Дисертації з теми "Médias et jeunesse – Au cinéma"
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Maisonnier, Baptiste. "De l'influence des médias à l'aliénation dans le dispositif : les représentations des pratiques médiatiques des jeunes dans le cinéma contemporain." Electronic Thesis or Diss., Université de Lille (2022-....), 2024. https://pepite-depot.univ-lille.fr/ToutIDP/EDSHS/2024/2024ULILH005.pdf.
While the twentieth century was punctuated by episodic debates over the supposedly harmful influence of various media on young people, it was not until the 1990s that the cinema really tackled the representation of this issue, in a context marked both by the appearance of what was perceived as new forms of juvenile violence, as well as by the emergence of new media defined by the interactivity they allow. Since this research questions these representations, our purpose is to reinscribe them within a history of discourse around media influence, making the hypothesis that, with the emergence of prosumers, concerns shifted towards interactive and participatory media, generating a paradigm shift around media influence. From media influence to alienation in the dispositif, it is therefore a question of revealing the mechanisms of this new paradigm, in films which look at influence based on the configuration in which the media experience of the characters unfolds (on the media dispositif), and based on the dynamics of loss in user exteriorization (on alienation) that characterize this experience
Raoua, Fouad Ramdan. "Les jeunes (tele)-spectateurs entre les effets ecraniques et le controle cinematographique." Toulouse 2, 1992. http://www.theses.fr/1992TOU20071.
In order to better understand the adaptation process of deviant behaviour patterns. I have chosen to analyse first the importance of the individual and his environment and second the connection between the spectator and "the screen". I have come to the conclusion that the research on the link between juvenile delinquency and "the screen" tends not only to reverse the generally admitted cause and effect relation. Nevertheless. Owing to its specific psychophysiological and psychosociological properties and its violent and erotic content, "the screen" proves to be much more powerful and engaging than any other medium, and this despite various obstacles : - institutional (such as preventative legal measures) ; - technical and financial (such as the capital necessary to make and produce a film and then to distribute it)
Li, Shaojing. "L'internationalisation des médias audiovisuels chinois : des médias traditionnels aux nouveaux médias." Electronic Thesis or Diss., Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALL028.
La présence des médias audiovisuels chinois à l'échelle internationale s'accroit avec la monté en puissance de la Chine en terme tant économique que diplomatique depuis l'adhésion de la Chine à l'OMC en 2001. Suite à l'adoption officielle du concept du 'soft power' en 2007 et le lancement du ‘Plan de la revitalisation de l'industrie culturelle’ en 2009 dont les médias font partie, les attentions portées à ce phénomène s'intensifièrent non seulement au sein des milieux académiques, auprès des chercheurs sur les médias, la communication internationale, les relations internationales, politiques et géopolitiques etc. mais également dans la masse médias. La problématique de l'internationalisation des médias audiovisuels chinois fait ainsi l'objet de débats et d'analyses sous différentes optiques allant de la politique, l'économie, jusqu'à la culture mais souvent isolément.La présente recherche se penche sur cette même problématique avec l'ambition de traiter l'internationalisation des médias audiovisuels chinois en s'appuyant sur une approche intégrée et transversale tout en mettant en corrélation les multiples dimensions qu'évoque ce phénomène.Cette problématique principale peut être subdivisée en diverses questions que nous regroupons ci-dessous :-Premièrement, comment le secteur des médias audiovisuels en Chine s’est-il développé à partir du fondement de la République Populaire de Chine de 1949 jusqu’à nos jours ?-Deuxièmement, qui sont les acteurs s’étant engagés dans une stratégie d’internationalisation ou bien démontrant des tentatives à cet égard ?-Troisièmement, pourquoi s’internationalisent-ils ?-Quatrièmement, quelle sont les stratégies d’internationalisation mises en place par les acteurs du secteur des médias audiovisuels en Chine ?
Neri, Corrado. "Età inquiete : la rappresentazione della giovinezza nel cinema di Cina, Taiwan e Hong Kong." Lyon 3, 2005. http://www.theses.fr/2005LYO31001.
Lucien, Oscar. "Le multimédia et la documentation sur le film : pour une méthodologie du traitement et de l'accès à l'information sur la cinématographie véné zuélienne." Grenoble 3, 2004. http://www.theses.fr/2004GRE39005.
Amâncios, Santos Maria Angelica. "Scénarios littéraires : genres et médias chez Alain Robbe-Grillet et Marguerite Duras." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC073.
