Fictions et réalités

La fiction n’est jamais totalement séparée du réel

L’axe « Fictions et réalités » explore la frontière mouvante entre l’imaginaire et le réel. Les êtres humains ont toujours raconté des histoires pour donner un sens au monde, pour s’évader ou pour critiquer la société. La littérature, le cinéma, les séries et les jeux vidéo créent des univers qui, bien que fictifs, résonnent avec nos peurs, nos espoirs et nos questionnements. Les dystopies nous mettent en garde contre des dérives possibles, la science-fiction anticipe les conséquences du progrès, et les récits réalistes reflètent notre quotidien tout en le transformant. Cet axe invite les élèves à interroger la puissance de la fiction : comment influence-t-elle notre perception du réel ? Peut-elle agir sur la société ? Et que révèle notre besoin d’histoires sur la condition humaine ?

📖 Vocabulaire thématique : Fictions et réalités

Ce vocabulaire est essentiel pour analyser des œuvres de fiction, des films, des séries, des romans, des nouvelles ou tout document qui interroge les liens entre réalité, imaginaire et représentation du monde.

Anglais Français
fictionfiction
realityréalité
plotintrigue, scénario
characterpersonnage
settingcadre, décor
narratornarrateur / narratrice
point of viewpoint de vue
dystopiadystopie, contre-utopie
utopiautopie
science fictionscience-fiction
fantasyfantastique, fantasy
magical realismréalisme magique
suspensesuspense
cliffhangersuspense de fin d’épisode
allegoryallégorie
symbolismsymbolisme
escapismévasion, fuite du réel
to blur the linebrouiller la frontière
verisimilitudevraisemblance
suspension of disbeliefsuspension volontaire de l’incrédulité
alternate realityréalité alternative
virtual worldmonde virtuel
artificial intelligenceintelligence artificielle
deepfakehypertrucage
narrativerécit, narration
storytellingart de raconter des histoires
to mirrorrefléter
to distortdéformer
to anticipateanticiper
to warnavertir

📚 Grammaire – Les temps du récit

Pour parler de fictions (livres, films, séries), on utilise principalement les temps du passé, même si l’histoire est imaginaire. Ces temps sont appelés « temps du récit ».

Temps Utilisation Exemple
Prétérit simple Pour raconter des actions ponctuelles et la succession des événements. The main character left her village and went to the city.
Prétérit continu
(was/were + V-ing)		 Pour décrire le décor, l’atmosphère ou une action en cours interrompue par une autre. It was raining when she knocked on the door.
Past perfect
(had + participe passé)		 Pour exprimer l’antériorité ou revenir sur un événement antérieur à l’histoire principale. She had never seen such a strange place before.
Présent de narration
(présent simple / continu)		 Utilisé pour résumer une histoire, notamment à l’oral, afin de rendre le récit plus vivant. So, this woman wakes up in a parallel universe and tries to find her way home.
Discours rapporté Pour rapporter les paroles ou les pensées des personnages. The hero said that he would return.

La fiction comme miroir et marteau dans le monde anglophone

Dans les cultures anglophones, la fiction occupe une place centrale. De Shakespeare à Margaret Atwood, en passant par Charles Dickens, George Orwell ou Toni Morrison, les écrivains ont utilisé l’imagination pour dénoncer des injustices, rêver de mondes meilleurs ou avertir des dangers à venir.

Le XIXᵉ siècle britannique voit le roman social s’imposer : Oliver Twist de Dickens dépeint la misère des enfants des rues et critique les lois sur les pauvres. Aux États-Unis, La Case de l’oncle Tom de Harriet Beecher Stowe contribue à l’éveil des consciences sur l’horreur de l’esclavage.

Au XXᵉ siècle, les dystopies deviennent un genre majeur. *1984* (1949) de George Orwell imagine une société totalitaire où la surveillance est absolue et où la vérité est manipulée. Le Meilleur des mondes (1932) d’Aldous Huxley anticipe un avenir où le bonheur est imposé chimiquement. Plus récemment, La Servante écarlate (1985) de Margaret Atwood décrit une théocratie où les femmes sont réduites à leur fonction reproductrice. Ces œuvres sont nées de craintes réelles – le stalinisme, le nazisme, la montée des intégrismes – et, en retour, elles ont nourri la réflexion politique et philosophique.

