Table 1
List of official versions of Un Gars, Une Fille produced until 2017 along with first year of broadcast. Courtesy of Avanti Cine Groupe.
| List of Versions of Un Gars Une Fille and Year of First Broadcast | ||
|---|---|---|
| Number | Country | Date of First Broadcast |
| 1 | Canada | 1 May 1997 |
| 2 | Belgium | August 1998 |
| 3 | France | 11 October 1999 |
| 4 | Sweden | November 1999 |
| 5 | Portugal | May 2000 |
| 6 | Greece | Autumn 2000 |
| 7 | Spain | 22 September 2000 |
| 8 | Bulgaria | 2002 |
| 9 | Hungary | 2002 |
| 10 | Netherlands | 2002 |
| 11 | Israel | 9 July 2002 |
| 12 | English Canada | September 2002 |
| 13 | Poland | 3 September 2002 |
| 14 | Germany | 13 October 2002 |
| 15 | Mexico | 31 July 2003 |
| 16 | Russia | 20 September 2003 |
| 17 | Italy | 15 December 2004 |
| 18 | Ukraine | 14 January 2005 |
| 19 | Lebanon | 27 February 2006 |
| 20 | Latvia | 20 October 2006 |
| 21 | Lithuania | 29 August 2007 |
| 22 | Turkey | 2 October 2008 |
| 23 | Cyprus | 8 October 2010 |
| 24 | Kazakhstan | 8 October 2012 |
| 25 | Abu Dabi | July 2013 |
| 26 | Czech Republic | 10 September 2013 |
| 27 | Serbia and Montenegro | 5 October 2015 |
| 28 | Slovenia | 6 March 2016 |
| 29 | French Africa | 13 November 2017 |
Table 2
TV series “inspired by” Un Gars, Une Fille with no officially concluded contract between Avanti Cine Groupe and the domestic producers. Compiled by the author.
| TV Series “inspired by” Un Gars, Une Fille | ||
|---|---|---|
| Title of Series | Country of Origin | Year(s) of Broadcast |
| Sousou et Nounou | Algeria-Arabic | 2007 |
| Timsal n Wexxam | Algeria-Kabyle | 2014 |
| Le Couple | Morocco | 2013 |
| Iyz m’tsam | Madagascar | 2013-2018 |
| Love Bytes | India | 2015-2017 |
| Mann/Frau | Germany | 2014-2015 |
| Bent Walad | Tunesia | 2012 |
| Polovinki | Russia | 2012-2013 |
| Sasho i Sashka | FYR Macedonia | 2005-2006 |
Video 1
Pre-visit shots from different versions of Un Gars, Une Fille depicting spaces and activities in which the motivations for visiting the Mother-in-Law is performed by the Guy and the Girl.
Video 2
Compilation of transitions between each shot in the original Quebec version Un Gars, Une Fille. These transitions include the audio track with music, visuals with graphics and writing, as well as fade-out and fade-in to separate the various shots in both Parts 1 and 2 of the Mother-in-Law scene.
Figure 1
Bar graph of 10 different versions of Un Gars, Une Fille (Season 1, Episode 1; Part 1 of the Mother-in-Law scene) showing the relative lengths and positions of each shot in percentages, along with a display of locations oft he transitions in those versions.
Video 3
Compilation of the final shot of the various versions in which the impatience of the character(s) is staged differently. Usually the Guy is driving the tension and is most impatient.
Figure 2
Bar graph of 11 versions of Un Gars, Une Fille (Part 2 of the Mother-in-Law scene) showing the relative lengths and positions of each shot in percentages, along with a display of locations of the transitions between the shots.
Video 4
Compilation of screen shots showing the spatial and chromatic similarities and differences in the mis-en-scene of Parts 1 and 2 in various versions of Un Gars, Une Fille. The compilation indicates the episode and season from which each screen shot was taken.
Figure 3
Bar graph showing how much the Mother-in-Law and the Guy “won” the respective confrontation in each shot of Parts 1 and 2 of the Mother-in-Law scene in each version. The bar graph illustrates the predominance of the Mother-in-Law compared to the Guy.
Video 5
Processing of table data on segment lengths of 10 versions of Un Gars, Une Fille showing length of Mother-in-Law episode (Part 1), the length of non-Mother-in-Law scenes in the episode, the length and location of the Mother-in-Law scene in the episode, the position and length of the confrontation shot between the Guy and the Mother-in-Law, the duration of scenes in the episode after the Mother-in-Law scene, the duration of pre-confrontation shots in the scene, and the length of the pre-music shots as well as the music cue durations in those shots, and the length of post music segments in those versions. The video also show how this table was transformed into the bar graph in Figure 4.
Video 6
Reaction of the different male protagonists to the Mother-in-Laws’ accusations that they are “polygamists” and therefore are untrustworthy.
Figure 4
A bar graph showing the relative lengths of the episode, position and duration of the mother-in-law scene, elapsed time of the confrontation scene between the Guy and Mother-in-Law and the position and length of the sad music segment relative to all three of the previous segments. Please note the coordinated colour coding of the graph bars and the caption details.
Video 7
This clip illustrates the different points at which the “sad music” cue sets in for the different versions of Un Gars, Une Fille (Part 1). Visible is the point at which the identical music segment sets in at different positions in each version. In most versions, the music starts when the Girl re-enters the room from the bathroom, while the Polish and Russian versions cue the music during the confrontation between the Guy and the Mother-in-Law. The Turkish version starts the music just after the Girl leaves for the bathroom.