Дисертації з теми "Médias audiovisuels – France – 1970-"
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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
Marcangélo-Léos, Philie. "Pluralisme et audiovisuel." Aix-Marseille 3, 2003. http://www.theses.fr/2003AIX32001.
The affirmation of pluralism as a legal principle is linked to the construction of a specific law related to the audiovisual communication, a law contributing to its interpretation and comprehension. The principle of pluralism participates in the legitimisation of the statue governing audiovisual communication companies and the statue relating to the contents they aim to broadcast. In that it distinctly enables the characterisation of a system of communication, it appears as a founding principle of audiovisual communication rights and more largely of communication rights. Indeed, recognition of the principle of pluralism in law, through legislative mechanisms concerned with the freedom of communication and above all through the jurisprudence of the Constitutional Board in connection with the interpretation of this fundamental freedom, underlies the construction of a right of communication directed toward the addressees of the message. As the determining aspect of audiovisual communication regulations remains a choice relative to editorial contents at the public's disposal, pluralism should be envisaged as a qualitative foundation, which as such distinguishes itself from the notion of plurality. The objective of this study is to examine the principle of pluralism in the ell of other notions with which it entertains a close relationship, in particular those of democracy, and to determine its place, nay, its function, within audiovisual communication law, in order to apprehend its effectiveness
Oehme, Hannes. "L’indépendance de l’audiovisuel public des institutions politiques en France et en Allemagne : étude de droit comparé." Thesis, Toulouse 1, 2017. http://www.theses.fr/2017TOU10034.
The independence of public broadcasters from the political institutions is a necessary condition to their functioning. In France and Germany, the protection of independence by the law follows different strategies. These approaches can be explained by the differences in the historical development of the media law in both countries, as well as by the different importance of the constitutional courts in this branch of the law. Also, both judicial systems have a profoundly differently developed constitutional concept of “independence” and of their approaches to the concept of “public service”. However, these concepts are not entirely contradictory and can be developed by the means of comparative law methods, in order to adapt to the technological convergence and European legal standards and to reinforce the independence of public broadcasting
Deparis, Ariane. "Historique et typologie du controle des produits audiovisuels : bilan et perspectives." Paris 1, 1994. http://www.theses.fr/1994PA010298.
This thesis aims at presenting the various modes of control over audio-visual products according to their traditional typology : cinema-films, television-fictions and videocassettes. Now a days these controls are justified thank to the child and teenager welfare. These attempt to supervise the marketing of products showing characteristics of violence or sex susceptible of being prejudicial to the mental and psychological development of youth. Due to the improvements of audio-visual techniques thus creating new modes of consuming pictures, controls applied according to this typology loose effectiveness. We will suggest a classification systeme isolated from the audio-visual market support wich would inform the consumers of these characteristics. Through a home relayed filtering system this classification would allow a selection of types or characteristics of products requested, both for tv programmes and videos supports. It would as well serve as a reference for the control of entries to public cinema halls
Givois, Ève. "Les Représentations audiovisuelles françaises de migrants italiens, espagnols et portugais (1945-1974)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H038.
The Italian, Spanish and Portuguese migrants were the subject of many French audiovisual performances from 1945 to 1974, conditioned by the evolution of the diplomatic relations maintained by France with the countries of origin of these populations, by the media structures in place in France and by the adjustments of the French immigration policy. After a study of types, formats and authors of these television and cinematographic representations in the first part, the second and third parts of this thesis retrace their evolutions. From the aftermath of the Liberation until 1962, Italian, Spanish or Portuguese migrants from the screens are divided between working class’ figures and born artists. The images of Spaniards evolve then according to the changes of the attitude of France toward Franco's Spain, those of Italians develop in favor of the co-production film agreements between France and Italy, while those of Portuguese remain marginal. In 1962, when television became more important, these representations crystallized and became politicized. Stereotypical figures of Italian, Spanish and Portuguese migrants assert themselves. The French government seeks to use television to evoke these favored migrations, while political exiles, Spanish and Portuguese in particular, especially artists, are more and more filmed, as the struggles and supports to immigrants
Blanchard, Philippe. "Les médias et l’agenda de l’électronucléaire en France. 1970-2000." Paris 9, 2010. https://bu.dauphine.psl.eu/fileviewer/index.php?doc=2010PA090001.
