{"id":19394,"date":"2023-02-06T21:44:22","date_gmt":"2023-02-06T20:44:22","guid":{"rendered":"https:\/\/observatoiredesimages.org\/focus-1-series-francaises-et-diversite\/"},"modified":"2024-07-08T17:48:36","modified_gmt":"2024-07-08T15:48:36","slug":"focus-1-french-series-and-diversity","status":"publish","type":"post","link":"https:\/\/observatoiredesimages.org\/en\/focus-1-french-series-and-diversity\/","title":{"rendered":"FOCUS #1 &#8211; French series and diversity: an improvement yet to confirm"},"content":{"rendered":"<div id='av_section_1'  class='avia-section av-ldsvq760-8507a5175be0d033528789d8facfd3b4 main_color avia-section-default avia-no-border-styling  avia-builder-el-0  avia-builder-el-no-sibling  focus-ensemble avia-bg-style-scroll av-minimum-height av-minimum-height-100 av-height-100  container_wrap fullsize'   data-av_minimum_height_pc='100' data-av_min_height_opt='100'><div class='container av-section-cont-open' ><main  role=\"main\" itemprop=\"mainContentOfPage\"  class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-19394'><div class='entry-content-wrapper clearfix'>\n<section  class='av_textblock_section av-ldt97fep-6aa5f901f0dc0e066590af5bcf55968a '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock retour-focus'  itemprop=\"text\" ><p><a href=\"\/nos-focus\/\">&lt; Retour Focus<\/a><\/p>\n<\/div><\/section>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsvxm3d-d368434b8830d708b949e30b884fd9f4\">\n#top .flex_column.av-ldsvxm3d-d368434b8830d708b949e30b884fd9f4{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n.flex_column.av-ldsvxm3d-d368434b8830d708b949e30b884fd9f4{\nbackground-color:#f5d74b;\n}\n.responsive #top #wrap_all .flex_column.av-ldsvxm3d-d368434b8830d708b949e30b884fd9f4{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n<\/style>\n<div  class='flex_column av-ldsvxm3d-d368434b8830d708b949e30b884fd9f4 av_one_full  avia-builder-el-2  el_after_av_textblock  el_before_av_one_full  numero-ensemble first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsvq00q-c568c5976557b6dec642fa71e0bddbaa\">\n#top .av_textblock_section.av-ldsvq00q-c568c5976557b6dec642fa71e0bddbaa .avia_textblock{\nfont-size:20px;\ncolor:#161616;\ntext-align:right;\n}\n<\/style>\n<section  class='av_textblock_section av-ldsvq00q-c568c5976557b6dec642fa71e0bddbaa '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock numero av_inherit_color'  itemprop=\"text\" ><p style=\"text-align: right;\">FOCUS<br \/>\n#01<\/p>\n<\/div><\/section><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-85qqu-6f04b88d19cb7a8cfcb364bb02831223\">\n.flex_column.av-85qqu-6f04b88d19cb7a8cfcb364bb02831223{\nborder-width:4px;\nborder-color:#f5d74b;\nborder-style:solid;\n}\n<\/style>\n<div  class='flex_column av-85qqu-6f04b88d19cb7a8cfcb364bb02831223 av_one_full  avia-builder-el-4  el_after_av_one_full  avia-builder-el-last  contenu first flex_column_div  column-top-margin'     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsv3l8z-a47a9fe5fe9096a4d231d508255c69b4\">\n#top .av-special-heading.av-ldsv3l8z-a47a9fe5fe9096a4d231d508255c69b4{\npadding-bottom:10px;\ncolor:#b17f49;\n}\nbody .av-special-heading.av-ldsv3l8z-a47a9fe5fe9096a4d231d508255c69b4 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-ldsv3l8z-a47a9fe5fe9096a4d231d508255c69b4 .special-heading-inner-border{\nborder-color:#b17f49;\n}\n.av-special-heading.av-ldsv3l8z-a47a9fe5fe9096a4d231d508255c69b4 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-ldsv3l8z-a47a9fe5fe9096a4d231d508255c69b4 av-special-heading-h1 custom-color-heading blockquote modern-quote modern-centered  avia-builder-el-5  el_before_av_textblock  avia-builder-el-first '><h1 class='av-special-heading-tag '  itemprop=\"headline\"  >French series and diversity: an improvement yet to confirm<\/h1><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsv5zyh-4afbcb8f23c229a3653e439597c564ad\">\n#top .av_textblock_section.av-ldsv5zyh-4afbcb8f23c229a3653e439597c564ad .avia_textblock{\ncolor:#000000;\n}\n<\/style>\n<section  class='av_textblock_section av-ldsv5zyh-4afbcb8f23c229a3653e439597c564ad '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock chapeau av_inherit_color'  itemprop=\"text\" ><p style=\"text-align: justify;\"><strong><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">By Alexandre Diallo, postdoctoral researcher at Paris 1 Sorbonne University, course lecturer at SciencesPo Paris and affiliate researcher of the Maurice Halbwachs Centre (EHESS-ENS-CNRS) and C\u00e9line Morin, senior lecturer, director of the Information- Communication Department at Paris-Nanterre University, affiliate researcher of the HAR \/ Irm\u00e9ccen Laboratory (Paris Nanterre \/ Sorbonne Nouvelle).<\/span><\/strong><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\"><strong>Overview:<\/strong> the consumption of fiction series by the French public comes with two phenomena linked to the influence of images that needs to be reinforced: the strengthening of the importance of female actors in the latest popular fictions and the timid advance of ethnic diversity on screen.