Teses / dissertações sobre o tema "Télévision – Production et réalisation – Italie"
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Ferretti, Mattia. "Télévision publique et jeunes adultes : les enjeux de la qualité dans trois programmes culturels de la Rai". Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030033.
Texto completo da fonteIn the relationship between Rai and young adult audiences, the issue of quality plays a determinant by role. In Italy, the European country with the highest youth television consumption, audience is the dominant variable. Conversely, program quality management seems to remain in the background and presents important limitations.The first part of this thesis proposes a multidisciplinary theoretical analysis that contextualizes merits and limits of Rai's quality management on three levels: in its relationship with the State; in its internal production logics; and in its relationship with young audiences.We then present two studies referring to three Rai cultural programs. The first analyzes the expectations and qualitative perceptions of an audience of 600 young adults. After selecting 12 criteria characterizing "quality" and "viewing pleasure", we carried out a qualitative and quantitative analysis aimed at identifying expected and perceived quality and pleasure through the method of content analysis. The second study focuses instead to how professionals managing these programs pursue quality. The investigation was carried out with semi-structured interviews and with the paired comparisons method using the Condorcet criterion.This thesis not only brings out the merits and limits of the quality of cultural programs addressed to young people, but also brings together the universe of television professionals with that of the audience in a novel way, proposing an investigation method for improving and sustaining television quality
Cailler, Bruno. "Production cinématographique et production télévisuelle, vers une filière audiovisuelle intégrée : de la logique de préfinancement à la coproduction et à l'adossement". Grenoble 3, 1999. http://www.theses.fr/1999GRE39003.
Texto completo da fonteSince 1990, french movie production entered in a new industrial age. The french channels have to coproduct a part of the global movie production. With this law the age of intersectorial coproduction began. The benefits of television have helped to produce french movies. But they have imposed the channels strategies in the movie sector too, until most of the well-known producers wanted to work for the multimedia group and their network of channels. The french audiovisual politicy, coproduction as a new system of socioprofessional reorganisation and the studies of the financial structures of movie and televisual productions permit to estimate the risks for a production sector based on the only financial sector : what about the independance of french production and artistic risk ? what kinds of strategy can the producer adopt during the negociations for the prefinancement of his project ? how can he react armed with the only scenario?
Mboa, 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.
Texto completo da fonteTchindji, Pierre-Paul. "L'Utilisation des productions audiovisuelles étrangères par des organismes de télévision d'Afrique francophone : Sénégal, Cote d'Ivoire, Burkina Faso, Gabon". Paris 2, 1986. http://www.theses.fr/1986PA020082.
Texto completo da fonteTaty, Jean-Jacques. "La non émergence d'une production audiovisuelle autonome en Afrique centrale (cinéma et télévision)". Paris 1, 2003. http://www.theses.fr/2003PA010578.
Texto completo da fonteLe, Van Ra Anne. "La coproduction cinématographique européenne sous influence institutionnelle entre 1989 et 1994 : vers l'émergence d'une esthétique académique selon l'axe franco-italien (Farinelli ou la voie européenne)". Montpellier 3, 2000. http://www.theses.fr/2000MON30029.
Texto completo da fontePavie, Hugues. "Synthèse d'images texturées : application au domaine de la production en télévision". Compiègne, 1994. http://www.theses.fr/1994COMPD682.
Texto completo da fonteGouraud, Lionel. "L'"instit", la télévision et le social : problèmes sociaux et création audiovisuelle". Toulouse 2, 2003. http://www.theses.fr/2003TOU20029.
Texto completo da fonteThe main character in the TV serial : "The Schoolmaster", Victor Novak, inheriting from the great archetypal images of fictional heroes, presents the schoolteacher function under an enthusing or irritating aspect as the case may be. In the heart of TV production, the schooling system invests large financial and symbolical means to promote this formerly in crisis job. In the meantime, picture creators and story-tellers meet certain social expectations, consciously or not. Combining both dimensions of the object, we wish to show that this TV serial has played an important part in building a "powerful" image of the schoolmaster ; secondly, has or hasn't this representation altered the relations between the profession and its audience ? Is such an image of any professional use ? "The Schoolmaster" isn't a gratuitous act ; it fulfils functions serving both the creating and the political worlds
Messaoudi, Madjid. "Le champ audiovisuel algérien : la télévision algérienne face aux chaînes étrangères diffusées par satellite". Paris 10, 2012. http://www.theses.fr/2012PA100071.