This thesis analyzes the text which provides the basis for most cinematic works: the screenplay. My aim is to increase the visibility of this genre in the field of Comparative Literature given the relative lack of attention it has received in literary and film studies. I intend to demonstrate that the script is naturally an intermedial genre, because it promotes numerous "intermedial references" when it uses the filmic language, which anticipates, in the reader's mind, images that he will experience as a spectator - when the movie is screened. Additionally, I intend to examine the possibilities of exchange between the script and various literary forms, such as the poem and the novel, in a dialogue that is not only intermedial but also intergeneric. In order to achieve this aim, I shall focus on the hybridization experiments, particularly of novel and screenplay, made from 1959 to 2002 by the writers and filmmakers Alain Robbe-Grillet and Marguerite Duras. Such works should be highlighted in this study because they present, besides some intergeneric peculiarities, a remarkable diversity in their intermedial references that go beyond the film and also evoke ostensibly the fields of theater, music, and painting. To support our research, we use several theories, such as the ones by Dominique Combe, about literary genres, Irina Rajewsky, on Intermedial Studies, Alain et Odette Virmaux, about the cine-novel
Mortaji, Elhachmia. "Les relations culturelles et économiques franco-marocaines en matière d'information : livre et presse écrite, radio-télévision et cinéma." Paris 2, 1996. http://www.theses.fr/1996PA020092.
The governing cultural and economic ties between france and morocco call for reciprocity, equality, and freedom of exchange between the two countries. In reality there is an imbalance in france's favor. This is the result of the histor y between a developed country and its former protectorate. France deploys financial means and personnel to facilitate cultural cooperation (financial aid, training select individuals in french, providing equipment, etc. ). French aid to morocco in the name of cultural cooperation in its different forms is often given with the intention of conquering the moroccan market. This allows france to force morocco to be dependent on it for its cultural goods. Nevertheless, the past decade has been characterized by a decline in the presence of french cultural goods in morocco, such as books and films. The flux of moroccan cultural goods into france is still in the embryonic stage. Franco-moroccan cooperation in radio and television is done not for economic reasons, but to promote cultural relations (thanks to the provision of programs). The only way to facilitate the penetration of moroccan cultural goods into france and to regulate the imbalance of french cultural goods in morocco is to create cooperative ventures between production companies, investors, and businesses
Le, Pajolec Sébastien. "Tous les garçons et les filles de leur âge : jeunesse et cinéma en France (1953-1975)." Paris 1, 2005. http://www.theses.fr/2005PA010704.
Ezzat, Elborhamy Shaimaa. "Télévision, cinéma et pouvoirs en Egypte sour le règne de Moubarak." Thesis, Paris 2, 2015. http://www.theses.fr/2015PA020086/document.
Michon, Bruno. "La culture religieuse des adolescents en France et en Allemagne : des connaissances aux défis de l'exculturation, de la popularisation et de l'altérité." Strasbourg, 2011. http://www.theses.fr/2011STRA1030.
In this work I aim at understanding the broad consensus on the topos of “the loss of religious knowledge among French teenagers”. The research begins with an historical study on this topos. Then, I discuss the issue of the modality of construction, among French and German teenagers, of a "stock of knowledge" about religion. Thanks to a qualitative and quantitative study conducted by means of phenomenological oriented sociology, I have studied the individual knowledge on five different religions : Christianity, Judaism, Islam, Buddhism, Hinduism. This research brings to light that informal knowledge (medium, peers group) plays a more effective role than formal knowledge (school, family) in the teenagers contructed ideas about religion, and that this phenomenon works for French teenagers as well as for the Germans. Further, this work reveals the importance of a situation of religious plurality for the acquisition of knowledge about religion. Lastly, I have tried to understand the phenomenon of exculturation (the dissociation of the French and German mainstream culture from Christianity) with the help of the concept of popularization (dissolution of the boundaries between religiously marked and unmarked communication)
Panelli, Martina. "La réécriture comme autoportrait : médias, corps et archives dans le cinéma d'avant-garde féminin." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080086/document.
This work aims to study the coincidence between two phenomenons, subjective writing and found footage film, articulating different approaches around themes as filmic self-portrait and subjective writing, gender identity representation, the history and the critique of avant-garde film. Through the link between the notions of réécriture filmique (Marie-Claire Ropars) and entre-images (Raymond Bellour), this thesis problematise one of the main topic of self-portraiture practice: the resemblance bond between the referent and the object of representation. The analysis of “second hand” films – realized in the frame of woman's avant-garde cinema since the eighties – allowed me to articulate this theoretical reflexion in the light of recent debates around found footage film. Following the researches of Christa Blümlinger, I focused notably on the practice of reusing archive films as a form of analysis, critic, and reevaluation of cinema as a dispositif. Secondly, according to Judith Butler, I interpreted repetition as a strategy to discuss and dismantling the underlying mechanisms of gender identity representations. Finally, putting a specific emphasis on the physical and material nature of the work analysed, I highlighted a precise relationship between the material body of the filmic archive and the natural body of the artists. In this sense, the bio-political context of post and trans-feminist self-representation practices permitted me to conceive the natural body as both a surface and a medium of rewriting, shaping and determining an intermediate subjectivity which is linked “fleshly” to technologies as well as it is “freed” from the flesh of the image
Bilodeau, Annie. "Mandoline (adaptation cinématographique) ; : suivi de Historique du cinéma québécois pour la jeunesse." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25647/25647.pdf.
Martin, Cybèle. "Positionnement et contenu des médias face aux préadolescents au milieu des années 90 : une offre pertinente." Paris 2, 2001. http://www.theses.fr/2001PA020072.
