Literatura académica sobre el tema "Téléspectateurs – Attitude"

Game of Thrones (GoT) has become the most popular way of referring to a universe that was previously known under the title A Song of Ice and Fire by fans of fantasy novels. Indeed, thanks to its huge success, the TV series is now the most common entry into what is today a complex narrative constellation. Game of Thrones began as a series of five novels written by George R. R. Martin (first published in 1996). It was adapted as a TV series by David Benioff and D.B. Weiss for HBO in 2011, as a comic book series (2011—2014), several video games (Blood of Dragons, 2007; A Game of Thrones: Genesis, 2011; Game of Thrones, 2012; Game of Thrones Ascent, 2013; Game of Thrones, 2014), as well as several prequel novellas, a card game (A Game of Thrones: The Card Game, 2002), and a strategy board game (2003), not to mention the promotional transmedia developed by Campfire to bring the novels’ fans to the TV series. Thus, the GoT ensemble does indeed look like a form of transmedia, at least at first sight.Game of Thrones’ UniverseGenerally, definitions of transmedia assemble three elements. First, transmedia occurs when the content is developed on several media, “with each new text making a distinctive and valuable contribution to the whole. … Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa” (Jenkins 97-98). The second component is the narrative world. The authors of Transmédia Dans Tous Ses États notice that transmedia stories “are in some cases reduced to a plain link between two contents on two media, with no overall vision” (Collective 4). They consider these ensembles weak. For Gambarato, the main point of transmedia is “the worldbuilding experience, unfolding content and generating the possibilities for the story to evolve with new and pertinent content,” what Jenkins called “worldmaking” (116). The third ingredient is the audience. As the narrative extends itself over several platforms, consumers’ participation is essential. “To fully experience any fictional world, consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels” (Jenkins 21).The GoT constellation does not precisely match this definition. In the canonical example examined by Jenkins, The Matrix, the whole was designed from the beginning of the project. That was not the case for GoT, as the transmedia development clearly happened once the TV series had become a success. Not every entry in this ensemble unfolds new aspects of the world, as the TV series is an adaptation of the novels (until the sixth season when it overtook the books). Not every component is self-contained, as the novels and TV series are at the narrative system’s centre. This narrative ensemble more closely matches the notion of “modèle satellitaire” conceived by Saint-Gelais, where one element is the first chronologically and hierarchically. However, this statement does not devalue the GoT constellation, as the canonical definition is rarely actualized (Sepulchre “La Constellation Transmédiatique,” Philipps, Gambarato “Transmedia”), and as transmedia around TV series are generally developed after the first season, once the audience is stabilized. What is most noticeable about GoT is the fact that the TV series has probably replaced the novels as the centre of the ensemble.Under the influence of Jenkins, research on transmedia has often come to be related to fan studies. In this work, he describes very active and connected users. Research in game studies also shows that gamers are creative and form communities (Berry 155-207). However, the majority of these studies focused on hardcore fans or hardcore gamers (Bourdaa; Chen; Davis; Jenkins; Peyron; Stein). Usual users are less studied, especially for such transmedia practices.Main Question and MethodologyDue to its configuration, and the wide spectrum of users’ different levels of involvement, the GoT constellation offers an occasion to confront two audiences and their practices. GoT transmedia clearly targets both fiction lovers and gamers. The success of the franchise has led to heavy consumption of transmedia elements, even by fans who had never approached transmedia before, and may allow us to move beyond the classical analysis. That’s why, in that preliminary research, by comparing TV series viewers in general with a quite specific part of them, ordinary gamers of the videogame GOT Ascent, we aim to evaluate transmedia use in the GOT community. The results on viewers are part of a broader research project on TV series and transmedia. The originality of this study focuses on ordinary viewers, not fans. The goal is to understand if they are familiar with transmedia, if they develop transmedia practices, and why. The paper is based on 52 semi-structured interviews conducted in 2012 (11) and 2013 (41). Consumers of fictional extensions of TV series and fans of TV series were selected. The respondents are around twenty years old, university students, white, mostly female (42 women, 10 men), and are not representative outside the case study. Therefore, the purpose of this first empirical sample was simply to access ordinary GOT viewers’ behaviours, and to elaborate an initial landscape of their use of different media in the same