La science-fiction a elle aussi un rôle d’alerte. Fahrenheit 451 de Ray Bradbury décrit une société qui brûle les livres, dénonçant la censure et l’abrutissement par les écrans. La série Black Mirror poursuit cette tradition en explorant les dérives technologiques.

Mais la fiction n’est pas seulement critique. Elle offre aussi des échappatoires, des utopies, des mondes où tout est possible. Le Magicien d’Oz, Harry Potter, Le Seigneur des anneaux transportent les lecteurs dans des univers merveilleux. Pourtant, même ces récits d’évasion parlent du réel : le courage, l’amitié, la lutte contre l’oppression.

Aujourd’hui, la frontière entre fiction et réalité devient poreuse. La téléréalité met en scène des vies ordinaires comme des scénarios. Les deepfakes et l’intelligence artificielle créent des images et des voix qui imitent le réel. Les jeux vidéo proposent des univers immersifs qui questionnent la notion même d’identité. Cette hybridation invite à une vigilance accrue : comment distinguer le vrai du faux quand la fiction se déguise en réalité ?

La fiction est donc bien plus qu’un divertissement. Elle est un miroir qui réfléchit le monde et un marteau qui le façonne.

Les dystopies britanniques et américaines, des avertissements politiques

Les dystopies occupent une place prépondérante dans la littérature anglophone. Souvent nées en réaction à des régimes totalitaires ou à des crises sociales, elles projettent dans l’avenir des angoisses bien réelles.

George Orwell (Royaume-Uni) publie *1984* en 1949, après avoir été témoin des dérives du stalinisme et du fascisme. Le roman décrit un monde où Big Brother surveille tout, où la langue est appauvrie pour limiter la pensée, et où la guerre permanente maintient le contrôle. L’expression « Big Brother is watching you » est devenue un symbole mondial de la surveillance.

Aldous Huxley, également britannique, imagine dans Le Meilleur des mondes une société où le bonheur est imposé par une drogue, le soma, et où les êtres humains sont conditionnés génétiquement. Là où Orwell craignait la répression, Huxley redoutait la séduction du confort.

Aux États-Unis, Ray Bradbury écrit Fahrenheit 451 (1953), une société qui brûle les livres pour empêcher les idées de circuler. L’œuvre dénonce la censure et la montée de la culture de masse abrutissante.

Margaret Atwood (Canada) signe avec La Servante écarlate (1985) une dystopie féministe où les femmes sont privées de tout droit. Le roman, adapté en série en 2017, a connu un regain d’intérêt mondial et est devenu un symbole des luttes pour les droits des femmes. Les robes rouges et les coiffes blanches des servantes ont été brandies dans des manifestations réelles.

Ces œuvres ne sont pas de simples divertissements. Elles sont des avertisseurs. En exagérant des tendances existantes, elles nous obligent à réfléchir aux conséquences de nos choix collectifs.

Exercices 

Les conditionnels

 

  • Mettez les verbes au temps qui convient (prétérit simple, prétérit continu, past perfect) : While the detective (examine) the room, he (find) a hidden letter. → While the detective was examining the room, he found a hidden letter.

  • Transformez au discours rapporté : She said, “I will never forget this day.” → She said that she would never forget that day.

  • Traduisez : « L’héroïne se rendit compte qu’elle était déjà allée dans cet endroit en rêve. » → The heroine realised that she had already been to that place in a dream.

 

Corrigé

 

  • While the detective was examining the room, he found a hidden letter.

  • She said that she would never forget that day.

  • The heroine realised that she had already been to that place in a dream.

 

 

Expression écrite

Sujet : In the article “Why We Still Read Orwell’s 1984”, the author says Orwell’s warning feels more urgent than ever. Write a short essay (150-180 words) in which you :

  • Discuss whether dystopian fiction is still relevant today.

  • Give one or two examples of dystopian works (books, films, series) and what they warn us about.