Comanzo, Sylvie. "Les coproductions cinématographiques et audiovisuelles internationales." Dijon, 1997. http://www.theses.fr/1997DIJOD004.
An international coproduction is an association of producers from different countries. Their role consists in finding talents and raising funds in their own countries, in order to jointly exploit a coproduction. Coproduction contract clauses, international treaties and case laws define the way coproduces raise funds and the way the proceeds of the film are distributed to the various beneficiaries. The notion of coproduction is ambivalent: from the one hand, it implies intense collaboration, but on the other hand, each beneficiary distrusts the other since the protection of his rights and interests is involved. Many questions arise: what is the legal nature of the coproduction contract, what rights do the beneficiaries have on the proceeds of the film, which legal procedure applies to such an undertaking: is the Anglo-American "trust" adapted to the distribution of profits to investors?
Chimbonda, Paul René. "Le cinéma à l'ère de la crise mondiale : analyse de l'industrie cinématographique française dans la dynamique des cinémas du marché mondial." Paris 10, 1989. http://www.theses.fr/1989PA100006.
The power of French cinema depends on a large national and international market, and from the manner by which it try to control every communicating vases phenomenon into a generalized space of pictures and sound. This phenomenon of communicating vases is more or less fast in the mondial market, in comparison with appearance rhythm of the news technologies. In this context, the cinematographics and programmes industries have to face the mondial competition of films. It's the case of French and European cinema in front of Hollywood and japan. Crisis in this case is depended on a fast and brutal mutation
Benanaya, Inès Soraya, and Inès Soraya Benanaya. "Cinéma, nouveaux usages et modes de financement : vers une nécessaire évolution de la chronolgie des médias." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/38197.
Cette étude a pour objet la chronologie des médias française, et son avenir face aux évolutions technologiques du paysage audiovisuel et cinématographique. Mécanisme de l’exception culturelle, la chronologie des médias est une règle fixant des écarts temporels entre la sortie d’un film en salles et sa diffusion sur d’autres supports : vidéogrammes tels que les DVD et les Blu-rays, vidéo à la demande à l’acte « VàDA », télévision ou encore vidéo à la demande par abonnement « SVOD ». Elle constitue un pilier dans le financement de la production cinématographique française, mais l’apparition de nouveaux acteurs du numérique tels que les plateformes SVOD tendent à progressivement la déséquilibrer. Il convient dès lors de repenser le modèle tout en nous inspirant de modèles étrangers tels que la chronologie canadienne, afin de mieux prendre en compte ces évolutions.
This study focuses on the french « media chronology », and its future against technological developments in the audiovisual and cinematographic industry. The « media chronology » system is a mecanism part of the cultural exception. It is a rule that sets time differences between the release of a film in theaters and its distribution on other media : videograms such as DVDs and Blu-rays, transactional video on demand (« VàDA »), television or subscription video on demand (« SVOD »). It is a real pillar in the financing of the French film production, but the emergence of new digital players such as SVOD plateforms unbalance it. It is therefore necessary to rethink the model while drawing inspiration from foreign models such as the Canadian media chronology, in order to take better account of these developments.
This study focuses on the french « media chronology », and its future against technological developments in the audiovisual and cinematographic industry. The « media chronology » system is a mecanism part of the cultural exception. It is a rule that sets time differences between the release of a film in theaters and its distribution on other media : videograms such as DVDs and Blu-rays, transactional video on demand (« VàDA »), television or subscription video on demand (« SVOD »). It is a real pillar in the financing of the French film production, but the emergence of new digital players such as SVOD plateforms unbalance it. It is therefore necessary to rethink the model while drawing inspiration from foreign models such as the Canadian media chronology, in order to take better account of these developments.
Morin, Ulmann David. "La richesse déployée et détruite dans l'imagerie contemporaine : sociologie de l'usage et de la réception des films d'action à grand spectacle par des adolescents d'origine populaire." Nantes, 2004. http://www.theses.fr/2004NANT3020.
The study will focus on the perception and use of Blockbuster Action Films (in french F. A. G. S. ) by working-class teenagers based on surveys conducted in technical schools. It defines the imagery of the FAGS. With categories of demolitio, deflagratio and the spectacular. In the Hollywood history the FAGS. Assimilates the preceding genres. It is aesthetic dimension of money in great quantity, richness unfolding and being destroyed, because it consumes more money than any other cinema previously. The "teenage society" is conquering this world market by buying, leasing and pirating its creations. The analysis of this perception and acceptance underlines the desire and the pleasure of this public for the destruction and technical wizardry of these films. We show how the infatuation with this visual object and the authority of the shared appreciation create a "popular act of it", how one comes to appreciate FAGS and how this cinema takes its place in the unequal symbolic system exchange
Lassalle, Antoine. "Théâtre et télévision : étude de cas du rapport entre deux médias." Paris 2, 2001. http://www.theses.fr/2001PA020033.
Blondé, Laurent. "Une approche de l'utilisation et de la perception de la couleur dans les médias." Rennes 1, 2011. http://www.theses.fr/2011REN1S004.