world.After that, we focused our analysis on one specific community, a subset of the GOT’s universe’s users, that is, players of the GoT Ascent videogame (we use “gamers” as synonym for “players” and “users”). Through this online participative observation, we try to analyse the players’ attitudes, and evaluate the nature of their involvement from a user perspective (Servais). Focusing on one specific medium in the GOT constellation should allow us to further flesh out the general panorama on transmedia, by exploring involvement in one particular device more deeply. Our purpose in that is to identify whether the players are transmedia users, and so GoT fans, or if they are firstly players. During a three month in-game ethnography, in June-August 2013, we played Aren Gorn, affiliated to House Tyrell, level 91, and member of “The Winter is Dark and Full of Terrors” Alliance (2500 members). Following an in-game ethnography (Boellstorff 123-134), we explored gamers’ playing attitudes inside the interface.The Users, TV Series, and TransmediaThe respondents usually do not know what transmedia is, even if a lot of them (36) practice it. Those who are completely unaware that a narrative world can be spread over several media are rare. Only ten of them engage in fan practices (cosplay, a kind of costuming community, fan-fiction, and fan-vidding, that is fans who write fiction or make remix videos set in the world they love), which tends to show that transmedia does not only concern fans.Most of the ordinary viewers are readers, as 23 of them cite books (True Blood, Gossip Girl, Pretty Little Liars, Les Piliers de la Terre), one reads a recipe book (Plus Belle la Vie), and seven consume comics (The Walking Dead, Supernatural). They do not distinguish between novelisation (the novel adapted from a TV series) and the original book. Other media are also consumed, however a lot less: animation series, special episodes on the Internet, music, movies, websites (blogs, fictional websites), factual websites (about the story, the production, actors), fan-fiction, and cosplay.Transmedia does not seem to be a strong experience. Céline and Ioana respectively read the novels adapted from Plus Belle la Vie and Gossip Girl, but don’t like them. “It is written like a script … There’s no description, only the dialogues between characters” (Ioana). Lora watched some webisodes of Cougar Town but didn’t find them funny. Aurélie has followed the Twitter of Sookie Stackouse (True Blood) and Guilleaume D. sometimes consumes humoristic content on 9gag, but irregularly. “It’s not my thing” (Aurélie). The participants are even more critical of movies, especially the sequels of Sex and the City.That does not mean the respondents always reject transmedia components. First, they enjoy elements that are not supposed to belong to the world. These may be fan productions or contents they personally inject into the universe. Several have done research on the story’s topic: Alizée investigated mental disorders to understand United States of Tara; Guilleaume G. wandered around on Google Earth to explore Albuquerque (Breaking Bad); for Guilleaume D., Hugh Laurie’s music album is part of the character of Gregory House; Julie adores Peter Pan and, for her, Once Upon A Time, Finding Neverland, and Hook are part of the same universe. Four people particularly enjoy when the fictional characters’ couples are duplicated by real relationships between actors (which may explain all the excitement surrounding Kit Harrington and Rose Leslie’s real-life love story, paralleling their characters’ romance on GOT). If there is a transmedia production, it seems that there is also a kind of “transmedia reception,” as viewers connect heteroclite elements to build a coherent world of their own. Some respondents even develop a creative link to the world: writing fan-fiction, poetry, or building scale models (but that is not this paper’s topic, see Sepulchre “Les Constellations Narratives”, “Editorial”).A second element they appreciate is the GOT TV series. Approximately half of the respondents cite GoT (29/52). They are not fundamentally different from the other viewers except that more of them have fan practices (9 vs. 1), and a few more develop transmedia consumption (76% against 61%). To the very extent that there is consensus over the poor quality of the novels (in general), A Song of Ice and Fire seems to have seduced every respondent. Loic usually hates reading; his relatives have pointed out to him that he has read more with GoT than in his entire lifetime. Marie D. finds the novels so good that she stopped watching the TV series. Marine insists she generally reads fan-fiction because she hates the novelisations, but the GoT books are the only good ones. The novels apparently allow a deeper immersion into the world and that is the manifest benefit of consuming them. Guilleaume G. appreciates the more detailed descriptions. Céline, Florentin, Ioana, and Marine like to access the characters’ thoughts. Julie thinks she feels the emotions more deeply when she reads. Sometimes, the novels can change their opinions on a character. Emilie finds Sansa despicable in the TV series, but the books led her to understand her sensibility.Videogames & TransmediaThe vast majority of transmedia support from the GoT universe primarily targets “world lovers,” that is, users involved in media uses because they love the fantasy of the universe. However, only video games allow a personalized incarnation as a hero over a long term of time, and thus a customized active appropriation. This is in fact undoubtedly why the GoT universe’s transmedia galaxy has also been deployed in video games. GOT Ascent is a strategy game edited by Disruptor Beam, an American company specialising in TV games. Released in February 2013, the franchise attracted up to 9,000,000 players in 2014, but only 295,107 monthly active users. This significant difference between the accumulated number of players and those actually active (around 3 %) may well testify that those investing in this game are probably not a community of gamers.Combining role playing and strategy game, GoT Ascent is designed in a logic that deeply integrates the elements, not only from the TV series, but also from books and other transmedia extensions. In GoT Ascent, gamers play a small house affiliated to one of the main clans of Westeros. During the immersive game experience, the player participates in all the GoT stories from an insider’s point of view. The game follows the various GoT books, resulting in an extension whenever a new volume is published. The player interacts with others by PVE (Player versus Environment) or PVP (Player versus Player) alliances with a common chat and the possibility of sending goods to other members. With a fair general score (4,1 on 10), the game is evaluated weakly by the players (JeuxOnLine). Hence a large majority of them are probably not looking for that kind of experience.If we focus on the top players in GoT Ascent, likely representing those most invested, it is interesting to examine the names they choose. Indeed, that choice often reveals the player’s intention, either to refer to a gamer logic or the universe of GoT. During our research, we clearly distinguished two types of names, self-referential ones or those referring to the player’s general pseudonym. In concrete terms, the name is a declination of a pseudonym of more general avatars, or else refers to other video game worlds than GoT. In GoT Ascent, the second category of names, those very clearly anchored in the world of Martin, are clearly dominant.Is it possible to correlate the name chosen and the type of player? Can we affirm that people who choose a name not related to the GoT universe are players and that the others are GoT fans? Probably not obviously, but the consistency of a character’s name with the universe is, in the GoT case, very important for an immersive experience. The books’ author has carefully crafted his surnames and, in the game, assuming a name is therefore very clearly a symbolically important act in the desire to roleplay in that universe. Choosing one that is totally out of sync with the game world clearly means you are not there to immerse yourself in the spirit of GoT, but to play. In short, the first category is representative of the gamers, but the players are not restricted to those naming their avatar out of the world’s spirit.This intuition is confirmed by a review of the names related to the rank of the players. When we studied high-level players, we realized that most of them use humorous names, which are totally out of the mood of the GoT universe. Thus, in 2013, the first ranked player in terms of power was called Flatulence, a French term that is part of a humorous semantics. Yet this type of denomination is not limited to the first of the list. Out the top ten players, only two used plausible GoT names. However, as soon as one leaves the game’s elite’s sphere, the plausible names are quickly in the majority. There is a sharp opposition between the vast majority of players, who obviously try to match the world, and pure gamers.We found the same logic for the names of the Alliances, the virtual communities of players varying from a few to hundreds. Three Alliances have achieved the #1 rank in the game in the game’s first two years: Hear Me Roar (February 2013), Fire and Blood (January 2014), and Kong's Landing (September 2014). Two of those Alliances are of a more humoristic bent. However, an investigation into the 400 alliances demonstrates that fewer than 5 % have a clear humoristic signification. We might estimate that in GoT Ascent the large majority of players increase their immersive experience by choosing a GoT role play related Alliance name. We can conclude that they are mainly GoT fans playing the game, and that they seek to lend the world coherence. The high-level players are an exception. Inside GOT Ascent, the dominant culture remains connected to the GoT world.ConclusionA transmedia story is defined by its networked configuration, “worldmaking,” and users’ involvement. The GoT constellation is clearly a weak ensemble (Sepulchre, 2012). However, it has indeed developed on several platforms. Furthermore, the relationship between the novels and the TV series is quite unprecedented. Indeed, both elements are considered as qualitative, and the TV series has become the main entry for many fans. Thus, both of them acquire an