Tesi sul tema "Émissions de métamorphose télévisées"
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Sanon, Grégoire. "La politique des programmes télévisuels en Afrique Noire francophone : originalité ou rançon d'une assistance étrangère ? : cas du Burkina Faso et de la côte d'Ivoire". Paris 1, 1997. http://www.theses.fr/1997PA010588.
Testo completoBarré, Jean-Pierre. "Analyse des fonctions de la télévision à travers des émissions relatives à l'informatique". Paris 7, 1985. http://www.theses.fr/1985PA070010.
Testo completoFradin, Guillaume. "Les politiques dans les émissions télévisées de divertissement : L'exemple français". Paris 2, 2010. http://www.theses.fr/2010PA020120.
Testo completoBijeck, Jean-Jacques. "Histoire du cinéma et de la télévision : inventaire des émissions de production réalisées en Afrique noire francophone par les sociétés nationales françaises de programmes de télévision entre 1975 et 1985". Paris, EHESS, 1989. http://www.theses.fr/1989EHES0041.
Testo completoGagnon, Jean-François. "Interaction et intégration du public dans les émissions d'informations télévisées par Internet". Mémoire, Université de Sherbrooke, 2007. http://savoirs.usherbrooke.ca/handle/11143/2541.
Testo completoTurcin, Karine. "Temps médiatiques et vie quotidienne : les usages féminins des médias audiovisuels". Bordeaux 3, 2011. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2011BOR30024.
Testo completoThe development of television and radio on demand addresses the issue of the sustainable use of programs offered in linear mode. Those classic programs can be regarded as restricting in a time marked by the massive individualization of the way of experiencing daily time and space. Yet, people use more and more those classic media. Time for television or radio is constantly increasing. The case of working mothers seems to be an apparent paradox: they can dedicate a growing part of their daily time to the medias, while it’s more and more difficult for them to succeed in daily organization. They already must manage multiple times: working, family, social time. . . Then, the question is: when, how and why do they include media time in this full schedule? Is the schedule of traditional linear media in line with their way of life? The assumption is that they use media, among other reasons, to maintain a form of time stability in everyday life. To validate this hypothesis, the connections between the different times of daily life must be defined, focusing on media time. We chose to organize the investigation in two ways. Fisrt, we analyzed the offer of television and radio (technology developments and evolution of schedules) in order to understand the temporality created by media themselves. Then, we looked into the reasons why working women use media. First of all, it seems that media time is a copy of social time: the schedules have been created in order to be in adequacy with public time. But, retrospectively, the users, and mainly women, use them to maintain the stability of their time, in a context marked by intense time changes
Meyer-Heine, Anne. "Le droit européen des émissions de télévision". Aix-Marseille 3, 1994. http://www.theses.fr/1994AIX32048.
Testo completoTournissac, Annick-France. "Le docudrame américain : les Américains racontés par leur télévision". Paris 1, 1997. http://www.theses.fr/1997PA010541.
Testo completoThe American docudrama is based on real fact, historical or news items, written as a movie made for television. The first chapter explains the birth and development of docudrama on american television in four periods. The chapter exposes the specificity of television scheduling policy and the social and political context of the different periods. The second chapter shows the genre flourishing in the mid 1980's and the important change that occured on american television at the end of that decade. It shows how reality programs and the sliding of the news into "infotainment" fed the expansion of docudrama in recent years. Docudrama, which carries a social message, can alert the public on important subjects and therefore should not be forgotten in favor of programs offering sordid news items. The increase of true crime stories may be a contribution to awareness of social problems, but not when the sensational aspects of crime alone are emphasized. The third chapter discusses production of docudramas and the important legal questions involved. Chapter iv contributes to the resolution of the central paradox of docudrama: the hybridization of documentary and dramatic cinema from which the docudrama emerged. The different points of view from which docudrama is approached has determined the nature of this work. The documentary or factual asptects of the docudrama is analyzed as well as the narrative or dramatic aspects. This work reveals that though the themes of docudrama are comparable to those of the cinema, the constraints of television--the intimacy of the milieu, the necessity for advertising breaks--leads to specific differences that exagerate the dangers of sensationalism and reliance on narrative to hold audiance attention
Mesny, Thierry. "Analyse du documentaire cinématographique et télévisuel dans sa construction interne et ses aspects structuraux". Paris, EHESS, 1987. http://www.theses.fr/1987EHES0076.
Testo completoFonnet, Laurent. "Un modèle économique général pour l'édition audiovisuelle : audience-recette-coût". Paris 1, 2005. http://www.theses.fr/2005PA010010.
Testo completoBastounis, Marina. "La folie mise en scène : le cas de la télévision grecque". Paris, EHESS, 1996. http://www.theses.fr/1996EHES0303.