This work deals with the production and distribution of cinematographic content where it is important to reproduce the artwork, faithfully, flawless, on all the screens. Following an introduction presenting the context and notations, a first part is dedicated to the representation of colour, and the usage of this representation. We illustrate first the methodology to follow in two main situations, the creation and the processing of contents. Then we present two standards commonly employed to represent colour, highlighting their differences and the care to be taken in their use. The second part deals with the screens calibration, more specifically with the calibration of consumer screens. First, we present a calibration tool, the structure of the colour transform computation, and an algorithm to model displays behaviour. We then evaluate colour rendering differences on four consumer screen technologies. Finally two options for representing and transmitting colour video are examined, having the goal to improve colour rendering fidelity on new display technologies. The third and last part deals with colour perception and with its inter-observer variability. The physiology of the eye is briefly presented, and an application aiming to protect against pirate’s copy in the cinemas is described. It allows explaining colour “metamerism”. Finally, the discussion presents recent work on the existence of observer categories, each category having a different colour perception. This allows considering new applications, more precise in depicting colours, taking into account the vision of each observer
Thévenin, Olivier. "Cinéma, art et société : une socio-anthropologie du cinéma à propose de Jean-Luc Godard (1959-1967)." Besançon, 1997. http://www.theses.fr/1997BESA1025.
This work in art and culture sociology consists in apprehending a specific phenomenon, the setting up of interpretations and then conventions about an artist's production : Jean-Luc Godard’s one. This work is made of three parts, two of which proved to give a dimension to cinema as a subject. First we defined an approach in art and culture sociology to this subject and we justified the relevance of researching on the works in question. Then we observed traces of the past - films, reviews and even theories - and we attempted to put them in their historical context as far as possible. Finally we organized our work, that is to say we reconstructed it from a relational viewpoint focusing on two notions : history and picture, the film-maker and his work. Relating the dynamic links that are set up between Jean-Luc Godard and society, we tried to reconstruct artisics phenomenons by means of integrating historical facts in a systemic way on the one hand and on the other hand doing an ethnography of artistic activity, that is to say the way the artist defines himself trough his work and his cinema. The relational approach suggested by Marcel Mauss's methodological concept of global social phenomenon allowed us to put in prospect a study of sociability structures, paths and sometimes to bring generation effects to light. Thus we analized the new modalities of social matters held in films such as « A bout de souffle », « Pierrot le fou and la chinoise », considering the film-maker's development between 1959 and 1967 to outline the elements of the construction of a biography in which we could watch one godard's representation, a career strategy and an artistic logic
Kastler, Benoît. "Des âges au cinéma : la culture cinématographique des jeunes spectateurs." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3063.
My thesis title is « ages and cinema : the cinematographic culture of young spectators ». This work deals with the seventh art socialization among youth and focus on the determinations of age – known as one of the most important sociological variable to understand societies – to select, taste and appreciate feature movies and series.In order to understand better its action, we decompose age between four different scales in the first part : individual age, socio-collective age, historical age and age of the objets surround us. This categories aren’t closed on themselves : they are combined by the actors to analyse and interprete arts and situations. Each temporality fragment known or imagined on each scale, lived or remembered by the actor can be mobilised as an appreciation’s tool. Theorising each age is a long work which necessits a better comprehension of individuality, memory, social interrelations, time, histories and body growth. We demonstrate that everybody embodies and crosses different fragments of different scales in everyday life to understand himself, the world surrounding and ultimately, the feature films content. Ways to understand, judge and appreciate art are a good field for studying temporal relations because arts objects are relatively preserved in time and tell about societies of the past. Each situation, person, object is structured by different kind of virtual or lived temporalities. When they are crossed according to the actor’s knowledge and his society position, they bring to different ways of art’s pleasure.The second part of my thesis shapes the first theorical one. It analyses the youth cinematographic culture. Thirty-four young spectators contributed to my sociological survey. They were aged from eight to fourteen years old. I studied the present socio-political structures in France and Europe leading to different forms of cinematographic socialisation. This part copes with the first feature movies rememberances – which are almost always composed by animation movies passed on by the parents – and their role in present art appreciation. At the age of the participants, the cinematography faces a global censure agreement : violent features are banished. Nevertheless, growing means to socialized with, that’s why two chapters of my thesis are consacred to the reception of more violent types of show at this ages, like the horrific gender for example which is often enjoyed by the youth. I try to understand how young people assimilate, step by step, the dark side of the world, the one which was previously hidded for their own safety. However, it is now a requirement of growth to mix with this forbidden shows. Peer reinforcement and autonomy help this initiation. They also bring to new cinematographic cultures as much as new social considerations. All this studies help us to understand how children and teenagers develop series and feature films’ taste by sharing it with friends or parents, depending on the content. This tell us about the developpment of quality classifications based on aesthetic, tales, relations, peers conversations, art memory, emotions and feelings. Finally, cinematographic culture appears to be a large social and aesthetical laboratory for the youth.This thesis is based on a qualitative survey. More specifically, I used a bottom-up method (Becker : 1988). The theories and the demonstrations are no less than the result of five years of several investigations’ technics on the field study. I began with individual consultations in France, Luxembourg and Belgium, then made collective groups in associations and schools. I created different questionnaires for the parents and the teenagers in aim to observe connections between their cinematographic cultures. This thesis claims interdisciplinarity
Augros, Joël. "Du cinéma à l'industrie des images : le développement multimédia de l'industrie cinématographique mondiale." Paris 10, 1988. http://www.theses.fr/1988PA100017.