Texto completo da fonteThe broadcasting of satellite foreign channels in Algeria, since the l980’s, has generated a public keen interest. The number of homes, having receiving equipments, has increased over the year. For the first time, the public discovered in prime time slots recent and varied TV programs including out, spoken TV shows what the national unique channel (ENTV) did not offer them. The presence of these foreign channels threatens the existence of the mentioned TV as they take its public away, has for ever belonged to it. In order to face up to this competition, the Algerian channel has tried to shape its system, established the day after the independence at the organization, financial levels, shows and programming. But this process of change is hardly feasible because of the limited financial resources and the maintaining of the state monopoly
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.
Texto completo da fonteKeller, Damien. "Dialogues entre l’art et la vie : interactions, circulations, débordements : l'oeuvre cinématographique et télévisuelle de Jacques Rozier". Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20003.
Texto completo da fonteThis doctoral dissertation aims to investigate the cinematographic as well as televisual work of a singular filmmaker, Jacques Rozier, in the light of the different dialogues it engages between art and life in order to interrogate this conceptual couple. Author of a prolific work and emblematic figure of the French New wave with Adieu Philippine (1963), Rozier represents an atypical template of filmmaker, both because of the ways he used to create and of the shape taken by its career from the mid-1950s until today. His relationship with cinematographic writing is notably characterised by the conception of creation as an adventure, justifying the invention of a shooting environment allowing the unpredictable to happen. Such methods thus engage a kind of association with reality, with technique, with performers, with shooting, infact more generally with mise-en-scène, which is going to be characterised here. Sailing with the wind, he is continually going back and forth between long and short films, between fiction and documentary, between cinema and television, between intellectual and popular culture. By focusing on all these items in terms of aesthetic study as well as genetic analysis, and through an understanding of the terms of creation or reception by the viewer, it is about defining stylistics and interrogating the operations of the different mechanisms of interactions, of motions and of overflows involved in this work
Bourdaa, Mélanie. "L'interactivité télévisuelle, ses modalités et ses enjeux : Comparaison de programmes Etats-Unis--France". Bordeaux 3, 2009. http://www.theses.fr/2009BOR30020.
Texto completo da fonteSince the introduction of new technologies and the implementation of interactivity in TV broadcasts, televisual practices and consumption of TV broadcasts by TV viewers have been modified. They have acquired the technical skills and they were given the technological tools. With them, they are able to create a more personal television environment and free themselves from the rigidity of the TV programmings. They are more and more active in the decoding of reality-shows, political debates or TV series and they use the interactivity in order to dive into an endless experience of reception, thanks to the forums and the virtual communities for example. On the other hand, producers create overt or obscure strategies of manipulations in their shows in order to invite the TV viewers to participate and keep control over their broadcasts. Interactivty symbolises the entrance in a new televisual era. What are its characteristics from the producers' point of view and from the TV viewers'? What are at stake in this new television, and particularly what are the consequences for the social relations?
Goudjil, Sophie. "Ecriture progressive et collective des séries télévisées états-uniennes (1996 – 2016) : Etude de cas des sériesBuffy the Vampire Slayer, Six Feet Under, The West Wing, Grey's Anatomy et Transparent". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080066.