Combining modeling and sociological approaches to agenda helps understand the construction of the nuclear issue as a long-term public controversy and policy. To a quite stable policy lead by a cohesive policy community corresponds a long-term trend of positive public support, but punctuated with bursts of protest. To explain the upheavals of some publics’ support, the media coverage appears as a crucial factor. Two successive cycles of media coverage occur, both linked to a state of the local référentiel, embedded in the global one. Yet neither of them leads to a steady rejection of nuclear energy by the public, nor by the elite. Two agenda strategies face each other: contestants seek maximum visibility, defenders discretion and alternative framing, but they only account for a part of the controversy process. Non strategic agendas also have to be dealt with. They are lead by dramatic events, crisis, non anticipated consequences of prepared achievements and non coordinated strategies that happen to converge
Petitjean, Virginie. "Les incidences de la concentration sur les contenus audiovisuels : le cas du groupe TF1." Paris 2, 2010. http://www.theses.fr/2010PA020132.
Launois, Annie. "La France et la Grande-Bretagne et les politiques culturelles européennes dans le secteur audiovisuel." Paris 2, 1995. http://www.theses.fr/1995PA020009.
Favro, Karine. "Téléspectateur et message audiovisuel : contribution à l'étude des droits du téléspectateur." Aix-Marseille 3, 2000. http://www.theses.fr/2000AIX32019.
Montels, Benjamin. "Les contrats de représentation des oeuvres audiovisuelles." Paris 2, 2000. http://www.theses.fr/2000PA020061.
Berthomier, Anne. "Discours médiatiques sur les biotechnologies en France (1970-1999)." Lyon, Ecole normale supérieure, 2002. http://www.theses.fr/2002ENSF0006.
Burac, Gabrielle. "Les représentations identitaires martiniquaises dans les médias audiovisuels. : L'exemple de RFO Télé Martinique et d'ATV de septembre 2002 à septembre 2003." Antilles-Guyane, 2008. http://www.theses.fr/2008AGUY0216.
Since the XVIIth century, Martinican mass media has evolved in a heavily hierarchically structured society, socio-economically and “racially”. Television reporting on the island’s political, social and cultural events takes up more and more space on television stations’ programs. When combining such major changes with an increasing number of local productions in a young society in the making one question comes to mind: how is Martinique’s socio cultural identity portrayed? To investigate representations of Martinique’s identities in the audiovisual media the study was structured into three parts. In a first part we look at the relationship between the media and Identity, at a wide angle. In a second part we first take a closer look at this relationship, and at the existing ties between regional, local, communities’ television stations, and identity representations, moving on to the historical development of Martinique’s sub-national television networks. Finally, in a third part, we discuss cultural identity representations at RFO Télé Martinique, a public television station, and ATV, first privately operated television station on the island, over a one-year period
Chauveau, Agnès. "Histoire de la Haute Autorité de la communication audiovisuelle : 1982-1986." Institut d'études politiques de Paris, 1995. http://www.theses.fr/1995IEPP0016.
The creation of a broadcasting regulatory body, independant of government, the haute autorité de la communication audiovisuelle (HACA), was a major innovation. This first regulatory institution had for principal object to establish a screen between the state authority and the broadcasting media. The existence of this institution and its particular prerogatives represent a break with previous systems. It creates a partly new system where broadcasting is out of reach of the government's power. In order to replace the creation of the HACA in its historical context, an important part of this work is dedicated to the genesis of the concept of independant regulation. Therefore the study analyses the HACA's organization : the interpretation that it gives concerning its prerogatives, the way it etablishes its authority, the obstacles it encounters. The "reality" of its powers. The first period (sept. 1982 nov. 1984) is one of hopes and collective mobilisation in order to affirm the new powers of the hace. The second period (nov. 1984 sept. 1986) concerns difficulties and incertainty. Despite a kind of maturity of its activity, the institution is victim of attacks that questions its regulation faculty and show the limits of its independance towards political stakes. This works's ambition is also to throw light on permanences on breaks that occure in the relationships that political powers have with broadcasting media. Finaly, the history of the HACA shows what are the views of politicians concerning the broadcasting media. It shows the complexity of relationships between mass communication and the political world
Errera, Christine. "La construction des images médiatiques des hommes politiques." Bordeaux 4, 2003. http://www.theses.fr/2003BOR40034.
