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Статті в журналах з теми "Médias audiovisuels – France – 1970-":
Sainteny, Guillaume. "Les médias audiovisuels face à l'écologisme en France." Quaderni 27, no. 1 (1995): 5–28. http://dx.doi.org/10.3406/quad.1995.1117.
Guéraud-Pinet, Guylaine. "Éditorialisation et mise en visibilité des contenus audiovisuels des médias d’information en ligne français : le cas de Konbini, Brut. et Loopsider (2013-2021)." Télévision N° 13, no. 1 (October 20, 2023): 91–108. http://dx.doi.org/10.3917/telev.013.0091.
Jedlowski, Alessandro. "Médias audiovisuels et diasporas africaines en France : des enjeux de la représentation aux défis de la production." Revue européenne des migrations internationales, no. 39 - n°1 (February 9, 2023): 185–206. http://dx.doi.org/10.4000/remi.22381.
Bergeron, Henri, and Patrick Castel. "Crises et réformes de l’hôpital en France : une perspective sociologique." Les Tribunes de la santé N° 76, no. 2 (June 23, 2023): 15–22. http://dx.doi.org/10.3917/seve1.076.0015.
Debauche, Alice. "L’émergence des violences sexuelles intrafamiliales : un appui pour la visibilité des violences sexuelles en France dans les statistiques françaises ?" Enfances, Familles, Générations, no. 22 (June 9, 2015): 136–58. http://dx.doi.org/10.7202/1031122ar.
Brugidou, Mathieu. "Rapport de thèse de doctorat en Science politique (Paris Dauphine) de Philippe Blanchard : Les médias et l’agenda de l’électronucléaire en France. 1970-2000." Bulletin of Sociological Methodology/Bulletin de Méthodologie Sociologique 111, no. 1 (July 2011): 65–75. http://dx.doi.org/10.1177/0759106311408871.
Gauvin, Gilles. "Une certaine idée de la francophonie dans l’océan Indien : l’académicien et vice-recteur de La Réunion Hippolyte Foucque (1887-1970)." La F/francophonie dans l’aire indiaocéanique : singularités, héritages et pratiques, no. 11 (July 17, 2023). http://dx.doi.org/10.35562/rif.1442.
Дисертації з теми "Médias audiovisuels – France – 1970-":
Sung, Wook-Jei. "La loi du 27 juillet 1982 sur la communication audiovisuelle : la loi de la continuité ou celle de la rupture ?" Paris 2, 2005. http://www.theses.fr/2005PA020055.
Emanuel, Susan. "La télévision et la culture en France : à la recherche d'une chaîne culturelle européenne." Rennes 2, 1993. http://www.theses.fr/1992REN20018.
The aim of this work is to study the relations between culture and communication in France. We begin with an overview of the different theories of the media and a description of France's television culture from the 1960s until the arrival in power of the socialists in 1981. The first chapter compares French attitudes to television with Anglo-saxon ones, especially with the approaches of cultural studies and television studies. Starting with the influence of the Frankfurt school, we examine the different ways in which national intellectuals tried to deal with the problem of mass culture. The second chapter recounts the history of French television; the third deale with the cultural and audiovisual policies of the socialists. In the fourth, we examine the various logics which resulted in the creation of a European cultural channel, la Sept - industrial, diplomatic, educational - and recount its institutional history. Chapter 5 is devoted to an analysis of French television aesthetics, particularly its focus on authorship and creation. The next chapter looks at various schools of french thought on culture and television, almost all deriving from a bias toward classical and modernist culture. The audience and the methodology of its study particularly neglected topics in France - are examined in chapter 7. Most industrialized countries are experiencing a crisis in their public service television, and an international comparison is introduced in the eighth chapter. The final one returns to keywords like quality, national identity, and postmodernism. A thematic bibliography precedes annexes, including publicity material for the channel
Alexandre, Olivier. "La règle de l'exception : sociologie du cinéma français (1981 à nos jours)." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0076.
The exception of French cinema includes a triple singularity. First, the sector represents the main model against the Hollywood industry. Second, unlike other European countries, the mutation (liberalization and expansion) of the audiovisual sector in the 1980s hasn't led to a collapse of the industrial and artistic sector. Finally, the director plays a cardinal role. International, historical and authorial : the proposed thesis aims to unravel this triple paradox. The thesis claims that a system of relationships and specific rights is based on a substainable embedding between different professional worlds. This cultural ecology, ie macroaggregation composed by different social worlds, is the main cause of the sustainability of the sector. Founded or refounded organizations and the establishment of suitable layouts are the foundation of the socio-cinematic history. Moreover, like other cultural industries, the French cinema is highly segmented. An executives core differs from the circle of "independent", itself differentiated from the "outsiders" one. Market strategies ad public action create a structural uncertainty about careers. Education, work abilities and the loyalty of their networks are the adhocratique factors allowing filmmakers to become "authors"
Chevalier, Fleur. "Formater pour mieux régner : vidéastes et performers à l’épreuve de la télédistribution en France, 1975-1998." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080045.