  • Express your personal opinion on the power of fiction to change reality.

Consignes : structurez votre essai (introduction, développement, conclusion), utilisez au moins trois connecteurs logiques et deux expressions du vocabulaire thématique.

Corrigé

Orwell's *1984* continues to resonate because its themes are timeless. But is dystopian fiction still relevant today? I firmly believe it is more urgent than ever.

First of all, dystopian stories act as warnings. They take current anxieties – such as mass surveillance, climate change or the rise of authoritarianism – and amplify them to show where we might be heading. For example, The Handmaid's Tale by Margaret Atwood warns us about the dangers of controlling women's bodies and reducing their rights. Similarly, the series Black Mirror explores how technology can distort our perception of reality. These fictions are not just entertainment; they are allegories that mirror our deepest fears.

Moreover, fiction has the power to shape our imagination and inspire action. Although it rarely changes laws directly, it changes hearts. When protesters use symbols from dystopian novels – like the red robes from The Handmaid's Tale – they transform fiction into a tool of resistance. In my opinion, this is the greatest strength of storytelling: it provides us with a shared language to criticise the present and imagine alternative futures.

To conclude, dystopian fiction remains profoundly relevant. It holds up a mirror to society and warns us about the consequences of our choices. As long as the world is imperfect, we will need stories to remind us what we stand to lose – and what we can still fight for.

Expression orale

"Outside the set" (Hors cadre)

Situation : Vous présentez le document iconographique ci-dessus  : l’affiche du film "Hors cadre" où on  voit le personnage principal, John, debout sur un bateau, touchant un mur peint en forme de ciel. Le mur est un décor de studio immense, et l’image révèle que le monde dans lequel John a toujours vécu est en réalité une gigantesque émission de téléréalité filmée en secret.

Problématique suggérée : How does the film question the boundary between fiction and reality?

Points à aborder :

  • Description (personnage, décor, la révélation du ciel peint).

  • Signification : critique de la téléréalité, du voyeurisme, manipulation des médias.

  • Lien avec l’axe : frontière brouillée entre fiction et réalité, quête de vérité, liberté individuelle.

  • Opinion personnelle : à l’ère des réseaux sociaux, vivons-nous dans un « Hors cadre"» ?

Corrigé

Script de la présentation

Introduction

Good morning.
 The poster shows the main character, John standing on a boat, touching a painted wall that represents the sky. This image is directly connected to the notion “Fictions and realities”. The main question it raises is: how does the film question the boundary between fiction and reality? First, I will describe the poster in detail. Then, I will analyse its deeper meaning. Finally, I will give my personal opinion on whether we are living in our own ““outside the set” (Hors cadre" )today.

Description

Let’s start with the description. In the centre of the poster, we see John, a man in his thirties, wearing a casual shirt. He is standing on a small boat, looking up. With his right hand, he is touching a wall. But this wall is not a real sky: it is a huge painted studio backdrop representing a blue sky with white clouds. The painting is so large that we can see the edges of the set. The boat is floating on water, but the water itself seems to be artificial, part of a gigantic indoor studio. The contrast between the real-looking world and the artificial background is striking. The title appears, suggesting that John’s life is a television programme. The tagline reads: “On the air. Unaware.” This tells us that John does not know he is being filmed.

Signification

The poster is a perfect summary of the film’s message. John has lived his entire life inside a giant television set. His world – his town, his house, even the weather – is controlled by a director. All the people around him, including his wife and his best friend, are actors. This is a criticism of reality television, which was already popular in the 1990s. The film asks: what if entertainment goes too far? What if we turn someone’s life into a show for millions of viewers? It also criticises voyeurism: the audience in the film watches John’s most intimate moments without his consent. Moreover, the poster denounces media manipulation. John is presented as a happy man, but in reality, he is a prisoner. The fake sky he touches symbolises the limits imposed on him. He believes he is free, but his entire reality is constructed. The film therefore warns us against the dangers of a world where images can be manipulated and where the line between truth and spectacle disappears.