Testo completoThe aim of the present study is to examine the representations of mental illness in greek television fiction in relation to their specific social and cultural context, from the theoretical perspective elaborated by moscovici on the study of social representations. Empirical research was conducted in three phases. Initially, a content analysis of four television channel programmes revealed that themes relating to mental illness are surprisingly frequent in greek television drama. The analysis further permitted a systematic categorisation of recurring themes and situations relative to mental illness in fictional television representations. The results thus obtained were amplified by the analysis of two examples of television series, particularly concerned with narrative form and structure in order to elaborate the construction of the object mental illness through narrative functions. Finally, 20 psychiatrists and 18 subjects of a comparable socioeconomic category were interrogated though semidirective interviews during which their understanding and appreciation of such television images, as well as of the relationships between greek society, the mentally ill and the psychiatric institution were explored. The data collected through these different methods and approaches permit to postulate the emergence of a social representation of madness that is specific to the greek context of the early nineties, mainly constructed around the familiarisation of greek society with a conception of madness as psychological and public life disorder, that largeley relies on the distinction and eventual rejection of madness as an innexplicable and uncurable pathological state associated to medicine and the psychiatric institution
Obame, Ndong Max-Olivier. "Le téléspectateur africain face à l'internationalisation des programmes de télévision: la situation de l'Afrique centrale". Paris 2, 2006. http://www.theses.fr/2006PA020020.
Testo completoMboa, Atangana Bertrand. "La production des émissions locales comme facteur de préservation des valeurs culturelles et de l'identité nationale : une industrie pour le marché local et la télévision camerounaise". Bordeaux 3, 2002. http://www.theses.fr/2002BOR30027.
Testo completoSiracusa, Jacques. "Le corps des reporters et la forme des reportages : approche sociologique des actualités télévisées". Paris 8, 1999. http://www.theses.fr/1999PA081551.
Testo completoA double process based on archives, interviews and statistics analysis is described : the alignment of the activity on a professional example and the building up of a differenciated and self regulated environment. Tv news has inherited from the work organization of the filmed media, centered on the cameraman and the mute report. The 60's have been a transitional period and a progressive investment of the ground by the office : the cameraman becomes dependent on the editor-interviewer. The editing becomes autonomous and is in line with the model of a big press compagny. The career analysis reveals a double movement. An increasing internal staff recruitment of managers and the existence of regularities in the route within editing offices, an avoidance of the editing specialization, the frequent orientation towards program management and a colleague net structuring a professional environment. The study of exercice modes of a cameraman allows this time the description of a report market from the ground. Observations and tv news analysis shows that report concept depends on specific formats of the work context. Different devices create situation and organize co-operation between colleagues and the flow of treatment. Technical and artistic or rhetoric agreement and improvised manipulation help to clarify the subjects and help them become aesthetically pleasing, compensate lacks, protect oneself from critics and express the value of products. The tv news programming reproduces an editorial structure dependent on the production conditions. The invisible organization of activity contributes to explain the form of visible document. The out of vision images often corresponds to the work backstage and what is useful to grab viewer's attention is also useful to the liability and preservation of institution. The effect of the traitment is to generalize information, to bring out of context, and to interpret according to a definition which depends on the professional context. Abstract images or extracted images are transformed and presented in a form or style that expresses the professional process and constitutes in itself the direction basis
Desquinabo, Nicolas. "Caractéristiques et contraintes des genres interlocutifs dans les émissions de plateaux télévisées : analyses pragma-discursives & en réception". Paris 3, 2005. http://www.theses.fr/2005PA030122.
Testo completoOur research is based on a psycho-socio-pragmatic conception of " genres ". Our purpose is to show that a genre is generally defined by a specific hierarchy of goals that activate normative scripts of speech productions and interpretations. In order to test our hypothesis, we analysed the pragmatic patterns of twenty-four three-minutes sequences of french talk-shows. We used descriptive statistics and factor analysis in order to identify the pragmatic features that co-occur in four types of television sequences and then constitute the pattern of french television talk-shows genres. We then have confronted our pragmatic analysis to a reception studie of the same twenty-four sequences, by nine groups of television viewers
Mbede, Emmanuel. "L'identité de la télévision publique en Afrique : le cas de CRTV (Cameroun) et RTS1 (Sénégal)". Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/mbedebala_e.
Testo completoSince the world wide generalization of the end of a television monopoly the enforcement of programming strategies and the constraints of audiences are realities shared by private television of the North as well as the public ones in the South. This is what reinforced the fear of a homogenization of audio-visual products and raises the issue of identity. This study aims at bringing out the diffrent identity profiles of television channel. With the examples of Cameroon and Senegal publics televisions, we shall propose an analysis of the explicist and implicit indicators and practices that build the specificity of each channel in order to set up a normative analysis gril of identity television. The purpose of our study is to highlight the institutionnal and popular grounds on which CRTV and RTS1 try to construct their national identity. If applied to other channels, these comments may enable us to reflect on the issue of channel identities in a more global and concrete way
Brachet, Camille. "Une forme télévisuelle travaillée par le produit culturel : « l’émission de plateau » entre unité et fragmentation". Paris 4, 2007. http://www.theses.fr/2007PA040241.
Testo completoThe object of this thesis is to present a morphological analysis of a specific television feature, that of talk-shows, as well as the representation of a dominant culture, on the basis of a study of the visibility and circulation of the cultural products in this type of programme. This investigation evolves at the crossroads between media logics and cultural industries, and observes the promotional logics through the prism of a breakdown of the programme’s structure. The form of television analysed here is caught between standardization and differentiation, between continuity and discontinuity, between unity and fragmentation, but also between assumed and nonassumed. More generally, the formal study of the programmes is reinserted in a global system, insofar as it is included in a general dynamic of fragmentation in the media contents
Henriot, Philippe. "Modes de développement et de communication d'une entreprise de télévision : le groupe brésilien "Globo" (1965-1992)". Bordeaux 3, 1993. http://www.theses.fr/1993BOR30018.