Far from being the "century of communications", the 20th century may be called the "century of the means of communication". The growing expansion of the audiovisual complex completely changed the rules of the movie industry all around the world particularly in the United States and in France. Movies used to be shown on a single market- the movie theatres. New home markets quickly shook the movie business industry in scattering moviegoers to different and sometimes opposed "screens". Whether they like it or not, movie companies developed multimedia strategies around a technology they perfectly controlled and which enabled them to produce entertainment and sell it to various media ranging from movie theatres to television including v. C. R. Tapes. Movie companies tend to become film editors. The movie theatres are kept as the very place where the reel becomes a movie and where the movie builds up its audience. This audience then sets up the commercial value of a given movie in film libraries, copyright sales to video stores, network TV, cable TV and syndication
Bullot, Érik. "Théorie de la démarche le film et son double Renversements : notes sur le cinéma. 1 Renversements : notes sur le cinéma. 2 Sortir du cinéma : histoire virtuelle des relations de l'art et du cinéma Sayat Nova de Serguei Paradjanov : la face et le profil." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100041.
Under the general title of “THEORY OF WALKING”, this thesis presents a series of previous and new research around the metamorphoses of cinema. The technical mutation of the cinematographic medium, its dissemination in the social space, have transformed its usage. We continue to call cinema a medium now dissociated from its technological device. Cinema then seems to persist under his digital avatar like a promise, a specter or a double. The series of essays presented in this thesis scrutinize this transformation through the relations between cinema and contemporary art, the becoming-performance of the film, its margins and its borders. Following the genre of counter-factual history, the different essays gathered in the thesis focus on the forgotten figures, the dead ends, the thresholds, the black holes, the ghosts, the meetings without continuation, the anachronisms, that are at work in the recent history of cinema, and may account for its mutations. The thesis comprises an original memoir devoted to Raymond Roussel's relationship with cinema, developed in the light of early cinema studies, archeology of media and remediation process. If the cinema is absent, in the literal sense, from Roussel's work, he is still present by means of allusions to optical devices, to the cinema of attractions, and living cinema. Exploring this labyrinthic questioning, I wonder if cinema has become, because of its transformations and avatars, a “floating signifier”
Ferreira, Da Silva Marina. "Les placements de produits dans les séries télévisées et les jeux vidéo : des marqueurs de la culture adolescente." Rouen, 2014. http://www.theses.fr/2014ROUED007.
Informed and rational consumers, experts in marketing, teenagers represent a particular target which brings announcers to review their communication strategies. Product placement seems to have an important postion among the favorite methods to communicate with them particularly in sitcoms and videogames, important leisures in their daily. Each medium offers different experiences of which brands will attempt to take advantage of. His thesis study teenagers's responses to product placements in this two mediums, using consumption experience as frame of analysis. In this order, it uses different qualitative data collections : experts of product placement interviews, netnography, individual interviews and focus group with teenagers. Finally, product placement in sitcoms and videogames appear as an interresting mean to communicate toward the young target. If experts consider the pratice through cognitive logical, teenager brand culture as well as medium consumption experiences seems to have to be integrated in their reflexions about product placement
Hervé, Frédéric. "Les enfants du cinématographe et d'Anastasie : la censure cinématographique et la jeunesse en France (1945-1975)." Paris 1, 2012. http://www.theses.fr/2012PA010577.
Provot, Karine M. "La France Est Sa Banlieue: L'Identité Française et Sa Périphérie Urbaine à Travers le Cinéma, les Médias et la Musique." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1184688497.
Cervulle, Maxime. "L'écran blanc : diversité, rapports sociaux de "race" et sociologie des spectateurs de cinéma." Paris 1, 2011. http://www.theses.fr/2011PA010559.
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
Chamot, Jean-Marc. "La représentation du général G. A. Custer dans le cinéma et la télévision des Etats-Unis (1909-2004)." Paris 10, 2005. http://www.theses.fr/2005PA100036.
The representation of General George Armstrong Custer in American cinema and television (1909-2004) is the object of this study. The youth and the military career of the character are dealt with in the first part, with the purpose of showing how this officer, a very famous man in his lifetime, became a true myth after his death. Then, the various images in the media and arts (on which his future representation in film was founded) are analysed. In the second part, the first images of Custer in Hollywood cinema are put under scrutiny, up to his first apparition on television. In the third and last part, the film and TV products which have perpetuated the memory of the General to this day are studied in turn. The dissertation aims at demonstrating that, in the many productions which featured him (as a major or secondary character), Custer’s image was not fixed : it never ceased to evolve, though without losing its mythic aura
Farchy, Joëlle. "Le cinéma français sous influence : de la concurrence audiovisuelle à la différenciation des produits cinématographiques." Paris 1, 1989. http://www.theses.fr/1990PA010006.