Lien avec l’axe

This image perfectly illustrates the notion “Fictions and realities”. In the film, fiction and reality are completely blended. What John believes to be real is, in fact, a scripted fiction. The audience, both inside and outside the film, is forced to question what is genuine and what is fake. The painted sky is the boundary between these two worlds: behind it, there is the real world. John’s journey in the film is a quest for truth and freedom. He must break through the illusion to discover reality. This theme is more relevant than ever today, in the age of social media, where people carefully stage their lives and where fake news spreads easily. The film was ahead of its time in showing how the media can create a false sense of reality.

Opinion personnelle

In my opinion, we are all, to some extent, living in our own “outside the set” (Hors cadre”) On Instagram or TikTok, many people present a perfect, filtered version of their lives. We perform for an invisible audience, just like John. However, the big difference is that John was trapped without knowing it. We, on the other hand, are often aware of the performance. The danger is when we start believing our own fiction. I think the film’s message is a call to authenticity. It encourages us to break through the fake sky – that is, to look beyond appearances and to value truth over spectacle. So, yes, we might live in a sort of “outside the set” ”, but we still have the power to step out of it.

Conclusion

To conclude, the poster of “outside the set”  is a powerful visual metaphor. It shows a man trapped inside an artificial world, about to discover the truth. It questions the boundary between fiction and reality, and criticises a society that increasingly confuses entertainment with life. Seventy years after 1984, and twenty-five years after this film, the warning remains urgent: we must never stop searching for the real, no matter how beautiful the illusion might be.

Thank you.

__________

Exemple de questions de l'examinateur et de réponses

Examinateur : Do you think reality TV today has gone too far?

Élève : In some cases, yes. Some reality shows put participants in humiliating situations just to get high ratings. However, the difference with The Truman Show is that most participants today have given their consent. They know they are being filmed. The ethical issue arises when they are manipulated by producers, or when their private lives are exposed without their full understanding. So, I think there should be stricter regulations to protect people’s dignity.

Examinateur : Why do you think the film remains so popular today?

Élève : Because the theme is universal and even more relevant now than in 1998. With the rise of social media, surveillance and deepfakes, the questions the film asks are no longer science fiction. We all wonder how much of our lives is genuine and how much is performed. The film also offers a hopeful message: that the human spirit can break free from illusion. That’s a timeless message.

Examinateur : Can you imagine a world where everyone is constantly filmed, like in the movie?

Élève : To some extent, we already live in that world. CCTV cameras film our streets, smartphones record everything, and many people voluntarily share their daily lives on social media. However, we are not yet at the level of the film, where every moment is scripted without our knowledge. The real danger is not just being watched, but being manipulated. If algorithms decide what we see and what we think, then we might already be inside a new kind of “Outside the set" society.

Compréhension écrite

Article (adapté de The Atlantic, 2022)
Why We Still Read Orwell’s 1984

Seventy years after its publication, George Orwell’s 1984 remains one of the most influential novels of all time. The story of Winston Smith, a man who tries to rebel against the totalitarian regime of Big Brother, has sold over 30 million copies. Every time a government increases surveillance or limits free speech, sales of the book spike.

Orwell did not just predict the future; he created a language to describe it. Terms like “Big Brother”, “doublethink” (holding two contradictory beliefs at once) and “thoughtcrime” have entered everyday vocabulary. The novel also introduced the idea of “Newspeak”, a simplified language designed to make dissent impossible. “The purpose of Newspeak was not only to provide a medium of expression for the world-view of IngSoc, but to make all other modes of thought impossible,” Orwell wrote.

Some critics argue that 1984 has become a cliché, used by politicians of all sides to attack their opponents. Yet its power endures because it taps into a universal fear: the fear of losing control over our own minds. In an age of algorithms and misinformation, Orwell’s warning feels more urgent than ever.

Questions :

  1. What happens to sales of 1984 when governments restrict freedoms?

  2. Explain “doublethink” in your own words.

  3. According to Orwell, what was the purpose of Newspeak?

  4. Why do some critics say 1984 has become a cliché?

  5. Why does the article say Orwell’s warning is still urgent today?

Corrigé

1. What happens to sales of 1984 when governments restrict freedoms?
Sales of the book spike, meaning they increase sharply.