Testo completoThe brazilian group globo consists of a nebulae of organizations gravitating around tv globo? the main component of the group. Tv globo started its activities in 1965, just one year after the military putsch and 40 years after the foundation of the newspaper 0 globo and became, less than 20 years later, the 4th television network of the world. Tv globo produces around 1. 500 hours of original fiction a year and exports programs in almost a hundred countries. These countries include most of the latin american one and portugal. Which political, economical and cultural reasons have determined such a development ? which are the objective relations of the globo network with the so called national culture ? trying to give precise answers to such questions, the research spreads in the inner functionning of the globo network. Starting with the analysis of the group and its branche, as well of the historical evolution of the tv globo network, the research displays the mechanism and organization of production, analyses, in detail, the technical and commercial capabilities of the network, ending with a study of the inner and external communication peculiarities of globo network
Karayannis, Vassilios-Petros. "Liberté économique et défense de l'intérêt général: le problème de retransmission par câble des émissions télévisées dans l'Union européenne". Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211205.
Testo completoEn ce qui concerne l’accès des émissions aux réseaux câblés, la thèse met en avant le besoin de sauvegarder un service public de l’audiovisuel. Celui-ci est défini comme un ensemble des règles qui visent à la fois le paysage audiovisuel propre à chaque Etat membre (par exemple pluralisme) et le contenu des émissions proprement dit (émissions informatives, éducatives, épanouissement culturel etc.). Le droit communautaire primaire et dérivé, tel qu’interprété par la Cour de justice, fournit les moyens de conciliation entre, d’une part les intérêts généraux et, d’autre part, les exigences découlant de la libre prestation de services et de la libre concurrence.
En ce qui concerne l’application des droits intellectuels, la thèse aborde la problématique liée à l’épuisement ou la subsistance de ceux-ci. Dans le cas de la câblodistribution, la Cour a affirmé la subsistance du droit. Cette position est corroboré par la nouvelle directive européenne sur le droit d’auteur et les droits voisins dans la société de l’information. La thèse appuie la position de subsistance en considérant qu’elle constitue une condition essentielle pour la juste récompense des auteurs.
Enfin, la thèse aborde les questions plus spécifiques qui naissent à propos de la convergence technologique et juridique. Tout d’abord, il est avancé que le service public de l’audiovisuel n’est pas uniquement lié à des contraintes techniques, mais essentiellement à des objectifs qualitatifs (contenu des émissions). Ainsi, la thèse plaide en faveur de la pérpetuité du service public de l’audiovisuel dans l’ère du numérique. Par ailleurs, des questions plus spécifiques (comme l’accès à la boucle locale, l’interconnexion des réseaux et la numérisation des infrastructures) ont été examinées.
Doctorat en droit
info:eu-repo/semantics/nonPublished
Hajri, Grassi Sihem. "Les effets de la publicité télévisée sur les préférences alimentaires des enfants : le rôle des croyances en termes d’alimentation saine". Caen, 2015. http://www.theses.fr/2015CAEN0507.
Testo completoTelevision advertising is often accused of being responsible for the increase in childhood obesity and is, in this fact, at the center of debate. This research aims to extend them by providing scientific arguments about the effects of advertising exhibitions on preferences and food choices of children. Therefore, it proposes to understand how a TV commercial for a food product, inserted in a particular programming context acts on the attitude of the child to the announcement and on his food choice. In order to better understand the child's eating behavior and its reaction to TV commercials, the concept of belief in terms of healthy eating was also considered in this research. In order to test the research hypotheses, an experimental design has been used, in which we manipulated the “program appreciation” and the “nature of food promoted”. The main results of this experiment confirm the role of the program in the formation of the attitude of child towards the advertisement. This attitude towards the Ad can also, in some conditions, contribute to the formation of beliefs of children in terms of healthy eating. However, the link between the nature of food products promoted in the advertisements to which the child has been exposed and its nutritional choices, does not seem to be affected by its beliefs in terms of healthy eating
Costecalde, Pierre. "Les télévisions celtiques (TG4, S4C, BBC ALBA, FRANCE 3 Bretagne, Brezhoweb) : de l’espace des lieux à l’espace des flux : territorialisation et déterritorialisation". Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20026/document.