Working on "the brand image of" is not only today the particular expression of marketing, advertising or media professions vocabulary. It has also become a politicians' main concern. From now on, as any thing, any profession etc. , the politicians are attributed, putting into play mental associations more or less justified, a few number of socioculturally constructed qualities which are used for identifying them. But, at a time of the great explosion that technologies and means of communication know, in the world in which television has become the main medium and played a part in the establishment of the visibility as an essential principle, bodies alone are not enough to be images. On the other hand, true or fictious but at first strategically worked, qualities and personal characteristics help to make up images which are not physical but mental. Images which, at last, have taken the place of politicians. And more, they have taken place of their ideas and electoral platforms. It is all the logic of this astonishing evolution of political play and its effects that this work wanted to catch through the construction by the media, of these "media images" as they are called. So thanks to an empirical, médiologie and interactionism approaches, it can be linked the material, strategic and symbolic dimensions of this media image phenomenon which is still quite unawared. But, defined, placed in prospect and their consequences measured, these images have brought to be discerned differently. Without apriorisms. And maybe above all as a symbolic resource without which probably doing politics nowadays would very likely prove to be difficult
Lévy, Hartmann Florence. "Diversité des marchés cinématographiques et carrières des films : les cas des films en salles en Europe et des films en vidéogrammes en France." Paris, Institut d'études politiques, 2010. http://www.theses.fr/2010IEPP0060.
The research seeks to apply the idea of diversity to cultural markets and in particular to film markets (films screened in theatres and films on video). Starting from the largely political idea of cultural diversity, the work attempts to forge an operational economic concept of relevance to the international analysis of audiovisual markets. To counterbalance the semantic dilution associated with the words « diversity » and « culture », the framework of the research has to be clearly defined (chapter 1). The availability of the basic data and the complementary data collection prove to be crucial for the framing and for the completion of the case studies (chapter 2). Thanks to the data collected, three distinct measures of the diversity of film markets are proposed (chapter 3): the diversity of the market of screened films in six countries during three years (1998, 2001, 2004); the diversity of the film on video market in France, during two years (2003 and 2005); and finally the diversity of the film on video market in France in 2005 analysed per distribution network. The calculations aim to highlight the methodological issues raised in attempting to measure the diversity of a cultural market. They also allow one to draw some conclusions in terms of international comparisons and comparisons over time, or to characterise how the levels of diversity evolve along with the value-chain of the film markets (from the supply to the demand). In addition, in order to better understand the diversity of film markets, and in particular the diversity of the consumption of film, the work provides an analysis of the factors influencing box-office and video success for films (chapter 4)
Taty, Jean-Jacques. "La non émergence d'une production audiovisuelle autonome en Afrique centrale (cinéma et télévision)." Paris 1, 2003. http://www.theses.fr/2003PA010578.
Jeon, Young. "La régulation de la communication audiovisuelle en France et en Corée du Sud." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM1068.
In this convergence environment, only the « plate-forme » could be supply all of the communication formats. We wonder a question about the organization meltdown of the regulation, in the one side, the audiovisual communication and in the other side, the telecoms sector. Thus, a new institution has been created by the 29th February 2008 law n°8867 in matter of the setting and the management of the Korea Communications Commission (KCC) in place of the two preexisting regulation authorities whom run the audiovisual communication and the telecoms. In the same time, since 2007 in France, in consequence of the Senator Bruno RETAILLEAU report, the authorities took one’s stand for a possible fusion between The CSA and the ARCEP. This meltdown shall allow managing the audiovisual communication and the telecoms by the same regulation authority. However, this reform proposal is not still in the agenda, and raises new issues those even the Korean merger was not able to answer. Both the Korean system which runs with the convergence without a guarantee of the regulation independence in front of the State power, and the French system who guaranteed as possible this independence by separating the audiovisual communication regulation from the telecoms. We wonder on the appropriateness of the two systems, and which is the best performing to run the audiovisual communication regulation, to guarantee the independence of communication and the fundamental liberties which rule our democracies
Montserrat, Xavier. "Communication et santé : l'information des consommateurs de soins aux confins de l'éthique et de l'économique : radiographie d'une décennie : 1984-1994." Rennes 2, 1996. http://www.theses.fr/1996REN20011.