<\/span><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsy3oaj-284977359be355e9a0405ab45da8558f\">\n#top .av_textblock_section.av-ldsy3oaj-284977359be355e9a0405ab45da8558f .avia_textblock{\ncolumn-count:2;\ncolumn-gap:5%;\n}\n\n@media only screen and (max-width: 989px){ \n#top .av_textblock_section.av-ldsy3oaj-284977359be355e9a0405ab45da8558f .avia_textblock{\ncolumn-count:1;\n}\n.av_textblock_section.av-ldsy3oaj-284977359be355e9a0405ab45da8558f .avia_textblock.av_multi_colums > p:first-child{\nmargin-top:0.85em;\n}\n}\n<\/style>\n<section  class='av_textblock_section av-ldsy3oaj-284977359be355e9a0405ab45da8558f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock av_multi_colums'  itemprop=\"text\" ><p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Series are among the most popular TV programmes. In 2019, the two highest audience ratings for France 3 were for the airing of Captain Marleau (8,600,000 viewers, corresponding to a 33.6% of audience share on April 9, 2019 and 8,100,000, corresponding to a 30.1% of audience share on October 22, 2019). On TF1, the series Le Bazar de la Charit\u00e9 was the channel&#8217;s 3rd best audience the French team&#8217;s matches at the Women&#8217;s Football World Cup and the entertainment programme Le Monde des Enfoir\u00e9s with 8,200,000 (32% of audience share) on 18 November. These two French series, as well as Julie Lescaut (TF1, 1992-2014), Jos\u00e9phine Ange Gardien (TF1, 1997-) or Plus Belle la Vie (France 3, 2004-) reached ratings close to those of American TV series such as CSI: Crime Scene Investigation (TF1, 2003-2013), Grey&#8217;s Anatomy (TF1, 2006- ) or The Mentalist (TF1, 2010-2015).<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Since the early 2000s, watching series haven crosses age and social boundaries <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">a <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">phenomenon that has only increased since <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">then. As sociological studies underline, series <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">are now adopted even in higher social circles, <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">which, because of their status, originally kept them at a distance. They have now occupied the place that was traditionally <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">held by novels and then by cinema. The <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">consumption of TV series profits from the <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">coexistence of TV channels (terrestrial, <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">cable\u2026) and the presence of streaming <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">platforms (Amazon, Netflix, Apple TV, <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Disney Plus\u2026). Therefore, in 2017, almost <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">70% of 15-24-year-olds, 60% of 25-34-<\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">year-olds, 57% of 35-49-year-olds and <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">50% of 50-64-year-olds watched series in <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">digital version<\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">. The analysis of the supply <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">in France shows that the consumption of fiction series by the French public is <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">accompanied by two phenomena linked <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">to the influence of images.<\/span><\/p>\n<p style=\"text-align: justify;\"><img decoding=\"async\" class=\"size-medium wp-image-1364 aligncenter\" title=\"photo focus 1\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-300x171.png\" alt=\"photo focus 1\" width=\"300\" height=\"171\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-300x171.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-400x228.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1.png 475w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\n<h2 style=\"text-align: justify;\"><strong>Strengthening the importance of actresses in the most popular fictions<\/strong><\/h2>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">First of all, it is worth noticing the very high <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">popularity of series built or carried by female <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">main characters. From Julie Lescaut (TF1, 1992-<\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">2014) to Bazar de la Charit\u00e9 (TF1, 2019), as well <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">as Capitaine Marleau (France 3, 2015-), women <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">are often the main protagonists of popular <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">fiction series. Formerly limited to the role of <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">subordinates or companions, they now occupy <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">complex and multidimensional roles in fictions <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">that