Testo completoThe television channels broadcasting in a Celtic language (TG4, Ireland), S4C (Wales), BBC ALBA (Scotland), FRANCE 3 Bretagne’s programmes in Breton and BREZHOWEB (France/Bretagne) rest on languages whose linguistic demographics is worrying. These languages are supported by laws and strategies and by the European Charter on Regional and Minority Languages. In a bilingual environment, they depend on favourable public opinions and on language education. Their expression and promotion is boosted by the Celtic television channels. Faced with a very strong competition in a hyper-fragmented mediascape, they are centers of resistance against globalization, located .in the “space of places” (Manuel Castells), broadcasting for “imagined” language communities (Benedict Anderson). Their dependence on financial flows (Arjun Appadurai) creates a permanent tension between economy and media. The financial and economic crisis has triggered a reduction or a stagnation of these channels’ budgets, resulting in social and economic difficulties for them and their independent producers. Most of the channels are now deterritorializing some of their programmes through internet. They increase their audience rates among their diasporas and the public at large by resorting to optional subtitles andadapting international formats such as soap operas or sitcoms. Part and parcel of convergence, these channels are available on numerous digital platforms. Therefore, their future will depend on a post-Brexit agreement, on the implementation of the European Digital Single Market, but above all on the younger generation’s approach towards learning Celtic languages and their use on the many audio-visual digital platforms
Delarue, Frédéric. "A la croisée des médiations : les émissions littéraires de la télévision française de 1968 à 1990". Versailles-St Quentin en Yvelines, 2010. http://www.theses.fr/2010VERS007S.
Testo completoAs a founding program of French television, the literary book show allows us to study the intersection of two outstanding sociocultural facts in France : the renewed celebration of the writer as a social figure of the twentieth century and the growing place of television as a main mediator of literary fact during the second part of the twentieth century. Therefore, literary book show deserves a very close examination of the passage from one hegemony to another between 1968 (and the end of the television book show on french television, Lectures pour tous) and 1990 (the death of the major television book show, Apostrophes). Based upon the analysis of a wide corpus composed of audiovisual archives, of print archives, of files of production, all of them located at the Inathèque, this doctoral dissertation focuses on the birth and the development of the modern television book show which has become the main mediator betwen the editors or the booksellers, the writers and their potential readers
Gusmao, Bastos Laura Pulqueria de. "Les rapports entre la télévision et le public enfantin au Brésil". Paris 5, 1985. http://www.theses.fr/1985PA05H050.
Testo completoKredens, Elodie. "La réception "publique" et "privée" de la télé-réalité : de la sphère médiatique aux jeunes publics". Lyon 3, 2008. https://scd-resnum.univ-lyon3.fr/in/theses/2008_in_kredens_e.pdf.
Testo completoThis research relates to the reception of Reality tv in several communities of interpretation and examines the way in which people interpret a television genre particularly stigmatized on the scale of legitimacy. This work thus tends to understand how the interpreters dissect this object, with which frames of meaning they work out significances about it and how they position themselves against it. Accordingly two spaces of reception were chosen: one in which revolves a cultivated public, having the right to speak in public space and one which shelters a common public, generally without media visibility. It is thus a question of investigating the "public" and "private" interpretations elaborated on the Reality tv, as a matter of fact, to analyze the interpretations publically formulated and circulating in media public space and the interpretations of the dumb televiewers. The first part of the thesis offers genealogy of the birth of the TV-reality, its incorporation in the French television and its dynamics of deployment. In the second time, the reception of TV-reality with the cultivated public is studied thanks to a corpus of newspaper articles dating from the controversial arrival of Loft Story in 2001. Lastly, the reception of TV-reality with the ordinary public is considered from two surveys carried out with teenagers and young adults living in the region of Lyon
Côté, Pierre-Olivier, e Pierre-Olivier Côté. "A.M.I.S. : scénario d'une web série, Suivi d'une recherche La violence dans les séries télévisées pour adolescents". Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37765.
Testo completoCe mémoire se divise en deux parties: une création et une réflexion critique. Création: A.M.I.S. : La première partie concerne la création d’une web série pour adolescents, A.M.I.S., qui relate un drame survenu durant une soirée dans un cimetière. Sous les effets de l’alcool, de la drogue et la colère, Michaël bat Amanda violemment en plus de poignarder Jade et Éloi, venus l’aider. Samuel, fils d’un avocat, comprend que la présence d’alcool et de drogue pourrait leur nuire et tente de convaincre ses amis de se liguer contre Michaël pour qu’il soit le seul reconnu coupable. Au poste de police, les adolescents créent un scénario différent des événements sans se douter qu’ils avaient été observés par Elsa, une fille rejetée par le groupe. La mort d’Éloi rend le groupe encore plus uni pour punir Michaël et déjouer les plans d’Elsa. Réflexion critique: La violence dans les séries télévisées pour adolescents. La seconde partie traite de la violence mise en scène dans les séries télévisées dans le but de comprendre son fonctionnement et les raisons qui motivent les scénaristes de l’utiliser dans certaines scènes. D’abord, une définition sommaire met en lumière les notions «d’intention» et de «motifs» pour saisir les nuances du phénomène de la violence. Ensuite, nous appuyant sur les théories de Dominique Sipière, nous tentons de saisir le fonctionnement du personnage du «méchant.» En appliquant ces théories aux notions de violence, il est possible de constater un parallèle qui justifie l’utilisation de la violence dans certaines scènes. Pour finir, un aperçu de certaines thématiques présentes dans les séries montre un univers plus sombre et plus complexe.
Cheymol, Jean-Bernard. "De la brieveté dans les émissions télévisuelles courtes sur les arts plastiques". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030062.
