| Summary: | House’s limping gait, resulting from the paralysis of his leg, makes his movements within or outside of the hospital difficult, not to say improbable. The character’s mobility plays out on other levels: in the expressivity of his eyes and facial features, in the sudden boosts of mental activity to discover the cause of a disease, in his ability to make distant rational leaps. Always on the alert, especially while still, laying on the floor of his office or seated playing with his ball, House is an emblematic character of questioning in movement. In House, each episode, for a large part, can be watched alone, in the image of the uniqueness of the character himself; this allows us to highlight a mode of relation with the viewer in the “televised series” genre that does not necessarily imply an addictive bearing. To draw out the unique aspects of House’s mobility more precisely, we thought it would be interesting to offer a comparison with a mobile psychological emergency team about which we have already established three figures of mobility: movement, mobilization, creativity. This detour will allow us, through these figures, to shed light upon the displaced inventiveness of House and its contribution to a format of TV series characterized by the validity of each episode, to the point of drawing out of the TV series, in return, a non-identified mode of mobility in our theoretical elaboration: the virtuous exit of the setting as a space of therapeutic invention.
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