2. Explain “doublethink” in your own words.
Doublethink is the ability to hold two completely contradictory beliefs at the same time and accept both as true.

3. According to Orwell, what was the purpose of Newspeak?
The purpose of Newspeak was not only to provide a way to express the ideology of IngSoc, but also to make all other ways of thinking impossible.

4. Why do some critics say 1984 has become a cliché?
Some critics say it has become a cliché because politicians from all sides use it to attack their opponents, which can weaken its original meaning.

5. Why does the article say Orwell’s warning is still urgent today?
The article says Orwell's warning is still urgent because we live in an age of algorithms and misinformation, and the fear of losing control over our own minds is more relevant than ever.

Compréhension orale

Podcast sur le roman dystopique

Script :

Voix : Welcome to “Between the Lines”. Today, we’re talking about dystopian fiction with our guest, Professor Emma Clarke. Professor Clarke, why are young readers so drawn to dystopian stories like The Hunger Games or Divergent?

Prof. Clarke : “That’s a fascinating question. On the surface, dystopias are thrilling adventures – they’ve got danger, rebellion, strong young heroes. But more deeply, they speak to the anxieties teenagers feel. Growing up, you realise the adult world is flawed: there’s inequality, climate change, political corruption. Dystopian novels take those fears and amplify them. They say, ‘Look, this is what could happen if we don’t act.’ But they also offer hope: a single brave individual can resist. For many young people, that’s incredibly empowering.”

Voix : Do you think dystopian fiction can actually change people’s behaviour?

Prof. Clarke : “Indirectly, yes. Fiction doesn’t usually trigger a revolution, but it shapes our imagination. When activists protest against mass surveillance, they often reference 1984. When young people march for the climate, they sometimes carry signs inspired by The Hunger Games – like the three-finger salute. Fiction gives us symbols and stories to rally around. So, it changes culture, and culture eventually changes politics.”

Questions :

  1. According to Professor Clarke, why do dystopian stories appeal to teenagers?

  2. What positive message does dystopian fiction often contain?

  3. What example does she give of fiction inspiring real-world activism?

  4. According to her, how does fiction influence politics?

Corrigé

1. According to Professor Clarke, why do dystopian stories appeal to teenagers?
Dystopian stories appeal to teenagers because, on the surface, they are thrilling adventures with danger, rebellion and strong young heroes. More deeply, they reflect the anxieties teenagers feel about the flawed adult world, such as inequality, climate change and political corruption.

2. What positive message does dystopian fiction often contain?
Dystopian fiction often offers hope: it shows that a single brave individual can resist, which is very empowering for young people.

3. What example does she give of fiction inspiring real-world activism?
She gives two examples: activists protesting against mass surveillance often reference *1984*, and young people marching for the climate sometimes carry signs inspired by The Hunger Games, like the three-finger salute.

4. According to her, how does fiction influence politics?
According to Professor Clarke, fiction influences politics indirectly. It shapes our imagination, changes culture, and culture eventually changes politics.

Contrôle continu

A. Compréhension écrite (10 points)
Lisez le texte suivant (adapté d’un article sur l’impact de la science-fiction) :

“Science fiction is often dismissed as mere entertainment, but it has a long history of shaping real-world technology. The communicators in Star Trek inspired the first mobile phones. The concept of virtual reality was explored in novels like Neuromancer long before it became accessible to the public. More importantly, sci-fi asks ethical questions: what happens if robots become conscious? What if we can clone humans? These are no longer abstract questions. Scientists and politicians regularly consult science fiction authors because they have spent decades thinking about futures we are now entering. As writer Isaac Asimov once said, ‘Science fiction is the only literature that ever warned us about the future.’”