Testo completoThis doctoral thesis aims at describing the phenomenon of brevity in short television programmes about plastic arts. First, we will construct the problem constituted by the presence of such programmes on television and by the threat their insertion in the television flood represents for the existence of the brief discourse. Then, a notional analysis of brevity, clearly distinguished from shortness, will enable us to pick out several strategies of brevity in the media. In a rhetorical perspective, these programmes aim at getting adapted to the constraint of brevity, whereas in a pragmatic perspective, their target is to make the relation to the work of art easier. First, through the description of the process used in two programmes, D’Art d’art on France 2 and Suivez l’artiste on France 3, we will study the multiple strategies the programme resorts to in order to try to fight against the television flood, suggesting restraint in speech! or operating retention via various techniques of condensation. Then, we will concentrate on the changes brought by brevity in its efficiency to the relation to the work of art. It can be actualized, reduced to distant contact or to its effects. Finally, its possibility is increased since it is formed in an occasional and contingent encounter. In this form of short television communication, creative of possibilities, the brevity of discourse redefines the terms, moves the stakes in the relation of communication and introduces flexibility, giving the possibility to the work of art to open to multiform contact
Jreij, Dunia. "Les télévisions au Liban aujourd'hui". Paris 2, 2010. http://www.theses.fr/2010PA020128.
Testo completoAbolo, Mbita Christian. "Programmation des chaînes de télévision françaises généralistes : logiques d'acteur et médiation". Bordeaux 3, 1994. http://www.theses.fr/1994BOR30062.
Testo completoProgramme planning in general-interest television channels is drawn programme planning in general-interest television channels is drawn however,programming results from a distinctive process which makes mediating necessary. The mediation has to take into account the diverging aims of a set of social parterns for which the generalinterest channel- whatever its status- acts as a consolidating, social binder. The desperate rivalry to attract the attention of the more powerful pertners leads to standardizing the programmes on offer and to dissolving the fine line between the public and private sectors. Thus programming can be depicted as the transformation of the mediating process into the broadcasters' attempt to seduce the widest audience and attract advertising revenue
Petitjean, Virginie. "Les incidences de la concentration sur les contenus audiovisuels : le cas du groupe TF1". Paris 2, 2010. http://www.theses.fr/2010PA020132.
Testo completoIonascu, michel. "Cheminots argentiques : l'image d'un groupe social dans le cinéma et l'audiovisuel français". Paris 3, 1999. http://www.theses.fr/1999PA030116.
Testo completoGravel, Anne-Sophie. "Figures de meurtriers célèbres dans les séries télévisées Bates Motel (2013-2017), et Hannibal (2013-2015) ainsi que dans le film Seven (1995) ; : suivi de : Les leçons de Gillian (Scénario)". Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/40300.
Testo completoBabou, Igor. "Science, télévision et rationalité : analyse du discours télévisuel à propos du cerveau". Paris 7, 1999. http://www.theses.fr/1999PA070092.
Testo completoBesbes, Khouaja Fatma. "L'impact des réactions induites par le programme télévisuel sur l’efficacité des publicités destinées aux enfants". Caen, 2012. http://www.theses.fr/2012CAEN0696.
Testo completoDespite the importance of the research conducted in the field of marketing and children, the works dealing with the effects of the TV programming context on the persuasion process remain rare. Our research aims at making up for this gap, through an attempt to understand the way and the direction in which a TV programming context affects the attitude towards surrounding advertisements, and the attitude towards the brands they present. In order to test the research hypotheses, an experimental design has been used, in which we manipulated the "program appreciation", the "position of the advertisement in relation to the program", and the "position of the advertisement within the screen". The results of this experimentation confirm the role played by the media context in the formation of the attitude towards the advertisement. They show that the evaluation of the execution and argumentation elements which was used so far by different researchers accounts for only a part of the Aad variance, and that the appreciation of the program - but equally of the mood that it triggers in an audience of children- contribute to its formation. Besides, we have demonstrated the moderating role of the "position of the advertisement in relation to the program" and of the "position of the advertisement within the advertising screen" on the process through which the program affects the advertisement that interrupts it
Ben, Chikh Saliha. "Multifonctionnalité et position syntaxique des marqueurs discursifs : "you know" et "then" en anglais et "ya'ni" en arabe. Cas des interactions verbales politiques dans des émissions télévisées". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA096/document.
Testo completoThis PhD thesis deals with the pragmatic functions of ‘you know’, ‘then’ and ‘ya‘nĩ’ (I mean) as autonomous syntactic structures and as operational and multifunctional linguistic units in conversation. Within a pragmatic framework, the research discusses the correlation between position and function, in which the pragmatic value of a marker in initial position is different from that conveyed in medial or final positions. The goal of this study is to contribute to the pragmatic analysis of conversations by analyzing political verbal interactions in Arabic and English television broadcasts. The results of this empirical study show that the multi-functionality of these linguistic items is related to their syntactic flexibility. These discourse markers imply a variety of contextual functions which evolve gradually on a pragmatic scale.The pragmatic evolution of ‘you know’, ‘then’ and ‘ya‘nĩ’ generate complex semantic expressions. These pragmatic units in fact become increasingly complex; they go beyond their basic meaning to acquire progressively contextual implications. Thus, these markers refer to other interpretations and transcend their immediate semantic base. In this respect, they can be substituted according to the context of their occurrence. The results reveal that ‘ya‘nĩ’ can be substituted with other markers from different grammatical categories in English. This polysemous, multi-functional, poly-equivalent and poly-categorical conversational unit shares its pragmatic functions with ‘you know’, ‘then’, ‘I think’, ‘so’, ‘in fact’ and other discourse markers. Pragmatic variation depends on the illocutionary perspective of the speaker, the relation with the hearer and the organization of the verbal interaction. In two distinct sociocultural situations, English and Arabic, it is confirmed that these linguistic items are contextual and multifunctional conversational units. Their role is relevant in a social situation where the interaction between the speaker and the hearer is a salient factor, as in the case of political verbal exchanges in television broadcasts
Fallah, Fariborz. "Les documentaires sociaux de la télévision britannique (1980-2000)". Paris 3, 2002. http://www.theses.fr/2002PA030077.