Méon, Jean-Matthieu. "L'euphémisation de la censure : le contrôle des médias et la protection de la jeunesse : de la proscription au conseil." Université Robert Schuman (Strasbourg) (1971-2008), 2003. http://www.theses.fr/2003STR30010.
This study offers an analysis of the public systems of protection of youth from the media and of their evolutions, in France, from 1949 to 2002. Il thus contributes to the analyses of censorship and gives an account of the conditions of definition and transformation of the methods of the symbolic interventionism of the State. Two systems are specifically studied: the law of July 16" 1949, on publications for children and adolescents, and the television "signalétique" implemented by the Conseil Supérieur de l'Audiovisuel (CSA) and the national channels since November 1996. The main argument here is the euphemisation of censorship, resulting from evolutions specific to the social configurations in which the control is conceived and implemented. Therefore, the logics of the evolution are linked to the political, social, economic and institutional contexts of the control. This argument is based on the use of written materials, interviews and an ethnographic observation
Pechikoff, Stéphanie. "L' adolescent et son environnement : pour une approche transitionnelle de l'événement pubertaire." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX1A126.
Alziebi, Loay. "Cinéma et système médiatique : approches de la communication audiovisuelle et des pratiques culturelles dans le système médiatique en Syrie, enjeux et stratégies." Paris 8, 2003. http://www.theses.fr/2003PA082249.
Acerra, Eleonora. "Les applications littéraires pour la jeunesse : œuvres et lecteurs." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30106.
This dissertation focuses on a very recent and still unestablished digital artifact: children’s literary applications. From a perspective that combines literary education and digital literary theory, we develop two research lines, aimed at defining both the structures of the apps and their potential role in promoting young readers’ multiliteracy competencies. Two main objectives are thus pursued: describing and analyzing the apps, by questioning them as literary “technotexts” [Hayles, 2002] intended for a specific audience; analyzing their actual reception and, more particularly, their comprehension and interpretation among children, observing both their actuals manipulations on the screen and their retrospective recalls of the stories. Therefore, the first part of this study offers, on the one hand, a broad view on the editorial offer and, on the other hand, a close reading of its main features and literary “figures”. The second part is dedicated to the observation of five groups of empirical readers and is aimed at verifying how they approach and understand digital literary works, thereby responding to their interaction requests with an “actualized interpretation” [Jeanneret, 2000] that results from a subjective reception of the text
Savini, Aurélio. "La Mise en scène cinématographique : Approche à travers quelques situations types et comparaison avec différents médias audiovisuels." Paris 7, 1994. http://www.theses.fr/1994PA070017.
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.
Gauthier, Christophe. "La mise en scène cinématographique dans le webfilm de fiction." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10035.
El, Badri Mohamed. "Structure discursive et fonction culturelle de "l'opinion des jeunes" : Rubrique du quotidien marocain "L'Opinion"." Rouen, 1992. http://www.theses.fr/1992ROUEL154.
This work turns on a corpus contituted by letters readers rubric "l'Opinion des jeunes", extract from the moroccan daily newspaper "L'Opinion" during the period from august 28th to september 30th, 1986. The semiological analysis self-actualising a simiology of the image, discursive and inter-textual of this rubric lead to an evalutation of its functions socio-linguistic specially in identity. A poliemic which runs during a month and in which mixed debate on the french norm, questionably of identity and discussion on the school institution, is specifically analysed. The work set an appreciation of the french function identity as a language in some moroccan youth
Delbarre, Roger. "Mutations des médiations, médiatisations et gestion des opinions en RDA : le cas de la jeunesse(1965-1989)." Grenoble 3, 1999. http://www.theses.fr/1999GRE39005.
Lachance, Jocelyn. "La temporalité comme matériel d'autonomie chez les jeunes : risques, jeux et rituels juvéniles dans la société hypermoderne." Strasbourg, 2009. http://www.theses.fr/2009STRA1045.
The question of temporality among youth is complex, situated between many important anthropologic transformations: weakening of the symbolic mythology power from the traditional society and the modern beliefs; break-up of the time frame and radicalization of the neo-liberalism impact in the totality of the contemporary subject activities. In this context, where the subject has to get his autonomy by organizing his own time, the young people has to find his own way to be responsible of his time, a way who has to respect the rules of this neo-liberalism world as flexibility and maximization of time. Through different time experiences, some young people express the incapacity of the society to provide a time frame to the youth, a model of representation of time and a modality to tell them how to appropriate the meaning of their past, present and future, understood here as the three part of the time line. Those experiences are reveals through few risky behaviors (fast driving and ecstasy taking) and through some cultural practices (Internet, improvisation theatre, cinematographic experience, backpacking). There’s a common point here between those different behaviors. All of them share one specific aspect: they provide to the subject a way to make intimate experience of time. Those experiences replace for many young people the traditional identification of the subject to pre-existing model of time representation
Marimpouy, Patrice. "Sémiologie de l'image filmique ou numérique et grammaire énonciative." Paris 4, 2003. http://www.theses.fr/2003PA040227.