range from crime dramas to comedy-<\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">dramas or social series. Historically, female <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">heroines have often been found in series <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">considered low risk by the industry, relegated <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">either to short formats (sitcoms) or to <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">reassuring roles, integrated into a republican <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">order (the policewoman, the officer, the <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">investigator), with classic, non-authoritarian <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">and empathetic gender performances. Today, <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">they remain officers but no longer apologize <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">for affirming themselves (Capitaine Marleau) <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">and they are given expensive formats such as <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">the historical series (&#8220;Le Bazar de la Charit\u00e9&#8221;), a <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">sign of a confident investment by the industry.<\/span><\/p>\n<p style=\"text-align: justify;\"><img decoding=\"async\" class=\"size-medium wp-image-1366 aligncenter\" title=\"photo focus 1\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-300x300.png\" alt=\"photo focus 1 1\" width=\"300\" height=\"300\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-300x300.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-80x80.png 80w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-60x60.png 60w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-36x36.png 36w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-180x180.png 180w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-400x398.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1.png 483w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-80x80@2x.png 160w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-36x36@2x.png 72w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-1-180x180@2x.png 360w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Although they may be well-known, already established in the cinema or in previous fiction series, they can also encourage the rise of actresses. Originally centred on the predominantly white heterosexual woman, these shows (Dix pour cent, Plus Belle la Vie, Profilage, Le Bureau des L\u00e9gendes) now focus on a plural gendered representation, linking different sexualities, professions or ethnicities together. Although still inferior to men&#8217;s representation on the screen, it is therefore becoming more and more in tune with French society.\u00a0<\/span><\/p>\n<p style=\"text-align: justify;\"><img decoding=\"async\" class=\"size-medium wp-image-1368 aligncenter\" title=\"photo focus 1\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-2-216x300.png\" alt=\"photo focus 1 2\" width=\"216\" height=\"300\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-2-216x300.png 216w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-2-288x400.png 288w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-2.png 480w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-2-216x300@2x.png 432w\" sizes=\"(max-width: 216px) 100vw, 216px\" \/><\/p>\n<h2 style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">A slight progress if ethnic diversity on screen\u00a0<\/span><\/h2>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Originally limited to mainly racialised roles <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">(Capitaine Justin N&#8217;Guma in Julie Lescaut), <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">actors from diverse backgrounds are slowly <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">beginning to get access to more varied roles. <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Three popular series launched in 2020 illustrate <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">the relatively good progress made in terms of <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">access to leading roles for actors of diverse <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">backgrounds.