Testo completoThis study looks at the evolution of British social documentary on television during 1980 - 2000. The technological developments in the field of image and the relaxed regulations have been deciding factors for transformation of documentary, mainly represented on television as investigative and observational. Detailed analysis of some documentaries reveals the complexity of the situation in a generally hostile environment
Laplanche, Laurie. "Pour vous, mesdames.... et messieurs- Production des émissions féminines à la Société Radio-Canada à Montréal (1952-1982)- Promotion, conception des publics et culture organisationnelle genrées". Doctoral thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/27394.
Testo completoThis dissertation examines the history of daytime television and radio targeting housewives at the Société Radio-Canada (SRC) from the arrival of television in 1952 until the disappearance of the Service of televised women's broadcasts in 1982. This Service was the only Service in Montreal directed by a woman and in which women employees were more numerous than men. From 1965 to 1982, the Service produced Femme d’aujourd’hui, a TV programme developed for francophone women across Canada. Referring to feminist works in communications, history and literature that developed the concept of gender, we move away from a transmission model in media studies by drawing upon approaches developed in cultural studies that reflect the complexity and equivocal nature of media production. From a constructivist perspective and adopting a qualitative and inductive methodological approach, we analyze the discourse contained in promotional publications published by the SRC for audiences between 1952 and 1982: La semaine à Radio-Canada (1950-1966), Ici Radio-Canada Madame (1966-1967) and Ici Radio-Canada (1967-1982); in the employees’ magazine Circuit fermé (1965-1982); and in the sources preserved in the private funds of the Chief of the Service of televised women's broadcasts from December 1965 to October 1981, Michelle Lasnier. Referring to the theory of gendered organizations, this dissertation shed lights on the gendered dynamics of media production in line with the evolution of social changes brought about by the feminist movements in the 1960s and 1970s in order to explain both the limitations and opportunities they offered women in public space. Taking into account women’s work enables to demonstrate how values, standards, qualities, abilities, and expectations associated with femininity and masculinity were an integral part of the organizational culture of the public broadcaster, most often, but not always, to the detriment of women. In order to detail the institutional context, the evolution of the promotion of women's issues in connection with the evolution of feminist protests since the arrival of television in Quebec in 1952 is examined until the disappearance of the Service of televised women's broadcasts in 1982; this dissertations also demonstrates how adult audiences were designed with separate interests according to gender. The hierarchy of the values ascribed by the SRC to women and men, mainly to the advantage of the latter as artisan(s), subjects, guest(s) and public, is then analyzed: first through an examination of promotion programs targeted at women, compared with the class of programming directed specifically to fathers and men; then with the examination of pressures to Femme d’aujourd’hui to be broadcast during primetime instead of the afternoon. The organizational context of the SRC is also highlighted with an emphasis on the gendered job classification, on feminist criticisms against the State Corporation, on the barriers to the effectiveness of policies of equal opportunities adopted from 1975, and the measures taken to fight against gender stereotypes in programming. Finally, power relations and the gendered division of labour within the Service of televised women's broadcasts are studied in order to underline the constraints and opportunities for women working in what is seen, by the staff attached to the type of broadcasting, as a devalued media production sector. This thesis aims to shed light on the work of women in electronic medias, taking into account both the limitations and opportunities they offered in the mediated public space, an important concept in public communication studies.
Siejka, Monika. "Morphogénèse du héros dans les séries policières américaines ( 1968 - 2008 )". Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLV011/document.
Testo completoJust like Scheherazade, from The Arabian Nights, who had to hold the Sultan spellbound in order to survive, police television series must capture the attention of the viewer for several seasons. We question the multiple morphogenesis of heroes in American police series produced with great stylistic renewal and worldwide success between 1968 and 2008. The ongoing theme is the promise of justice by the policeman hero. We investigate the transformations of reception and construction modes of the hero provoked by the rise of social networks. Unlike the Sultan, who had to follow the storyteller, is the viewer now participating in the construction of the representation of the hero, projecting into it his own intimacy?
Charbonneau, Gabrielle. "L'émotion dans le discours politique : une problématique liée au genre télévisuel?" Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/30134/30134.pdf.
Testo completoZhao, Yan. "La culture médiatique en Chine : audience et programmation télévisuelle en Chine, révélateurs de mutations sociales". Montpellier 3, 2009. http://www.theses.fr/2009MON30020.