The present thesis originates in research based on training periods attended by teachers of English. It is based on the argument that the analysis of the intimate relationships between pictures and the utterances that go with them reveals the unconscious grammatical representation underlying them. Whether we deal with sequences drawn from narrative films in which the concatenation of images and words enables us to get access to the secret operations that take place before the emergence of grammatical operators or with the scriptovisual arrangement of Internet websites, our close scrutiny of film language sheds light on the way English works. This research on mental operations conducted in the spirit of metaoperational grammar also aims at adding a fresh contribution to the development of the reflection on learning strategies which has been at the core of the 'didactics' of English over the last few years. Its goal is to show our colleagues how they can train their pupils to exert their powers of observation and deduction on the audiovisual and digital aids that are now part and parcel of their everyday lives. In addition, it allows them to think up the new ways of teaching English induced by the remote control of a DVD, the mouse of a computer or the Internet
Miras, José-Louis de. "Entre cinéma et jeu vidéo : la fiction actable : sur les traces d'une forme filmique interactive en devenir." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30030.
Interactive cinema, playable movies, interactive movies: all these denominations are the demonstrations of attempts to define a cinema where the spectator would have the possibility to interact with the narration by choosing alternatives. In this kind of cinema, the spectator is able to correct and modify the narration proceeding, because of the consequences of his choices. Since its creation in 1967, interactive cinema has not stopped searching for a stable form to define itself. Throughout the years, it has respectively taken the shape respectively of cinema, Internet and finally video games. This latter seems to have been the more stable form and has been for several years. Interactive cinema is, therefore, a promising interactive filmic form to be. This thesis leads us on its traces, bounding the lines and outlines and so highlights a marginal object which shows the transformations of the field of cinema. By establishing the story of interactive cinema, we will try to understand how this complex phenomenon, which is out of the traditional field of artistic disciplines, could have an effect on the convergence between cinema and video games. It is also question of studying how the interactive narration deploys itself and how it makes the spect-actor participate; to wonder about its viability in this current context, about the creation’s conditions of such works, and finally, to highlights the sociocultural stakes of this object registered in an artistic landscape where convergence media has become a common thing
Dubet, Éric. "L'economie de l'industrie cinematographique en europe." Amiens, 1998. http://www.theses.fr/1998AMIE0054.
The omnipresence of the state in the european film world, in view of the criticisms it raises, now leads us to ponder over its origin - why was a system of public aids introduced ? we intend to examine this issue through two domains of investigation - those of public goods and those of merit goods. We will then see, by interfering in the production of full-length films, that authorities cannot only seek to make up for a deficient market, but also to correct individual preferences, mainly in a cultural perspective. However, the problem of public support does not stop at these arguments only. The state also intervenes because cinema is in a state of crisis. In order to understand better this established fact - save if we study in detail the network - one may refer to the analyses putting in relation technical progress and long waves. Then one can discover that is television, born during the phase of difficulties of the interwar years and extended to the entire society during the phase of prosperity of the after-war, which has led cinema to its present problems. However, with recent technologies contributing towards the multiplication of broadcasting channels and, consequently, generate new openings and financings, it seems that a change in the situation is conceivable. Besides, aware of the irreversibility of the current changes, film-making companies often choose to work in collaboration with broadcasters. For the time being, it is nevertheless essential to restore the competitiveness of our full-length films, but also of all our fiction films, subject to an international competition driven to its height. Indisputably, european cinema is a cultural sector in crisis with must be supported by the authorities and, in this ever changing world of the image, one must adopt specific strategies in order to be able to keep on existing culturally and economically
Wang, Lihui. "L’influence de la convergence des médias dans l’économie cinématographique chinoise." Thesis, Paris 2, 2018. http://www.theses.fr/2018PA020033.
We will try all along this thesis to lift the veil on the vague aspects of a complex industry: medias, in a country with an even more complex political and economic environment: China. After defining de concept of media convergence, we will see what are its different forms in the Middle Kingdom in comparison with Western countries. We will explain the reasons why China is naturally taking its own path and not necessarily following the Western models, especially in the media industry. We will then show how the convergence influences one industry in particular: the film industry; how all the links of the value chain from investment to production and distribution are affected by the constant evolution of the new media technologies and how they merge with each other. By reviewing the different laws and other instructions that are supposed to rule the film media industry, but also by analyzing the complex flows between China and the rest of the world that the government tries to control, we will show how much is at stake in this huge market. We will present the main actors of this convergence in China comparing them particularly with the American giant Netflix. How these internet giants transform today’s film industry? This is the question we will try to answer all along this research
Legon, Tomas. "La recherche du plaisir culturel : la construction des avis a priori en musique et cinéma chez le public lycéen." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0139.
This dissertation attempts to study how the French high school students of the 2010s make their minds about movies and musics they haven’t seen or heard yet. To understand this, the researcher has to analyse the incorporated past of eatch teenager and the situations in which they discover the cultural goods. With distincts cultural dispositions and relations to culture, the high school students read into clues given by these presentations to search for satisfactory cultural experiences. The methods of investigation articulates a macro-sociological aspect and several micro-social aspects
Belkaïed, Guiga Lamia. "L' actuel paysage audiovisuel en Tunisie : la télévision, la radio et le cinéma." Paris 2, 2008. http://www.theses.fr/2008PA020018.
