick’s episodes)

  • Give a few examples: Captain Jackson, Lobotomy, child trial

The role of dialogue => the “sound of the past”

  • How rich the show is for historians

= the diversity of topics covered (mentioned in the intro of this podcast)

  • Develop a couple of examples

Also: a lot of attention to details, to the environment (posters, clothes, streets, markets…)

But still, a very 21st century show, “CSI in the Victorian era” for Dr Jessica Hindes

  1. East London in Ripper Street, an area in constant evolution

  • Scientific evolution

  • Always some degree of ambivalence, innovations/science could be used for better or worse

= the tube, photography and pornography, eugenics, electricity, psychosurgery

  • Political evolution

Especially Socialism and Communism

  • The Dock Strikes of 1889 in context, role of Jewish community here

  • Social evolution

Linked to this fear of class conflict and social disintegration

= role of charities and of the middle / higher classes but also local vigilance committees and patrols

New forms of entertainment = the music halls 

  • Immigration and displaced population

Populations displaced by modernisation = cleaner / more hygienic housing, electricity, railways, tramways… 

Immigration: from China (Opium) 

  • Zoom on the Jewish community: overt antisemitism, an organised community but divisions between assimilated Jews and new comers from Eastern Europe (though not the most visible aspect in the show)



with Paul Veyret

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Paul is a Senior Lecturer in British Literature at Bordeaux 3 University. His research focuses on various topics such as contemporary British authors such as Alex Gardland, Timothy Mo and Kazuo Ishiguro, but also Indian literature and cinema. Paul also co-founded a research group (DESI) dedicated to indian diaspora.


Summary episode 6

Leila: An Indian Dystopian Fiction *

Episode One

  • Topic: set in 2047, Leila is a Post-Apocalyptic, dystopian series, a fascist, nationalistic state has replaced India (Aryavarta: ‘land of the Aryans’) which has replaced democratic rule of law with different forms of apartheid which classifies societies in different castes, numbered from 1 to 5, as well segregates a group of non-cast ‘Doosh’, and physically eliminates Muslims; 

  • As a dystopia, it very obviously refers to present-day Indi, as well as illustrates the consequences of Anthropocene: water has become not only a precious goods, but also a way to discriminate and control the different communities of Aryavarta

  • Centered on a Shalini, a Hindu widow of a Muslim husband, looking for her daughter, Leial, abducted by mysterious goons: plot revolves around her quest and her perception of Aryavarta’s state of affairs

  • Indian-Canadian filmmaker Deepa Mehta *co-produced the series and directed the first to episodes

  • Short summary of her career and focus on Elements trilogy (Fire (1996) Earth(1998)) Water (2005)

  • Common thread*: pov of a marginalised woman on catastrophic events or critical issues concerning plight of women in contemporary India

DM interview about Leila

“What appealed to me about the project was the curiosity towards things I don’t know too much about it,” she told “I think the world is changing radically into a totalitarian ethos and it’s curious to me how it’s happening so rapidly. Whether it’s Turkey, the US or Hungary. Why are things changing so fast? Did the Liberal Left let down people or did we not understand it?” (, 7 June 2019)*

  • Adapted from 2017 novel Leila Prayaag Akbar (journalist, novel praised by Kamila Shamsie, apparently drew insoiration from Ihsiguro’s A Pale of Hills*)*

    • Same themes (and explores question of confessional first-person narrative & plays with defamiliarizing the familiar)

    • Other dystopian fictions: unmapping political landscape, making india or Pakistan unfamiliarThe Handmaid’s Tale: cautionary tale about 80s America*

    • Characterized by //Importance of technology vs environmental disaster: posthumanist 

    • Pakistani fiction // Before She Sleeps (Bina Shah), Snuffing Out the Moon (Osama Siddique) Exit West(Mohsin Hamid) = Deterritorializing and reterritorializing South Asian fiction

    • Importance of creating ‘plausible worlds’ (geocritical reading of India)

  • Importance of political context*

    • 2047 Leila // 2020s India*

    • Ethnic democracy The Hindu nationalist (BJP federation of partoes) takeover of power = a new type of regime, ethnic democracy + Indian form of national-populism embodied by Narendra Modi (+personality cult)

    • Ethnic democracy: replacing Gandian vision of a ‘secular” India with domination of majority group, Hindus (abolition of caste differences), a

    • Obsession with cleansing India of the presence of the Other (impossible to assimilate), ie Muslim

    • Obsession with purity*

    • Reference to historical 

    • foundation of India and 1947 Partition of British raj and creation of separatist Pakistan

    • Existence of ‘inferiority cpmplex’

    • Natural disasters and postapocalyptic: water crisis (very much present in dystopian fiction)

    • Women: bear the brunt of social and political violence

  • Importance of control technology

    • Mixture of crude, archaic world and posthuman control technologies*

  • Importance of geography and topography*

    • Series of boxed in, spaces

    • Importance of walls, partitions, separations

    • Impossible to cross borders: transgressions

    • Social borders: physical borders

  • Episode One

    • Photography (Danish dir of photography Johann Heurlin Aidt)

    • Colour oppositions: blue/grey hues vs drab browns, dun colours// past vs present, *

    • Importance of elements : water (clean vs dirty)// cleansing vs polluting

    • Importance of first scene: initial murder of husband in blue coloured pool and abduction of Shalini’s daughter, Leila

    • Familiar places

      • Women’s ‘shelter’ (//brothel’) with hijras as guards

      • Control of women’s bodies with pills

      • Mind control with repetition of mantras: stress on purity of lineage (blood over soil)

      • Slums (at the end of the episode, where Doosh live)

    • Problematic solidarity among women


  • A biopolitcal reading of present-day India?

    • Zoe vs bios and permanence of ‘state-of-exception’?

    • Women, Muslims and ‘Dossh’ as collective ‘homo sacer’ (disposable beings)

    • Importance of borders, limits and transgressions

  • A geocritical reading of Leila* (Bertrand Westphal)*

    • Creation of a plausible world (text precedes world?)*

    • Question of referentiality and ‘realemes’

      • Familiar/unfamiliar

      • Importance of flashbacks and ‘dream sequences’

      • Question of audience reception and connection with realism

      • Genre fiction as unmapping/remapping Indian subcontient

  • Part of trend in genre Indian series*

    • // Ghoul (horror, 2018), Delhi Crime (true crime, 2019)

// same topics: violence against women and marginalization of Muslims, rise of populism etc.

// India cinema// Anurag Kashyap (Gangs of Wassypour, Raman Raghav 2.0)=vision of India as corrupt and violent place

  • Problematic representation of women*

    • Agency?

    • Re-exoticising violence against women?

    • Netflix and not chill? *

      • (local politics and global audiences)


07 VO Lovecraft country

with Lucas Cantinelli



Lucas CANTINELLI is a Ph.D student at the LERMA (Laboratoire d’Etude et de Recherche du Monde Anglophone) at Aix-Marseille Université. He graduated from his Master’s degree in 2020 and passed the Agrégation in 2021. During his two years of Master’s degree he successively accomplished two Master theses on H.P Lovecraft and Toni Morrison. His current research focuses on Maya Angelou’s and Toni Morrison’s non-fictional work, especially on silences in these works, their manifestations and ruptures.


Summary episode 07

In this episode, he will talk about a TV series entitled Lovecraft Country, based on Matt Ruff’s novel, published in 2016 and sharing its title with the show. Lucas will explain the difficulty to adapt Lovecraft’s work on screen, but also about the expansion of the Lovecraftian universe though screen adaptations. Finally, he will question the essence of monstrosity through the prism of the series and its characters.

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