equal authority.The GoT transmedia storyworld also unfolds a fictional world and depends on users’ activities, but in a peculiar way. If the viewers and gamers are analysed from fan or game studies perspectives, they appear to be weak users. Indeed, they do not seek new components; they are mainly readers and do not enjoy the transmedia experience; the players are not regular ones; and they are much less creative and humorous than high-level gamers.These weak practices have, however, one function: to prolong the pleasure of the fictional world, which is the third characteristic of transmedia. The players experiment with GoT Ascent by incarnating characters inserted into Alliances whose names may exist in the original world. This appears to be a clear attempt to become immersed in the universe. The ordinary viewers appreciate the deeper experience the novels allow. When they feed the world with unexpected elements, it is also to improve the world.Thus, transmedia appropriation by users is a reality, motivated by a taste for the universe, even if it is a weak consumption in comparison with the demanding, creative, and sometimes iconoclastic practices gamers and fans usually develop. It is obvious, in both fields, that they are new TV series fans (they quote mainly recent shows) and beginners in the world of games. For a significant part of them, GoT was probably their first time developing transmedia practices.However, GoT Ascent is not well evaluated by gamers and many of them do not repeat the experience (as the monthly number of gamers shows). Likewise, the ordinary viewers neglect the official transmedia components as too marketing oriented. The GoT novels are the exception proving the rule. They demonstrate that users are quite selective: they are not satisfied with weak elements. The question that this paper cannot answer is: was GoT a first experience? Will they persevere in the future? Yet, in this preliminary research, we have seen that studying ordinary users’ weak involvement (series viewers or gamers) is an interesting path in elaborating a theory of transmedia user’s activities, which takes the public’s diversity into account.ReferencesBerry, Vincent. L’Expérience Virtuelle: Jouer, Vivre, Apprendre Dans un Jeu Video. Rennes: UP Rennes, 2012.Boellstorff, Tom. “A Typology of Ethnographic Scales for Virtual Worlds.” Online Worlds: Convergence of the Real and the Virtual. Ed. William Sim Bainbridge. London: Springer, 2009.Bourdaa, Mélanie. “Taking a Break from All Your Worries: Battlestar Galactica et Les Nouvelles Pratiques Télévisuelles des Fans.” Questions de Communication 22 (2012) 2014. <http://journals.openedition.org/questionsdecommunication/6917>.Chen, Mark. Leet Noobs: The Life and Death of An Expert Player Group in World of Warcraft. New York: Peter Lang, 2012.Collective. Le Transmédia Dans Tous Ses États: Les Cahiers de Veille de la Fondation Télécom. Paris: Fondation Télécom, 2012. 29 Dec. 2017 <https://www.fondation-mines-telecom.org/wp-content/uploads/2016/01/2012-cahier-veille-transmedia.pdf\>.Davis, C.H. “Audience Value and Transmedia Products.” Media Innovations. Eds. T. Storsul and A. Krumsvik. Gothenburg: Nordicom, 2013. 179-190.Gambarato, Renira. “How to Analyze Transmedia Narratives?” Conference New Media: Changing Media Landscapes. Saint Petersburg, 2012. 2017 <http://prezi.com/fovz0jrlfsn0/how-to-analyze-transmedia-narratives>.Gambarato, Renira. “Transmedia Storytelling.” Serious Science, 2016. 2017 <https://www.youtube.com/watch?v=thZnd_K8Vfs>.Jenkins, Henry. Convergence Culture. Where Old and New Media Collide. Updated ed. New York: New York UP, 2006.JeuxOnLine. “Game of Thrones Ascent.” 2013. <http://www.jeuxonline.info/jeu/Game_of_Thrones_Ascent>.Peyron, David. Culture Geek. Limoges: FYP Editions, 2013.Philipps, Andrea. A Creator’s Guide to Transmedia Storytelling: How to Captivate and Engage Audiences across Multiple Platforms. New York: McGraw-Hill Education, 2012.Saint-Gelais, Richard. Fictions Transfuges. La Transfictionnalité et Ses Enjeux. Paris: Seuil, 2011.Sepulchre, S. Le Transmédia Dans Tous Ses États: Les Cahiers de Veille de la Fondation Télécom. Paris: Fondation Télécom, 2012. 29 Dec. 2017 <https://www.fondation-mines-telecom.org/wp-content/uploads/2016/01/2012-cahier-veille-transmedia.pdf>.———. “La Constellation Transmédiatique de Breaking Bad: Analyse de la Complémentarité Trouvée entre la Télévision et Internet.” ESSACHESS-Journal for Communication 4.1 (2011). 29 Dec. 2017 <http://www.essachess.com/index.php/jcs/article/view/111>. ———. “Les Constellations Narratives: Que Font les Téléspectateurs des Adaptations Multimédiatiques des Séries Télévisées?” TV/Series 3 (2013). 29 Dec. 2017 <http://journals.openedition.org/tvseries/729>. ———. “Editorial.” Inter Pares: Revue Électronique de Jeunes Chercheurs en Sciences Humains et Sociales 6 (2016). 29 Dec. 2017 <https://epic.univ-lyon2.fr/medias/fichier/inter-pares-6-maquette-v8web_1510576660265-pdf>.Servais, Olivier. “Funerals in the “World of Warcraft”: Religion, Polemic, and Styles of Play in a Videogame Universe.” Social Compass 62.3 (2015): 362-378.Stein, Louisa Ellen, and Kristina Busse. Sherlock and Transmedia Fandom: Essays on the BBC series. Jefferson: McFarland, 2014.