The health has become a market and the information a product, whose quality represents a collective and individual issue. The medical knowledge is becoming commonplace and the concern of socio-economic profitability strengthen the patient in his role of care consumer. The mercantile dimension is close to ethical preoccupations, in a context where the acceleration of the medical progress emphasizes expectations concerning health. On the border of ethic and economic, the information is carried by multiple parties with complex logic, sometimes divergent. The role of media is very important in an environment where professionals and institutions become weak by legal affairs and scandals. During the studied decade, the information of consumers has been essentially oriented to medico-sanitary affairs, medical technology and scientific advances, as well as some diseases with which the media is involved. The issue is the mastery of potentially unlimited demand of care, in the face of the limitation and rarity of available resources. Questions never explicitly posed and the absence of real debate, characterize the period. And yet, the qualitative development of information constitutes a way allowing both, the improvement of the health of the population and the mastery of care expenses. Experiments led in this aera show that the distribution to consumers of quality information gives them a sense of responsability and favors effective and rational collective management of the health
Cocq, Emmanuel. "L'analyse économique de la politique cinématographique française." Paris, Institut d'études politiques, 2000. http://www.theses.fr/2000IEPP0013.
Bray, Florence. "Le grand projet technologique entre Etat, Europe et marché : formation, négociation et transformation d'une politique publique : l'exemple de la télévision haute définition (TVHD)." Lille 2, 1999. http://www.theses.fr/1999LIL20024.
Dupuy-Busson, Séverine. "La liberté cinématographique en France et en Europe : garanties et limites." Paris 2, 2002. http://www.theses.fr/2002PA020097.
Ledoux, Sébastien. "Le temps du "devoir de mémoire" des années 1970 à nos jours." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010639.
The thesis is devoted to the history of the French expression « devoir de mémoire » (« duty of remembrance ») of the 1970’s to today. This neologism is elaborated in the context of new uses of the word “memory”, unrelated memory of the Holocaust, before becoming a formula of social discourse in the early 1990s, during the debate on the official recognition Vichy’s role in the persecution and extermination of Jews. The role of the media, politicians, and activists memory is analysed to understand the place and meaning of the term who formalized a new relationship with the past. To conduct these work audiovisual sources, those in the press, the Secretary of State for Veterans, and associations have been exploited, supplemented by many interviews
Tachin, Agnès. "La Grande-Bretagne dans l'imaginaire des français : opinions, représentations de 1958-1969." Paris 1, 2004. http://www.theses.fr/2004PA010647.
Bartkowiak, Isabelle. "Politisation et traitement de l'insécurité urbaine : étude comparative de la France, des Etats-Unis et de la Grande-Bretagne de 1980 à nos jours." Paris 4, 2002. http://www.theses.fr/2002PA040086.
This research describes the mechanisms in the politicization of urban insecurity through its actors : politicians, the media and public opinion. The study of social representations of crime, that are used to change insecurity into a political issue, shows that the mechanisms of politicization are complex. The balance of powers, because of a deep interaction, is not easy to define. Each actor influences the others in many ways. Six case studies then show a more material aspect of the use of crime social representations. The ordonnance de 1945 (France) and the Bobby on the beat (Great Britain) describe the importance of historical and cultural representations in the making of judicial answers. The Three Strikes and You're out (California) and New York's Zero Tolerance insist on the representative strength of news items. The YOPs and Restorative justice (Great Britain) and community service (France) study the representation of educating young offenders. Three field research support those case studies : the social representations of the expressions les jeunes (France), "zero tolerance" (Unites-States), and the representation of the bobby (Great Britain)
Paes, Paula de Souza. "Communication publique et pratiques journalistiques au prisme des mutations sociales : la question de l’immigration en France (1980-2010)." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL006/document.
Considered a priority in 2007 during the presidential campaign in France, the question of immigration has become viewed by the State and the media as increasingly serious or significant. State and media interest shown in this matter has identified social conditions associated with the structures of political and journalistic domains and with the relationship that those involved in these domains have with the social environments concerned in this issue. The research that we have undertaken is supported by the views of political figures and media professionals in the formation of the “immigrant question” as a “problem”. The research thus offers a grasp of the practices, strategies and standards which regulate these domains and their diverse sub-groups. This study focuses in particular on the configurations linking those actors involved in reporting on the topic. It considers the emergence of an “immigrant problem” linked with changes relating to public communication, the development of the local communication and journalistic practices. This study has used news reporting practices and the way in which they have shaped this “problem” as a means to comprehend the functioning of the public sphere, since this depends, along with other factors, on how interactions and exchanges are reported in the media
Saou-Dufrêne, Bernadette Nadia. "Art et médiatisation : le cas des grandes expositions inaugurales du Centre Georges Pompidou (Paris-New York, Paris-Berlin, Paris-Moscou)." Grenoble 3, 1998. http://www.theses.fr/1998GRE39026.