Testo completoTelevision has played an important role from the 1950s in the United States, then in Europe and around the world. Today it becomes the most influential media because it is easily accessible to all the social categories. Since the advent of television in China, it tries to answer to the dilemma between its role of propaganda and the triptych “to inform, educate and entertain”. Today, Chinese television programming is facing the challenge of the suppression of State funds, the search for more audience, and competition with foreign media after China's entry to the WTO. In theory, Chinese television is still under the direct control of government and should act as its mouthpiece. However, in practice, China's transition towards a market economy has forced the world of television to change in fundamental ways. The Chinese media have much more freedom and space than before to pursue their professional goals and to meet the needs of the audience. The nature of Chinese television has gradually changed. The development of television programming is part of the evolution of China. It represents a decisive force for its economic and social change. The work presented here is a reflection on the Chinese experience in the interaction between its television programming and the society in transition. It includes four parts: The first part presents the general development of television programming in the world. This part itself consists of a chapter: television: history and evolution. The second part is the analysis of television programming in China, its recent trends and its audience. This part contains four chapters, which is the successive stages of Chinese television development: a television of political propaganda: the television programming in China before 1979; instrument of economic development: Chinese television programming after 1979; Chinese television confronts the challenge of world trade; Chinese television and its new forms of transmission. The third part presents the three most popular types of programs. It has one chapter: between conservatism and creativity: the landscape of television programming in China, and finally the fourth chapter, which is analyzing the role of television in the lives of ordinary people and in the society, also includes a chapter : between audience, television and society: the territorial influence of television
Abduraman, Alina Elma. "Structuration intra-programme de contenus TV". Electronic Thesis or Diss., Paris, ENST, 2013. http://www.theses.fr/2013ENST0027.
Testo completoTV programs have an underlying structure that is lost when these are broadcasted. The linear mode is the only available reading mode when viewing programs recorded using a Personal Video Recorder or through a TV-on-Demand service. The fast-forward/backward functions are the only available tools for browsing. In this context, program structuring becomes important in order to provide users with novel and useful browsing features. In addition to advanced browsing features, TV program structuring can also be used for summarization, indexing and querying, archiving, etc. This thesis addresses the problem of unsupervised TV program structuring. The idea is to automatically recover the original structure of the program by finding the start time of each part composing it. The proposed approach is completely unsupervised and addresses a large category of programs like TV games, magazines, news…. It is based on the detection of “separators” which are short audio/visual sequences that delimit the different parts of a program. To do so, audio and visual recurrences are first detected from a set of episodes of a same program. In order to extract the separators, the recurrences are then classified using decision trees. These are built based on attributes issued from techniques like applause detection, scenes segmentation, face and speaker detection and clustering
Chabert, Ghislaine. "Un autre rapport à la télévision ? : le facteur culturel face à une offre technologique nouvelle". Bordeaux 3, 1999. http://www.theses.fr/1999BOR30016.
Testo completoNowadays, the evolution of different means of communication seams to accelerate because of the development of new technologies which are changing the uses of media. The topical debate in the field of communication, that concerns the changes of using, may be due to the technological innovation. The main discussion arises different theories. Most of them are based on a specific view of the relations between the users and the media. In my point of view, it is necessary, for those searchers, to relativize the media impact and the changes in the behaviour of the users. It is also important to enhance the simultaneous action of the audience and the environment. Moreover, the complementarity between the mass media and the specific media must be taken into account. According to this point of view, i noticed, especally in the television field, that different factors tend to influence people to accept those new technologies. The comparative method, between the technological uses of the cable and the satellite in france and quebec, enhance cultural features. However, it reveals other unexpected events. Indeed, the subscribers to the cable or the satellite still use the traditional media but they complete it with specific technologies. Finaly, this research clearly shows that some sociodemographic factors, especally sex and age, have a significant influence on means of communication
Manson, Gaël. "Délinéarisation automatique de flux de télévision". Phd thesis, Université Rennes 1, 2010. http://tel.archives-ouvertes.fr/tel-00512675.
Testo completoRochette, Émilie. "Le comportement communicationnel des politiciens à Tout le monde en parle". Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/27906/27906.pdf.
Testo completoBinette, Cindy. "Intermédialité et intergénéricité dans la télésérie « Les invincibles »". Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29929/29929.pdf.
Testo completoNankam, Franck. "La télévisibilité des noirs de France : étude exploratoire des représentations télévisuelles de leur épanouissement 1995-2000". Paris 3, 2004. http://www.theses.fr/2004PA030004.
Testo completoWhich are the Televisual Representations of the Blacks of France immigrants' Opening up? We have firstly selected the latter for their very basic Ethnicity (notably biological: their skin's colour), which makes them readily recognizable and observable in the social environment and on TV screens. Moreover, they are emblematic of the many national (DOM/TOM) and international immigrants who have elected to settle down and blossom in metropolitan France. We have defined their opening up as the very result of their adoption of Frenchness and successful Integration in the French society. It is within these parameters that we have studied their televisual representations - originating from the social representations - which are produced by their visibility (televisibility) among the Telemodels (Journalists - Emcees - Guests - Members of the Public - Actors) and in the Teleprograms (Information - Education - Culture - Entertainment - Advertising). The observation and analysis of the thematic of our chosen syllabus - 624 cover pages of four TV programs weeklies between 1995 & 1998 and 186 topics between 1995 & 2000 selected at Inathèque de France - has produced three major findings: 1) Blacks of France are quasi-absent from the televisual representations; 2) the televisibility of their opening up is established; 3) globally, their image is positive and their integration successful
Ibanez, Bueno Jacques. "Télévision et phonogramme : les émissions de variétés : production et synergies (le cas de la France et situations dans les télévisions francophones)". Grenoble 3, 1992. http://www.theses.fr/1992GRE39004.