Les médias interactifs constituent l’une des formes les plus ambitieuses de communication entre les consommateurs et les médias. L’objectif de cette thèse est de s’interroger sur le désir d’interactivité du consommateur, vu sous l’angle de la consommation de programmes télévisés. Après avoir défini le concept d’interactivité, nous avons identifié les différents aspects du comportement des téléspectateurs et les formes d’interactivité déjà existantes. Pour véritablement tester l’interactivité télévisée, nous avons conçu un simulateur de télévision enrichie. Une cinquantaine d’entretiens ont été organisés in situ et les participants ont utilisé des programmes interactifs comme des publicités interactives, des jeux, du football, des dessins animés ou de l’achat à distance. Nous avons procédé à l’analyse de contenu de l’ensemble de ce corpus d’une part et nous avons utilisé le logiciel Alceste pour identifier des classes de téléspectateurs d’autre part. Au terme de cette recherche, nous avons identifié cinq dimensions de la notion de désir d’interactivité : utilitaire (personnalisation, recherche, d’information), hédonique (participation, recherche ludique), sociale (communication), ergonomique (immédiateté, recherche du moindre effort) et économique (transaction, recherche commerciale). Aussi, nous avons mis en évidence un ensemble d’éléments représentant le désir d’inactivité des consommateurs réunissant trois composantes : un attachement à la non-activité, une attention volatile et divisée et un intérêt pour le contenu principal
Interactive media is one of the most ambitious technologies given to consumers to communicate with media. This thesis consists in studying consumers’ desire for interactivity for TV programs. We first define the concept of interactivity. Then we identify different aspects of TV viewers’ behavior and existing forms of interactivity. We set up a simulator of enriched TV programs and organized fifty in-home and in-depth interviews. Participants tested interactive programs “hands on” such as interactive advertisements, games, sports, cartoons and remote purchase. The data were analyzed with two methods : first, we proceed with a content analysis of our corpus and second, we used the Alceste software to identify TV viewers classes. We found five dimensions of desire for interactivity : utilitarian (personalization, search for information), hedonic (participation, search for play), social (communication), ergonomic (immediacy, search for least effort) and economic (transaction, search for commerce). We also suggest a new construct : consumers’ desire for inactivity gathering three components : attachment to non-activity, a volatile and divided attention and an interest for main content

Qu'y a-t-il donc de plus naturel que d'applaudir ?''bravo'' s'apprend aussi vite que papa ou maman. Nous applaudissons tous sur la terre, quelle que soit notre culture, notre langue, la couleur de notre peau, et surtout de manières différentes. Nous parlerons de l'ivresse des grecs quand ils applaudissent, de l'élégance des romains, mais aussi de leurs cabales à tous ; c'est là que commencera notre étude parce que nous disposons de textes qui pour la première fois en parle de façon explicite. Il nous faudra attendre l'époque médiévale pour qu'un vent de fronde souffle sur les bravos d'un public tapageur. Naîtront alors des gagistes, des cabaleurs patentés, des entrepreneurs de succès, des chefs de claque, pour finir aujourd'hui par des chauffeurs de salle, ainsi appelés dans les émissions de télévision. Surcoût de flatteries, certains pensent que l'applaudissement est une prothèse à l'artistique. Dès qu'il s'agit d'êtres impersonnels, les notions de public ou spectateur n'ont aucune importance. Elles se confondent dans d'étranges interprétations. L'artiste peut mourir sans talent et sans amour, mais le peut-il sans être applaudi ? L'anecdote est au rendez-vous, souvent inventive, parfois cruelle. Si ce geste dispose d'un langage, il y a un vocabulaire avec des règles de grammaire ; applaudir serait une ponctuation !. . Quel voyage plus étrange que celui d'une mauvaise chose bien faite, la claque !. . Applaudir est une énergie sociale ; en ce sens la foule produit du collectif. Seuls, nous l'observerons, les humains n'applaudissent pas, et comme toute énergie, elle peut être diffuse, récupérée, contrôlée, et dispensée dans des buts pas toujours avouables. Nous sommes condamnés à désirer que ce que nous pouvons obtenir. Applaudir à ce qui est limité est ce qu'il y a de pire pour être déçu et malheureux. Nous sommes sûrs d'une seule et unique chose : la mort. C'est en revenant à cet aspect ancestral des choses qu'applaudir garde son sens le plus fort
What is there therefore of more natural than to applaud? '' bravo '' learns itself as quickly that dad or mom. We applaud all on the earth, whatever is our culture, our language, the color of our skin, and especially in a different manners. We will speak of the drunkenness of the Greek when they applaud, of the elegance of the Roman, but also of their cabals to all; it is there that our survey will begin because we have texts that for the first time speaks of it in an explicit way. It will be necessary for us to wait for the medieval time so that a wind of frond blows on the bravo of a flashy public. Will be born then of the ''gagistes'', of the licensed ''cabaleurs'', of the entrepreneurs of success, of the chiefs of slap, to end up today drivers of room, so named in the broadcasts of television. Surcoût of flatteries, some think that the applause is a prosthesis to the artistic. As soon as it is not about impersonal beings, the notions of public or spectator have no importance. They confound themselves in strange interpretations. Can the artist die without talent and without love, but he can it without being applauded? The anecdote is to the appointment, often inventive, sometimes cruel. If this gesture has a language, there is a vocabulary with rules of grammar; to applaud would be a punctuation!. . What stranger journey than the one of a bad thing well made, the slap!. . To applaud is a social energy; in this sense the crowd produces the collective. Only, we will observe it, the humans don't applaud, and like all energy, she/it can be diffuse, recovered, controlled, and dispensed not always in goals blameless. We are condemned to want that what we can get. To applaud to what is limited is what of worse has to be disappointed and unhappy. We are sure of one only and unique thing: the death. It is while coming back to this ancestral aspect of the things that to applaud keeps its strongest sense