Lavialle, Victor. "Trajectoire industrielle et réglementation de l'audiovisuel en France." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEM049/document.
The French ecosystem of audiovisual production has been structured by the liberalization of state television (1984-1986). Radio frequencies were granted to broadcasters in exchange for a commitment to invest a percentage of their turnover into French production. The result is a heavily regulated system whose rules have changed very little in thirty years. This industrial organization is showing its limits: the market share of French films in theaters is stagnant, while the audience is aging. The profitability of TV-channels crumbles and series they finance don't sell. The entry of foreign platforms such as Netflix fragments the audience even more. The purpose of this thesis is to study the creation of the industrial ecosystem of the French Television, its evolution and the impact of the entry of international players on the incumbents' strategies and on regulation
Ben, Slimane Karim. "Stratégies discursives de légitimation du changement institutionnel : le cas du déploiement de la télévision numérique terrestre en France." Lille 1, 2007. https://pepite-depot.univ-lille.fr/LIBRE/Th_Num/2007/50374-2007-17.pdf.
Marino, Laure. "Responsabilité civile et activité d'information." Montpellier 1, 1995. http://www.theses.fr/1995MON10041.
In a dualistic analysis using juridical categories, information is apprehended as a value (porperty right) and as an activity (obligations right). In this second prospect, information activity, breaking up in two stages (intellectual creation and diffusion), is capable of instituting the liability of the different intermediates. The study of the action in liability (interest to act and basis of claim( and of the compensation right (through conditions and effects of liability), allows to see how a special condition that the fundamental fact is distinct of an infringement, it allows to avoid the contraining rules of penal procedure and to extend the incriminating field. The product liability directive (july 1985) must be excluded ; on the contrary, contractual and tort liability must be treated. In both cases, duties are mainly jurisprudential based and practically comparable. The duty of objectivity (devoir d'objectivite) and the duty of respect of other people'rights (devoir de respect des droits d'autrui) are the two ways to considering the matter. The duty of objectivity is a professional typed duty of means (devoir de moyens) common to all informations. When the informations ae personal, duty of respect of personality rights (droits de la personnalite), duty with results (devoir de resultat), completes it. The fault is then a violation of one of these duties. The compensable damage must be directly caused by the fact and injustified. The justificating facts are explained themselves by the victim's assent or by the position of the instigator who acts within the framework of a freedom of information. The compensation of the damage, often moral, is not easy; the private penalty must be rejected
Billaudeau, Valérie. "Espagne, Grèce, Portugal, 1974-1992 : transitions démocratiques et mutations télévisuelles : l'impossible service public ?" Paris 8, 1999. http://www.theses.fr/1999PA081535.
Guigo, Pierre-Emmanuel. "Le complexe de la communication : Michel Rocard entre médias et opinion (1965-1995)." Thesis, Paris, Institut d'études politiques, 2016. http://www.theses.fr/2016IEPP0059.
Michel Rocard (1930-2016) appears as one of the pioneers in french political communication. From the 1960's he adopted the new techniques of political marketing. In 1974, this preparation of his communication becomes organized systematically. Two main groups were created around political scientists, pollsters and journalists in order to shape his image, using opinion polls, video training and marketing methods. He used opinion polls and good media coverage in order to make up his marginality inside the French Socialist Party (directed by François Mitterrand). However, he failed to threaten the power of François Mitterrand on the Socialist Party. For the first time he had to renounce in favor of the Prime Secretary of the party. After this defeat he became progressively one of the main critics of the political communication. He accused the media for threatening the exercise of power. More and more he renounced Tv shows and became aggressive with journalists. Prime minister between 1988 and 1991 he avoided media coverage. Forced to resign in 1991 his appraisal was largely unknown. Even if he tried to reinforce his position becoming the leader of the French socialist Party in 1993, Michel Rocard was rapidly reached by the unpopularity affecting the Socialist Party.After a severe defeat during the European elections in 1994 he renounced to become the candidate for the presidential election in 1995
Doro, Raffaello Ares. "Les radios libres en Italie et en France des années soixante-dix aux années quatre-vingt-dix : de la recherche de la liberté d'expression à l'affirmation de la radiophonie commerciale." Thesis, Paris 2, 2013. http://www.theses.fr/2013PA020030/document.