Marty, Stéphanie. "Communication et processus décisionnel : le choix du film des jeunes publics au cinéma." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20045/document.
Since its creation, cinema is at the heart of discussions within societies. It arouses curiosity and attracts interest from many: publics, critics, professionals, main economic actors, researchers… While these latter have contributed to a huge amount of works based on cinema’s audiences and practices, only one question remains: How cinema audiences make their film selection? Although many actors and initiatives are developed to help, support, advice and orient the audiences, the approach and the decision-making process of a movie remain misunderstood and unexplored. This research aims to remedy to this contradiction, by highlighting the underlying motivations present in the decision-making process of the young cinema audience. Anchored in a both exploratory and comprehensive process-based approach, this research conceives this process in a communicational perspective by taking in account its complexity, and by analyzing it globally and transversally. We study the “on-going decision-making process” – the decision “as practice” - made inside the cinema. This perspective allows having a look distant from the dominants theories. Furthermore, by articulating theoretical and empirical points of view, and by giving special attention to the triangulation of data, our approach delivers keys to rightfully understand the decision-making process in general and in particular
Pilar, Gavilanes Maria del. "La construction du commun dans le cinéma de Pedro Costa." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0038.
Based on the analysis of the cinematographic work of Pedro Costa, Portuguese filmmaker working since 1997 with the inhabitants of Fontainhas and Casal da Boba, two neighborhoods in Amadora, a town on the outskirts of Lisbon, this thesis proposes a reflection on the possibility of representing a community and on the challenges of cinema work in relation to the construction of a political common. The specific characteristics of this cinema are to operate on the long term and to organize the work according to events that occur in the lives of the inhabitants, who invent and embody the stories told in the movies; ordinary beings take responsibility for building a representation of themselves, their ways of living, their world. Taking into account these distinctive features of a cinema produced in a specific context, this investigation considers particularly the construction of narratives and the potential of speech to question how, through these processes, individual beings with multiple voices can tell collective stories. The cinema of Pedro Costa is studied in relationship with that of other filmmakers: Margarida Cordeiro et Antonio Reis, Jean-Marie Straub and Daniele Huillet, Jean Rouch, John Ford and Jacques Tourneur, to show that the similarities between their work respond to economic constraints and specific choices on their part. The remakes of other filmmakers' films is a recurring theme in Pedro Costa's work which, echoing to a cinematic tradition, seeks to reactivate a political content already present in the films selected as reference, in particular to deal with subjects related to the Portuguese colonization and the Cape Verdean immigration
Archat, Tatah Caroline. "Enjeux de l'introduction de l'art à l'école primaire et au collège : processus d'apprentissage et mises en forme scolaire des confrontations aux oeuvres : le cas du cinéma." Paris 8, 2010. http://www.theses.fr/2010PA083209.
The introduction of film into primary and middle schools falls within the framework of an educational policy aimed at bringing students from working class backgrounds face to face with artistic productions, so as to reduce their cultural inequalities, as well as those of knowledge in general. Starting from the hypothesis that being in the presence of works of art does not necessarily lead to educational success, this research sheds light on linguistic, cognitive and subjective processes that are at brought into play when elaborating a point of view on films. The analysis of two corpora demonstrates the possibility that these students could potentially become amateur spectators, given that the educational encounter with film puts the students face to face with the difficulties of writing about a film, while furnishing the necessary tools and aids needed to do so. The experiment, which used a software program for reading and writing about films, and which was carried out expressly for this research, opens up a reflection on what new technologies for annotating works of art involve with regards to changing teaching practices
Brami, Florence. "L' estime du corps chez les préadolescents et les adolescents : le rôle de la puberté et des modèles socioculturels." Paris 10, 2012. http://www.theses.fr/2012PA100011.
The objective of this thesis is to determine effects of pubertal development and societal standards of beauty on preadolescents and adolescents’ body esteem. Therefore, we tried to clarify body esteem concept, in order to work on its multidimensional aspect. Then, we studied the evolution of body esteem’s dimensions with age and gender of subjects. Finally, we attempted to identify the contribution of pubertal development and internalization of media ideals in adolescents’ body esteem. Self-rating oriented questionnaires have been submitted to 963 pre-adolescents and adolescents, aged 9 to 19, in several French schools. Results show that body esteem and internalization of societal beauty standards are changing with age and pubertal maturation level and timing. Through puberty maturation process, girls and boys showed less satisfaction with their physical appearance. During this phase, their level of beauty standards internalization increased. Moreover, we noticed an effect of pubertal timing on body esteem and media models internalization. Gender and age effects on these two variables have been also underlined. Lastly, models internalization has been revealed as the main contributing factor in body esteem prediction. Pubertal variables and BMI are also involved. Appearance culture prevalence and adolescents’ prevention perspectives have been discussed