Testo completoThe search for a definition and a history background of variety shows in france (part 1) are preceding "an inside critic" (content, aesthetic) and a attempt to characterize those programs. The name "variety show" is arguable. Today the existence of variety shows is jeopardized by the evolution of the television style (part 2). Parts 3 and 4 relative to the television and phonogram industries are contributing to define the role of music in television. The hypothesis which says that variety shows play the most important part in the promotion of phonograms, is contesting (part 5). New alliances and synergies are creating the need for the analysis of video music, musical televisions, and new commercial supports within variety shows. The "seconds equivalent commercial" intend to measure the effectiveness of commercials. A "new phonographicadvertisement business" is born. The problem of the future of the phonographic business within the communication industries is brought up. "the music of the industry" is shenghtening (part 6). The situations in quebec, french-speaking switzerland and africa (part 7) enable the start of the confrontation of the appiled hypothesis to france, then it brings up the fact that the frenchspeaking market is lacking of variety shows
Mazih, Benboucetta Bouchra. "Les émissions culturelles à la Télévision Marocaine : quel statut dans une démocratie en devenir ?" Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015PA030023.
Testo completoThis paper primarily seeks to verify whether the status of culture on Moroccan national television could be an indicator of the implementation of a democratic process in Morocco. Audiovisual reform is a pretext for observing the scope of reformist discourse, especially when such discourse is delivered by authoritarian regimes. As we intend to examine a specific aspect of policy in a given sector, it would be interesting to place it in the broader context in which it evolves. We shall take a close look at the country's colonial past to better understand the foundations of the Moroccan regime and the relations that it nurtures with the various stakeholders in the political landscape.We will use the relations between the monarchy and religion, politics and the media, and the Moroccan people to present the problematic of how authoritarian regimes now use reforms as a new way of reasserting their authority. The 2011 elections brought Islamists into the government. In the audiovisual sector, we can expect a confrontation between the true holders of power in this field and the ministry in charge of the sector when it comes to drafting the terms of reference for public radios and televisions. We shall examine how political stakes influence the decisions of the various professionals through the conditions for implementing these texts; for we wish to participate in viewing from a different angle, the modernization processes of a country such as Morocco
Schmitt, Thomas. "La television culturelle : pertinence communicationnelle et economique". Paris 3, 1997. http://www.theses.fr/1998PA030041.
Testo completoCulture, television : two terms which appear to many to be deeply antagonistic. The history of religions and art, also that of communications or economics help to understand the origins of this feeling of opposition which makes cultural television seem like a paradoxical concept. However cultural channels exist : la 7, arte, la cinquieme, for example, and also arts&entertainments, pbs in the united states of america, tv ontario and radio-quebec in canada, channel four in england. Our thesis tries to show how culture can be broadcast by television. The channels studied mean three different things by the word culture : cultural identity, the process of education and the field of art, science and thought. According to their way of conceiving it, they are developping a sociocultural, educational, artistic, intellectual or "dramatic" type of communication through their editorial strategies - comprising their contractual, program and programing strategies. In order to reach their goals of communication, educational or artistic and intellectual channels have to use the media television in a way it is not commnly used. The economic relevance of cultural television is essentially a matter of public financing logic. But, so that the organisational consequences of this way of financing might be avoided, there is an industrial model, flexible, open to the environment, connected to a strategy of differentiation, a strategy of partnership, and even a global or multimedia strategy. Following the example of channel four, la 7, arte and la cinquieme decided on the same model. The theoritical paradox doesn't seem to concern the channels discussed. However, isn't it strange that these channels which reflect a culture of modernity exist at the time of the spread of postmodernist culture in society?
Ding, Lingzi. "Le genre Variety à la télévision japonaise et la société japonaise contemporaine : approches historique, communicationnelle, culturelle". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080022.
Testo completoVariety shows on Japanese television are multifaceted as they conflate various elements at multiple levels: genres, formats, etc. They have grown from importing and imitating American productions to adapting their contents to the Japanese society.This dissertation focuses on the contribution of variety shows to social harmony. The corporate documents issued by major TV companies in Japan make this function explicit. Concrete achievements make this function visible: some programs popularize sciences to enrich people; others introduce the audience to diverse cultural patterns, thus enlarging the choices of lifestyle and enhancing a feeling of richness. Whatever transformations television achieves, pursuing social harmony is never absent from new contents
Koukoutsaki-Monnier, Angeliki. "Industries culturelles et spécificités nationales : les tendances de production de la fiction télévisuelle grecque (1970-1997)". Paris 3, 2000. http://www.theses.fr/2000PA030015.
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