Cette thèse initiée en 2005 au sein du GRESEC (Groupe de Recherche sur les Enjeux de la Communication) se place dans la perspective d'une recherche sur la télédiffusion et la réception par satellite dans la société tunisienne. Celles-ci y figurent parmi les dominantes de cette dernière décennie et génèrent des changements profonds dans les usages que font les téléspectateurs de la télévision, dans leurs goûts télévisuels et dans leur rapport aux programmes télévisuels et à la télévision en général. Il est donc essentiel de comprendre les différents usages et les pratiques télévisuelles des téléspectateurs et les différentes variables qui caractérisent leur rapport à la télévision. La réception de la télévision par satellite revêt par ailleurs un ensemble d'enjeux majeurs (politiques, socioculturels et économiques) qu'il faut explorer pour mieux comprendre ce phénomène et saisir ses différentes dimensions. Pour ce faire, il est essentiel d'identifier les différents acteurs ici en jeux, les rapports de force qui les opposent et les alliances qui les unissent ainsi que les objectifs qui orientent leurs stratégies. Ces deux pistes respectives : usages de la télévision par satellite et renouvellement des enjeux liés à la réception des chaînes satellitaires sont ainsi explorées dans cette thèse
This thesis introduced in 2005 within the GRESEC (Research group on the Stakes in the Communication) take place in the perspective of a research on the broadcasting and the reception by satellite in the Tunisian society. These represent among the dominants there of this last decade and generate deep changes in the uses which make the televiewers of the television, in their television tastes and in their relationship on the programmes and on the television in general. It is thus essential to understand the various uses and the television practices of the televiewers and the various variables which characterize their relationship on the television. The reception of the satellite television dresses besides a set of major stakes (political, sociocultural and economic) that it is necessary to investigate to better understand this phenomenon and seize its various dimensions. To do it, it is essential to identify the various actors here in sets, the balance of power which set them and the alliances which unite them as well as the objectives which direct their strategies. These two respective tracks: uses of the satellite television and the renewal of the stakes linked to the reception of the satellite channels are thus investigated in this thesis

La recherche présente analyse la situation des médias audiovisuels et particulièrement celle de la télévision en Afrique de l'Ouest francophone, en mettant l'accent sur la réception. L'usage de ce média par les téléspectateurs est mis en lumière à une époque où les chaînes de télévision satellitaires connaissent un énorme succès sur le continent noir. S'affirmant comme un puissant agent de mondialisation, la télévision constitue un des médias de communication de masse le plus apprécié, qui a un impact grandissant et observable sur les comportements des "privilégiés" ayant accès à la télévision. Avec l'accessibilité aux chaînes étrangères ainsi qu'à celle des autres chaînes issues des pays voisins et du reste du continent africain, notre recherche a voulu faire le point sur l'appropriation sociale de la télévision au sens large, par les élites africaines. C'est l'occasion de présenter l'ensemble des chaînes de télévision reçues par les ménages de l'Afrique de l'Ouest, et surtout de connaître leurs réactions face à elles. La prolifération des chaînes occidentales et de TV5 en particulier, ont-elles aussi eu des incidences sur la consommation télévisuelle des africains ? Y a-t-il de nouveaux modes de consommation de la télévision ? Qu'est-ce que la télévision revêt de nos jours comme enjeux sur le continent africain ? On a essayé de répondre à toutes ces questions en relation avec l'univers socio-culturel des téléspectateurs issus des catégories sociales privilégiées
The present research analyses the state of audiovisual media and particularly that of television in francophone West Africa by putting an emphasis on the reception. The use of this medium by television viewers is highlighted at a time when satellite television channels are gaining tremendous success on the Dark Continent. Establishing itself as a powerful agent of globalization, television constitutes one of the most appreciated media of mass communication. It has developed a growing and noticeable impact on the behaviours of the "privileged" few who have access to this medium. After monitoring foreign channels from both neighbouring African and overseas countries, my research aims to update the social appropriation of television in general by the African elite. It is the opportunity to review all the television channels received by West African households and mostly to know the latter's reactions regarding those media. My research also tries to understand if the proliferation of western channels and mainly TV5 has an effect on potential Africans' television consumption. Furthermore, it studies whatever new modes of existing television consumption. Finally, it examines the stakes television may have nowadays on the African continent. I address all these issues in relation with the social and cultural universe of the television viewers from privileged social classes

Cette recherche se situe dans une perspective exploratoire destinee a structurer le champ du marketing cinematographique, puis celui de l'attitude envers la promotion des films a la television. La premiere partie propose une conceptualisation du marketing applique au secteur cinematographique. Les specificites du marketing cinematographique et du marketing culturel y sont analysees en parallele pour determiner dans quelle mesure le marketing cinematographique doit faire l'objet d'amenagements specifiques. Chaque etape de la demarche marketing est alors envisagee en vue d'une application au champ de cette recherche. La deuxieme partie s'interesse a la reponse du spectateur envers la promotion des films a la television et plus precisement a sa reponse attitudinale. Notre objectif consiste a determiner les principales dimensions de cette attitude en termes de construit, direction, intensite et antecedents. Le defaut de litterature relative a ce concept et les processus inconscients lies a l'influence du stimulus promotionnel ont conduit au choix d'une methodologie par entretiens individuels et entretiens de groupes. A partir du materiau verbal recueilli, une analyse de contenu a ete menee, notamment a travers une analyse de l'evaluation. Les resultats debouchent sur l'identification de variables et la proposition d'un modele d'analyse theorique permettant d'envisager une mesure ulterieure de cette reponse.