From the early 1960s, within the context of French television broadcasting, some artists seize opportunities to reach advanced technologies, allowing them to explore the aesthetic potential of the electronic image as well as to lead their own visual research. At the crossroads of experimental or activist cinema, avant-garde movements and kinetic art, all of these marginal practices tend to ignore the norm of the so-called realistic image and the deceptive verisimilitude which rule the audio-visual mainstream. How to find a place within a structure entirely devoted to the distribution of stereotyped products designed to attract the largest segment of TV consumers? How to infiltrate inside the gaps of an industry resolutely hostile to the slightest visual and ideological glitch? The diverse strategies of the artists who chose to work within the field of television broadcasting are highly influenced by the economic mutations that transformed the French audio-visual landscape, from the dismantling of the ORTF to the partial privatization of the TV network. Facing the rigidity of the standards dictated by the mass media, the concept of “détournement” – or “diversion” –quickly appears to be a solution to blend into the audio-visual environment while continuing to shape satirical “counter-images”. The wish to explore the cathode-ray image as a medium is then supplanted by the desire to hack into the media network and its rhetoric. Nevertheless, as soon as the image is regarded as a public space to colonize, it becomes difficult to escape the coercive economy of the entertainment world
Rabia, Ali. "La coopération audiovisuelle franco-algérienne de 1975 à nos jours." Bordeaux 3, 1990. http://www.theses.fr/1990BOR30026.
This research evaluates the french audiovisual cooperation action with algeria. "cooperation" notion, "audiovisual" term and the "linkage" notion are approached differently by the information's theories : the leberal theory of information, the theory of cultural imperialism and the theory of the resistance to the information systems. Then, are also approached differently by the differents approaches of the evaluation. Here is applied the contextual ana lysis. The latter situates the french and algerian audiovisual cooperation in all the relations between the two states without neglecting the world's evolution. The audiovisual cooperation countains severals axis : technical installations, ingeneering, know experiences exchange, programms exchange, author's rights and algerian's public communication practices, etc. . . This research confronts both of the french audiovisual system to the algerian's one in order to detect the stakes of the audiovisual cooperation as well for the french society as for the algerian society
Okobe, Maurice. "La neutralite de l'information radiotelevisee en france." Paris 5, 1991. http://www.theses.fr/1991PA05D006.
It concerns the neutral as an objectif rather than the reality it is derived from the neutral notion of public service, radio and television information being considered as a "service" which can be an authentic public service in private terms in following part, the theisis examines the institutional assurance of the neutral objectif thesis general statue of the organisation in charge of the information tec. . . Further on, he studies the deformation which the masse media can be subjectial to in the processus of the transmission of the message the last part attaches more or less to the juridical, political and social aspect without really going into the real contents of the messages to be trasmitted
Bougerol, Dominique. "La notion d'œuvre audiovisuelle." Poitiers, 2006. http://www.theses.fr/2006POIT3014.
The legal concept of audiovisual work presents two different aspects. First of all, it describes any work of authorship expressed by audiovisual means. It can also be seen as the product of a highly specialized industry: the movie and television industry. The rules that can be applied to audiovisual works of authorship are the general rules governing authors’ rights, whereas the rules that can be applied to audiovisual productions are the special copyright rules concerning TV and motion picture industry. The later, issued from a process of collective bargaining among the movie industry, were incorporated into French copyright law in 1957 and extended in 1985 to television
Lapin, Jim. "La Guadeloupe, la Martinique et la Guyane dans le système audiovisuel français : contribution à une analyse juridique et politique." Toulouse 1, 2007. http://www.theses.fr/2007TOU10019.
The particularisms of Guadeloupe, Martinique and Guyane led to "tailor-made" public policies to structure the audiovisual landscape on their territory. But such adaptations did not permit the blossoming of those cultures and communities, that are part of France, on radio and television. Nevertheless, the legal principle of identity that must prevail to strengthen the link of equality with the continent did not vanish and contributed to a better assimilation, not integration, of the citizens of those "departements". That situation blocked the process of integration and stopped an "ultra-marine" emulation that would have nourished a stronger cultural diversity on television and radio. As a matter of fact, the assimilation process turned into a domination of the "metropolitain" cultural model. The revendications that appeared in the late 1990s for a better representation of ethnico-cultural minorities on television laid the stress on the failure of assimilation policy led so far. Side by side with the french populations from the former colonies, were autochtons from the "DOM" that suffered from that lack of integration, whereas the "DOM" never cut their link with continental France. Following those revendications, public authorities promoted cultural and ethnical diversity on television, to have a better picture of the French society. With that notion of cultural diversity, the integration process of Guadeloupe, Martinique and Guyane to the Republic took an other direction towards a "real equality" the "departemental" status failed to deliver
Tramoni, Jean-Joseph. "Le contentieux administratif de la communication audiovisuelle." Aix-Marseille 3, 1996. http://www.theses.fr/1996AIX32030.
Allemand, Roselyne. "Les communes et droit de la communication audiovisuelle. Etude des regimes juridiques relatifs a l'etablissement et a l'exploitation des reseaux de teledistribution." Reims, 1991. http://www.theses.fr/1991REIMD001.
Before 1982, local authorities were not involved to a very extent in the installation and management of cable television networks in particular because of the state's monopoly in the field of radio an telecommunications. The end of state control oven progamming in 1982 an the end of its monopoly of telecommunications in 1986, has been making possible a progressive transfert of centain responsabilities from the state to local authorities. At the moment, local authorities set up or authorise the setting up of radio-television networks in their area, submitting the name of a company to an independant broadcasting authority that can then authorise it to operate. Although, within this framawork, most local authorities have handed over the installation and management of the networks to a company, they neventheless retain a large degree of influence over the setting up of the networks as well as over the operation and organisation of the television service
Частини книг з теми "Médias audiovisuels – France – 1970-":
Cornu, Jean-François. "Le public ? Quel public ? De l’influence négligeable des spectateurs sur les stratégies de traduction audiovisuelle des films en France." In Traduction et médias audiovisuels, 21–35. Presses universitaires du Septentrion, 2011. http://dx.doi.org/10.4000/books.septentrion.46253.