Texto completo da fonteContemporary American television series are often legitimated via the promotion of the showrunner as author of the series. This dissertation demonstrates that, to the contrary, the writing of a contemporary American television series can be characterized as a collective and progressive mode of authoring. The way this writing process is structured is specific to a production context in which economic factors and artistic ambitions interconnet and mutually influence each other. This dissertation takes a holistic approach to the study of television screenwriting that accounts for these aspects of interconnection and collaboration at all stages of production. First, we begin with the development phase of a series, we analyze the interactions between the various production stakeholders and the aligning of their sometimes conflicting objectives with the concept of the series itself. Next, we turn our attention to the production phase, we examine how the writing process is structured and how the structure of this process is reflected in the story itself. Finally, we look at how a series is broadcast, analyzing the way in which different types of episodes are used in order to create an emotional bond with the audience as well as offer them narrative entry and exit points into the story. By studying the history of production methods for American television series from 1940 to the present day, then by applying our analytical tools to a corpus of 5 television series produced in various production contexts (Buffy the Vampire Slayer, The West Wing, Six Feet Under, Grey's Anatomy and Transparent), we highlighted the progressive and collective nature of the writers’ room process
Lichaa, Flora. "Le documentaire en Chine (1905-2017) : entre autonomie artistique et enjeux politiques". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF024.
Texto completo da fonteThis thesis proposes to explore the political, aesthetic and ethical issues of documentary in China. Based on a historical research from the birth of Chinese cinema in 1905 to the end of the Maoist era in 1976, I show that documentary was progressively subjected to politics, supporting the construction of a modern nation. Thus, aesthetics could not free itself from politics before the reform of the economic system in the 1980s. From that period onwards, I analyze the strategies adopted by filmmakers to free themselves from their ideological straitjacket, based on field surveys and film analyzes. While television has first enabled the re-evaluation of documentary to promote its diffusion, I show that the strengthening of censorship, following the student protests of 1989, has encouraged some documentary filmmakers to create production and diffusion channels independent from the audiovisual sector. The analysis of this network's organization mode reveals the mechanisms of professional recognition, that lead the filmmakers to develop their activities in the Chinese private sector, while seeking to exist on the international scene. This structural autonomy allows them to develop an ethics aimed at guaranteeing their proximity with the people filmed, who usually belong to the lower classes. However, the interference of the Chinese authorities only allows their films to be shown in festivals which have low visibility in the public space. As they are part of a marginalized space, frequented mainly by artists and intellectuals, their egalitarian aim is hampered by the impossibility of reconnecting with the Chinese audience. This paradox suggests the difficulty of establishing a constructive dialogue between documentary filmmakers and the audience, as long as the Chinese State does not allow the formation of a public sphere, functioning independently of political institutions, bringing together filmmakers, critics and audience members into a concrete community
David, Jérôme. "Les séries télévisées des chaînes historiques nord-américaines de 2004 à 2014 : lignes éditoriales et stratégies de programmation à l'ère post-networks". Thesis, Paris 2, 2019. http://www.theses.fr/2019PA020063.
Texto completo da fonteThe purpose of this Ph.D. thesis is to study the evolution of the editorial lines and the programming strategies implemented by the North American traditional TV channels (NBC, CBS, ABC) between 2004 and 2014. This research focuses on the TV series sector which has a prominent place among the programs these TV channels offer. In the early 2000s, this cultural industry faced a changeover in the competitive environment which led the nature of TV series to be re-oriented. As a matter of fact, NBC Channel, yet initiator of « quality television » programming, saw its audience numbers dramatically reduce, allowing its competitor ABC to gain ground through critical and major commercial successes. The present analysis takes the view that during the following years the quantity of fiction programs with an educational and recreational approach decreased. Namely, fictions evolving in a realistic context, were abandoned in favour of entertainment programs turning to escapism and using spectacular effects close to the Hollywood production model. Then, under the leadership of ABC, one of the Disney channels, a new cycle of symbolic production arose that could be called « Escape Television ». This restructuration of the offer is here shown as a response to the change of demand turning to a « post-networks » era. This period is characterized by the decline in the audience numbers as well as the growth of VoD. From there on, the traditional TV channels no longer targeted a national audience as a key priority but aimed to attract a worldwide public used to obtaining their content from internet, often illegally. The present approach, both historical and socio-economic is mainly based on the analysis of four successful TV series: Lost, The Office, The Good Wife and Person of Interest