Plusieurs émissions de TV, en France, se proposent de décrypter les images que reçoivent les téléspectateurs. Elles s'intéressent notamment aux mécanismes qui régissent la transmission et la construction de l'information médiatique. A travers l'étude de deux émissions, "Arrêt sur images " et " l'Hebdo du médiateur ", ce travail se propose de penser l'autoréflexivité télévisuelle, ses objectifs, ses finalités, ses enjeux et ses acteurs. Si l'on envisage la télévision comme un enjeu de reconnaissance sociale et comme une réalité économique et culturelle : quelles sont les logiques économiques et/ou sociales qui sous-tendent la création de ce type d'émission ? Quel est leur rôle au sein de l'espace public ? L'étude aborde ainsi les conditions d'émergence de ces émissions notamment l'histoire de l'institution télévisuelle et les évolutions sociétales ; l'analyse du fonctionnement de ces deux émissions, et de leur réception. Ce travail permet d'envisager l'autoréflexivité sous ces différentes facettes, c'est-à-dire comme une stratégie de programmation dans un secteur très concurrentiel, entretenant des relations ambigue͏̈s avec la critique et l'éthique. Mais la possibilité offerte aux téléspectateurs de prendre la parole, la recherche de toujours plus d'interactivité, lui permet aussi d'ouvrir des discussions dépassant bien souvent le simple cadre des médias. L'autoréflexivité permet ainsi de renouveler les acteurs du débat public et les thèmes en discussion. Au-delà d'une intention éthique ou d'une stratégie de programmation du service public, ces émissions permettent à la parole profane d'exister et, par un processus de montée en généralité, de participer aux discussions publiques.

Articulée autour d'un corpus composé de quatre productions filmiques sur l'art, diffusées par la télévision française, cette recherche étudie les relations entre les structures textuelles et les processus de construction des savoirs par le téléspectateur. L'analyse des modalités de manipulation de l'œuvre d'art par chaque texte télévisuel conduit à l'identification d'attitudes spécifiques de téléspection et du positionnement diffèrent de l'œuvre par ces textes. L'objectif de la recherche est de démonter le mécanisme du fado-réceptif, les résultats des analyses sont confrontés à ceux d'une enquête de réception. Cette expérimentation renseigne les modalités de fonctionnement des textes et le positionnement du téléspectateur ; analyses et enquête conduisent à questionner ces discours par rapport aux discours de vulgarisation (domaine de la diffusion de connaissances) et aux discours de médiation (domaine de la construction de savoirs)
This dissertation focuses on the relationship between textual structures and the process used by tv viewers to construct knowledge. An analysis of the modalities of operation of a work of art by different televisual texts brings to identify specific attitudes of "telespection" and a different positioning of the work thanks to these texts. This dissertation aims at dismantling the mechanisms of the "receptive doing", and the results of the analysis are confronted to that of a survey. Such an experiment gives informations about how texts work and about the positioning of tv-viewer. The analysis and the survey question the elaboration of the discourse in connection with discourses of popularization (diffusion of knowledge) and to discourses of mediation (construction of knowledge)

Dans la continuité des recherches qui ont été produites au sujet du débat télévisé, la thèse explore et interprète les conditions contemporaines de son renouvellement. Matière des relations qui s’expriment entre individus et société, la mise en scène du public interroge les registres scéniques, verbaux et filmiques de la prise de parole télévisuelle. La première partie de la recherche est consacrée à l’exposition de la démarche méthodologique constitutive du travail de recherche. Elle est centrée sur le problématique des « formats de réception » et relève de la constitution du corps d’étude. La seconde partie développe l’application de la démarche conceptuelle et théorique à l’objet étudié en dégageant les fondements du statut des mises en scène verbales et filmiques. La troisième partie s’attache à dégager les relations contractuelles qui existent entre le public des téléspectateurs et les programmes mettant en scène la participation démocratique. Tout au long du travail de recherche, il est question de montrer que la mise en scène du public télévisé s’appuie sur les registres de l’insatisfaction sociale et que ceux-ci font intervenir des registres distincts et complémentaires de prises de paroles. La thèse montre également que les rapports existant entre le public à l’écran et celui qui assiste à sa mise en scène sont une condition de formation contemporaine du spectacle de la souffrance
Following the research on TV talk shows which has already been published, the thesis explores and interprets the way this particular type of broadcast is being reformed today. As material for the relations between individuals and society, the way of setting-up the live audience puts into questions the filmic, linguistic and dramatic registers proper to the way people talk on TV. The first part of research explains the methodological process used to constitute the work. Relating to the constitution of the corpus it focuses on the reception formats. The second part goes further developing the conceptual, theoretic process by analysing how the status of the filmic and linguistic setting has been created. The third part aims at defining the contractual relations between the viewers and the broadcasts featuring democratic participation. Throughout the work, the purpose is to show how the way the live audience is featured relies on social dissatisfaction combined with distinct, yet complementary language registers. The thesis also demonstrates how the relation between the live audience and the viewers give birth to a modern way of making suffering into a show