The thesis presents an historical analysis of the birth and evolution of free radios in Italy and France between the beginning of ‘70s (seventies) and the end of ‘80s (eighties) of the 20th century. The comparative character of the study highlights the similarities and divergences of both the historical-social processes and the various political systems which determined the emergence and transformation of such from-the-ground means of communication, out of the central monopoly of the State as well as their insertion in the proper frame of national media. The study finds its place in the historical context of the two countries. The route of free radios shows how one passed from the original claim of ‘taking-the-word’, of off-centred communication, of realization of democratic media, to the affirmation in the Eighties of the model of commercial radio, influenced by the centrality of the television and the commercials. The evolution of free radios contributes to redefine the audio-visual landscape of the two countries, causing the end of the public monopoly of the radio and TV broadcast. Free radios, expressing the point-of-new of political, cultural and religious groups of local communities, represented a moment of opening and democratization of the media sector and of widening of spaces of the public sphere. Although these objectives in the Eighties, thanks also to a changed political, social and economic frame, were substituted by the affirmation of the music radios, communitary radios, which favored non-profit forms of communication of proximity, constituted the direct heir of free radios. Despite they occupied a reduced space in the media system of the two countries, they proved the social importance of alternative and local means of communication, with respect to the radiophonic contents and the organization, partially anticipating certain features of interactivity which will be recovered years later with the rise of the web-radios
Bugnon, Fanny. "La violence politique au prisme du genre à travers la presse française (1970-1994)." Phd thesis, Université d'Angers, 2011. http://tel.archives-ouvertes.fr/tel-00641911.
Attencourt, Boris. "Les intellectuels à l’épreuve de la visibilité : faire carrière au-delà de l’université (1970-2015)." Thesis, Paris, EHESS, 2021. http://www.theses.fr/2021EHES0009.
This thesis focuses on the channels through which a fraction of intellectuals become visible (quality press, intellectual journals, think tanks, conference venues, cultural radio and television broadcasts, publishing houses, etc.). Combining reference to legitimate culture, accessibility and action, such circuits developed at the end of the 1970s until they established themselves as the space for the public value of ideas and their carriers.The thesis therefore focused on the issues of visibility for intellectuals during the period from the 1970s to the mid-2010s and shows that careers in external recognition do not take place after or outside the university but rather at the same time. In order to explain this configuration of intellectual notoriety, we have resorted here to a sociohistorical and multilevel approach of the circuits of visibility where it is a question of apprehending their institutions, producers and audiences. However, the places of scholarly conferences intended for a large public because they occupy a cardinal place within the circuits of intellectual visibility have proven to be a particularly effective entry point for empirically reconstituting the channels that have been woven between the margins. academia, senior administration and the media. A multisite ethnography of the conferences (N = 15) which resulted in a large body of observations (N = 97) thus paved the way for a whole set of explorations of these circuits at the micro and macro scales. Through long-term immersions and a participant observation which made it possible to collect substantial empirical material (observations, interviews and archives), we endeavored to reconstruct the genesis and then the trajectory of exemplary institutions (Beaubourg, the International College of Philosophy and the University of all knowledge). We conducted interviews with producers (N = 18) and, in connection with this category of interviewees, cultural intermediaries and their back-up staff (N = 9). In the qualitative register, we also carried out analyzes of controversies (Billeter / Jullien and Badiou / Finkielkraut). In addition, many quantitative treatments, including factorial and network analyzes, were carried out based on a prosopography of producers divided between natural sciences (N = 64) and human and social sciences (N = 195) following a sampling representative of speakers. With regard to reception, the focus was placed on conference listeners by diversifying the investigation methods: to the observations collected from the public during all phases of the conferences, interviews were added (N = 27) and several questionnaire surveys conducted by us within the International College of Philosophy (N = 330) and the University of All Knowledge (N = 285, 157 and 183).On the basis of these various surveys, the thesis takes account of the monopoly exercised by these circuits of cultural celebration in the access to public notoriety of intellectuals which led to the formation of a heteronomous space where social capital takes precedence over autonomous species. cultural capital. Consequently, this space and the elite of the spirit which is devoted to it participate in the renewal of the modes of domination of the dominant class since the 1980s. If this work is a contribution to the sociology of intellectuals and sciences, to that of the elites and the media, to that of cultural taste and consumption and to methodological reflections around the articulation of levels, he would also like to contribute to the analysis of ideological and academic forms of intellectual doxa
Catuhe, Alexis. "Représentations, médiatisation et influences d’Ernesto « Che » Guevara en France de 1957 à 1974 : entre mythe et réalités." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20028/document.