Questions :

  1. Give two examples of real-world technologies inspired by science fiction. (2 pts)

  2. What kind of ethical questions does sci-fi explore? (2 pts)

  3. Why do scientists consult science fiction authors? (2 pts)

  4. True or false? The author believes science fiction is just entertainment. Justify with a quotation. (2 pts)

  5. Explain Asimov’s quote in your own words. (2 pts)

B. Compréhension orale (10 points)

Script  :

“When I was a kid, I used to dream about living in a fantasy world like Harry Potter. I was shy at school, so I escaped into books. At first, my parents were worried – they said I spent too much time in imaginary worlds. But then I started writing my own stories, and it changed my life. I wrote about a girl who discovers she has magical powers and uses them to stand up to bullies. That story was my way of processing my own fear. Now I’m a published author, and I get letters from readers saying my books helped them through difficult times. So, I think fiction is not an escape from reality – it’s a way of coping with it, and sometimes transforming it.”

Questions :

  1. What did the speaker dream about as a child? (2 pts)

  2. Why were her parents worried? (2 pts)

  3. What was her own story about? (2 pts)

  4. How does she describe the relationship between fiction and reality? (2 pts)

  5. What impact do her books have on readers? (2 pts)

C. Expression écrite (10 points)
Traitez au choix l’un des deux sujets (80-100 mots) :

  • Sujet 1 : Do you think it is dangerous to confuse fiction and reality? Justify with examples.

  • Sujet 2 : Write a short paragraph imagining the world in 50 years if one current problem continues. Use elements of dystopian fiction.

D. Expression orale (10 points)
À préparer en 10 minutes, à présenter en 5 minutes.
Vous présentez la citation suivante de Neil Gaiman : “Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us that dragons can be beaten.”
Expliquez ce que cette citation signifie pour vous, donnez des exemples de contes ou de fictions qui inspirent le courage, et reliez-la à l’axe « Fictions et réalités ».

 

Corrigé

A. Compréhension écrite

  1. Two examples: the communicators in Star Trek inspired mobile phones; the concept of virtual reality was explored in novels like Neuromancer. (Also accept cloning, robots.)

  2. Sci-fi asks ethical questions such as: what happens if robots become conscious, or what if we can clone humans?

  3. Scientists consult science fiction authors because they have spent decades thinking about possible futures that are now becoming reality.

  4. False. Quotation: “Science fiction is often dismissed as mere entertainment, but it has a long history of shaping real-world technology.”

  5. Asimov means that while other literature might describe the past or present, science fiction is uniquely focused on warning humanity about what could happen in the future if we are not careful.

B. Compréhension orale

  1. She dreamed about living in a fantasy world like Harry Potter.

  2. Her parents were worried because she spent too much time in imaginary worlds.

  3. Her story was about a girl who discovers magical powers and uses them to stand up to bullies.

  4. She says fiction is not an escape from reality, but a way of coping with it and sometimes transforming it.

  5. Her books have helped readers get through difficult times.

C. Expression écrite (exemple pour le sujet 1)
In my opinion, confusing fiction and reality can indeed be dangerous, especially in the age of social media and deepfakes. When people believe fictional stories to be real, they can be manipulated. For example, fake news often uses dramatic narratives similar to fiction to deceive readers. Moreover, some individuals become so immersed in video games or virtual worlds that they neglect their real-life responsibilities. However, fiction is not harmful in itself; the danger lies in our inability to distinguish it from reality. Therefore, education in critical thinking and media literacy is essential to help people enjoy fiction without being fooled by it.

D. Expression orale (éléments attendus)

  • Interprétation : les contes de fées ne sont pas vrais au sens littéral, mais ils transmettent une vérité profonde : les obstacles peuvent être surmontés, le mal peut être vaincu.

  • Exemples : Harry Potter (lutter contre Voldemort), Le Seigneur des anneaux (Frodon détruit l’anneau), Hunger Games (Katniss défie le Capitole). Ces héros fictifs donnent du courage aux lecteurs réels.

  • Lien avec l’axe : la fiction ne se contente pas de décrire la réalité ; elle fournit des modèles et des métaphores qui aident à affronter le réel. Elle a un pouvoir transformateur.

  • Opinion personnelle : les contes et fictions nous préparent aux épreuves de la vie.

Barème oral indicatif :
Prononciation / fluidité (3 pts), lexique approprié (3 pts), syntaxe et grammaire (2 pts), argumentation (2 pts).

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