La télénovela est un genre télévisuel qui trouve ses origines au Mexique et en Amérique latine de façon générale. Ce produit culturel a été conçu pour répondre aux goûts d’une audience spécifique, celle constituée par le public latino-américain. Pourtant depuis au moins deux décennies la télénovela mexicaine et latino-américaine s’exporte avec succès partout dans le monde. D’où vient l’internationalisation des télénovelas ? À quelles attentes sociales ont-elles répondu et continuent-elles de répondre ? Telles sont quelques-unes des grandes questions qui motivent cette thèse et dont le lecteur verra immédiatement qu��elles visent à articuler trois grands registres. Le premier concerne les activités financières et commerciales des grands groupes producteurs, à travers leurs stratégies, les marchés et les types de produits qui y sont proposés (marchés d’industries culturelles et, dans une certaine mesure, d’industries créatives) ; le second, celui des représentations sociales et des comportements des téléspectateurs, dans chaque pays et à l’échelle mondiale, sachant que, comme nous l’a appris la psychosociologie des médias, le même produit peut, dans des pays différents, rencontrer un succès équivalent pour des raisons différentes ; et enfin, le troisième, celui des oeuvres elles-mêmes dont la facture, les schémas narratifs, les organisations scénographiques et les autres traits représentatifs correspondent à des stratégies commerciales mais expliquent aussi des comportements sociaux. Toute la difficulté de notre recherche résulte de l’intersection entre ces trois registres
The telenovela it’s a television genre from Mexico and Latin America. This cultural product was first created as an answer for the likes of a very specific audience. Yet, telenovelas are exported successfully all around the world. What makes possible the internationalization of the telenovelas? The answer is to look for in multiple factors such as the commercial activities of the producers, the social representations of the audience and the telenovelas themselves. This work results from the reflection on the intersection of these factors

Partant d'une analyse de la reception tv en tant qu'experience affective soumise a diverses determinations (sociales, institutionnelles, textuelles), ce travail rend compte a la fois du poids de ces pre-determinations et des phenomenes subtils et complexes de la differenciation sociale qui n'apparaissent jamais comme des processus de reproduction mecanique. Il debouche in fine sur une sorte de deplacement de la problematique a partir de l'observation de singularites relatives et de l'integration des perspectives interactionniste et "constructiviste" sur le plan analytique et theorique. Ceci conduit a envisager la reception tv en tant que processus de socialisation defini comme jeu relationnel entre les manifestations d'une subjectivite affective et le faisceau de determinations auxquelles cette subjectivite est soumise dans la situation de consommation du programme. Dans cette optique, le rituel du programme peut apparaitre - non pas toujours mais dans certains cas - comme un acte intentionnel de reproduction motive par l'attente de benefices individuels. La conduite de reproduction ne releve pas seulement ici du desir de conformite mais egalement de la contrepartie proprioceptive et ou symbolique esperee et effectivement retiree de la pratique televisuelle. Elle n'est pas necessairement soumission aveugle et mecanique a l'ordre social mais peut etre aussi, parfois, acte individuel d'integration quasi-volontaire dans la collectivite, ceci etant rendu possible au travers du rituel tv
Based primarily on case studies of regular program viewers, this research initially explores the ways in which the viewer's reception of the tv program, considered as an "affective" experience , is strongly conditioned by social, institutional and textual determinations. However, the research also demonstrates that social differentiation, as it occurs within the relationship between viewers and tv programs, cannot be reduced to a mechanical process of reproduction. Social differentiation is a process which is subtile, complex and not always predictible. The conclusions drawn from the analysis of this process and of the singularities in the individual viewer's tv consumption, as well as the progressive influence of the theoretical interactionist perspective, leads us finally to consider the experience of the ritual viewing of a tv program as a specific form of socialization. This form of socialization can be defined as the dynamic interplay between the tv viewer's subjective awareness, as it relates in particular to his affective experience, and the network of determinations which condition tv consumption. From this perspective, the tv viewing ritual can be seen as an intentional act of reproduction and not just as a blind and mechanical behaviour. This intentional act is not limited to the desire of conformity. The tv viewing ritual as an intentional act is motivated by the expectation of affective and or symbolic benefits (such as pleasure, meanings or personal solutions) and, in some cases, by the expectation of the social benefit of integration within the collectivity