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The series Valid\u00e9 (Canal Plus, 2020), with over 20 million downloads on the MyCanal platform, depicts the rap industry and debunks a number of clich\u00e9s about the suburbs, its youth and this musical genre. Inspired by the eponymous film, the series Il a d\u00e9j\u00e0 tes yeux (France 2, 2020) with a predominantly black cast (Lucien Jean Baptiste, A\u00efssa Ma\u00efga, Manda Tour\u00e9) enables the French public to follow the adventures of the Aloka family and thereby to consider societal themes such as ethno-racial mixing and adoption. More recently, the series Narvalo created in September 2020 by Matthieu Longatte on Canal+ gives an uncommon vision of the suburbs, appearing as a normal everyday space without any particular stigma, thanks to a diverse group of actors from different backgrounds. These three examples remain however the exception: only 11% of fictional characters are perceived by viewers as &#8216;non-white&#8217; if France \u00d4 <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">channel is excluded (Barom\u00e8tre de la diversit\u00e9 du <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">CSA, 2019). Yet, French fiction series, in increasing the number of characters from <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">diverse <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">backgrounds appearing on screen, contributes <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">largely to the broadening of this representation <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">and proves its success with (TV) viewers.<\/span><\/p>\n<blockquote>\n<p style=\"text-align: justify;\"><span style=\"color: #000000;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">&#8220;PROGRESS IN FRENCH FICTION SHOULD BE HIGHLIGHTED IN ORDER TO FURTHER<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">ENCOURAGE IT.\u201d<\/span> <\/span><\/p>\n<\/blockquote>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Both of these trends highlight the progress that has been made. They mark the contemporary evolution of series production and are in line with a consumer request made more visible by social media (Twitter, Facebook, etc.). In addition to the fact that the public can now watch fiction depicting a more realistic range of diversity in french society, series allow (TV)viewers to build up an attachment and understanding that are central to social cohesion.\u00a0<\/span><\/p>\n<p style=\"text-align: justify;\"><img decoding=\"async\" class=\"size-medium wp-image-1370 aligncenter\" title=\"photo focus 1\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-3-211x300.png\" alt=\"photo focus 1 3\" width=\"211\" height=\"300\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-3-211x300.png 211w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-3-281x400.png 281w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-3-318x450.png 318w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-3.png 472w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-1-3-211x300@2x.png 422w\" sizes=\"(max-width: 211px) 100vw, 211px\" \/><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsxuh8c-78b9b3b089b942c6034ae37b3e960a5f\">\n#top .av_textblock_section.av-ldsxuh8c-78b9b3b089b942c6034ae37b3e960a5f .avia_textblock{\ncolor:#000000;\n}\n<\/style>\n<section  class='av_textblock_section av-ldsxuh8c-78b9b3b089b942c6034ae37b3e960a5f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock pied-de-page av_inherit_color'  itemprop=\"text\" ><p><span class=\"OYPEnA text-decoration-none text-strikethrough-none\"><strong>The Observatoire des images (Observatory of images)<\/strong> is the first French associative body working on issues of representativeness and on the fight against clich\u00e9s in cinema, television, video games and advertising, including on the internet. <\/span><\/p>\n<p><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">&#8211; Join us: <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">observatoiredesimages.org<\/span><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-76qpq-abb2a81d44e8f55023a6beca1a704ac4\">\n#top .hr.hr-invisible.av-76qpq-abb2a81d44e8f55023a6beca1a704ac4{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-76qpq-abb2a81d44e8f55023a6beca1a704ac4 hr-invisible  avia-builder-el-9  el_after_av_textblock  el_before_av_button '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><br \/>\n<div  class='avia-button-wrap av-ldt1wov9-78a113b6f08e3cf1de20497df8eea959-wrap avia-button-center  avia-builder-el-10  el_after_av_hr  avia-builder-el-last '><a href='https:\/\/observatoiredesimages.org\/focus\/1\/?tmstv=1678876418'  class='avia-button av-ldt1wov9-78a113b6f08e3cf1de20497df8eea959 av-link-btn avia-icon_select-no avia-size-small avia-position-center avia-color-theme-color'   aria-label=\"Download the Focus (PDF)\"><span class='avia_iconbox_title' >Download the Focus (PDF)<\/span><\/a><\/div><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":959,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,2],"tags":[],"class_list":["post-19394","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-focus","category-focus-en"],"_links":{"self":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19394","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/comments?post=19394"}],"version-history":[{"count":3,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19394\/revisions"}],"predecessor-version":[{"id":19396,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19394\/revisions\/19396"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media\/959"}],"wp:attachment":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media?parent=19394"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/categories?post=19394"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/tags?post=19394"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}