Like the heroes of independence Simón Bolívar and José Martí during the first part of the 19th century, Ernesto Guevara left his mark on the second part of the 20th century. He also had a political, ideological, cultural and moral impact all around the world. Nowadays, we still find his portrait in the lead of the demonstrations and on the derivatives. What are the origins of Ernesto « Che » Guevara numerous posterities? This research offers to study his representations, his exposure and his influences in France from 1957 to 1974 in the press as well as among the intellectuals or the extreme left circles. In presenting the different French points of view of his texts and writings editors, of his first biographers, of the journalists and columnists, of the academics and intellectuals, of the witnesses and revolutionaries on Ernesto Guevara and on the Guevarism, we can better assess his impact during his lifetime and the first days after his death, from « Mai 1968 » to the decrease of the revolutionary and internationalist ideas in the early 70’s
Pontzeele, Sophie. "Burundi 1972/Rwanda 1994 : l' "efficacité" dramatique d'une reconstruction idéologique du passé par la presse." Phd thesis, Université des Sciences et Technologie de Lille - Lille I, 2004. http://tel.archives-ouvertes.fr/tel-00080905.
Serfaty, Vidal. "Les droits dérivés de l'oeuvre audiovisuelle." Thesis, Paris 2, 2011. http://www.theses.fr/2011PA020075.
The connection between the audiovisual work and the derivative rights sets out two opposing trends. The first of these trends is that of autonomy. Indeed, some derivative exploitations involve works such as titles and characters that are granted an independent protection of the one granted to the audiovisual work. This movement becomes more pronounced when titles and characters are subject to trademark applications, because the function of the trademark is different from that of copyright. The cumulative protection creates interactions between the rights, both in their existence and in their exercise. A final expression of this autonomy is the exclusion of the derivative rights from the scope of the presumption of assignment of exploitation rights in the audiovisual work to the producer. This exclusion is mainly justified by the fact that the purpose of derivative rights is to authorize the creation and the exploitation of new works. However, and its the second trend, derivative rights remain in many ways related to the audiovisual work. First, the common property of the audiovisual work implies consent of all the joint authors to its adaptation. Then, the freedom of the adapter is limited by the moral right of integrity which forbids the distortion of the audiovisual work’s substance. Finally, the practice reveals that the producer stands as a pivotal character of the exploitation of the rights in the audiovisual work. Taking the initiative of investing in the creation, the producer, in order to extend the field of profit-making, will seek to obtain from the authors the transfer of derivative rights and conclude sublicence agreements with third parties
Delestage, Charles-Alexandre. "L’expérience émotionnelle ou la performance des programmes de télévision : l’horizon de pertinence comme déterminant de la construction de sens par le spectateur." Thesis, Valenciennes, 2018. http://www.theses.fr/2018VALE0026/document.
The quality of television programs is a running problem for the content producers as well as the legislator in France, whom gave monitoring in the law to a public institution, the CSA. However, the very concept of quality in that context is ambiguous, and tools allowing oversight are often reduiced to the verification of owed legal duties with the content providers. The only tool universally used is the audience rating, yet often challenged since its first usage in France in the 1980s. The viewer, having a leading interest in this quality process, is only considered in its numbers by such a statistic approch. This study proposes to initiate a paradigm shift in order to place the viewer in the heart of the audiovisual product’s evaluation. Around the theories of enaction by Francisco Varela and the method of relativized conceptualization of Mioara Mugur-Schachter, the study of the emotionnal experience casts a new and original light on the conception of the viewer in a program evaluation setup. By focusing on the way the viewer guides its own perception through its personal history, its manner to interpret its environment and the influence of emotion in the construction of its relation to audiovisual products, the work exposed in this dissertation allows to place the viewer as an actor of the evaluation. The interviews carried out proove the individuality of each viewer in its personnal approach of audiovisual and the construction of criterias of its own, yet allows to define a multi-layered protocol usable as an indicator of the relation’s quality to audiovisual content in a broader context