ABSTRACT
The former opening credits of the French TV show Les Enfants De La TéLé 1 showed babies gathered together in front of a TV set, one of them kissing the screen. Other TV credits are in a similar vein, notably those of the series Dream On, whose successive shots show the evolution of a child, from baby to adult, in front of a black-and-white television set; or those of Homeland where little Carrie is shown from behind sitting watching TV, particularly attentive to the political images displayed on the screen. This obviously suggests considering both the sociological and cultural issue of generations discovering life through television on a daily basis. Dream On follows this pattern in its very structure, since, throughout the series, old black-and-white clips expressing Martin Tupper’s (played by Brian Benben) childhood memories, feelings, or thoughts are constantly interspersed in the plot.
