Дисертації з теми "Vidéastes – Et la télévision"
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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
Martino, Luiz Claudio. "Télévision et conscience." Paris 5, 1997. http://www.theses.fr/1997PA05H047.
François, Philippe. "L'idée de télévision protestante : principe protestant et télévision d'auteur." Université Marc Bloch (Strasbourg) (1971-2008), 1996. http://www.theses.fr/1996STR20061.
Defined theoretically and heuristically as programmes or films produced for television in accordance with tillich understanding of the protestant principle, protestant television benefits from the nouvelle vague cinema and discussions on the notion of author ("la politique des auteurs"). Literary and film works of three protestant authors namely alexandre astruc, roger leenhardt and jean-luc godard, have created a framework for audiovisual space considered from a protestant point of view. Thesis : protestant television is a television created by authors who film authors - the author being he who transforms a critical intention into creation
Kim, Mi Hyun. "La télévision et la politique." Aix-Marseille 3, 1992. http://www.theses.fr/1992AIX32021.
Television and politics the strong relationship between television and politics stems out of legal framework set forth by politicans for television and of the powers bestowed on television by the same politicians. The evolution of french and south korean broacasting law illustrate television dependence on political authorities because of its communicational qualities. Television as a medium obeys to its own rules, riles with are under tje cmpse scritiny of political communication theories. In spite of being the most democratic object, television is undermiming democracy itself whilst it has the means to uphold this ideal. Key-word : television, south korea, france, broadcasting law, political communication, electoral campaigns, effects, debates, democracy
Macé, Éric. "Sociologie de la télévision, sociologie de l'expérience : individus et télévision de masse." Paris, EHESS, 1994. http://www.theses.fr/1994EHES0022.
The purpose of this study is to understand the nature of the relation between individuals and mass television. We show that television's success with widespread audience is based on the "connivance" between television programs that integrate the uncertainties and tensions of the social experience felt by its wide audeince, and socially dominated individuals who find in this programs a cultural field of subjectivity. The first part of the study presents an analysis that goes beyond the gap, recurrent in media sociology, between theories of alienation througt cultural industries and theories of audience gratification. The second part is devoted to an empirical observation of the making of successful programs, and to a reception analysis with seven socially differentiated groups. We show that individuals never dissociated their relation to television from the larger framework of their social experience. The third part aims at determining the political dimension of individual relation to television. We show, through a case study
Bigeon, Christine. "Choix d'orientation, genre et télévision : Devenir footballeuse ou maïeuticien grâce à la télévision ?" Phd thesis, Conservatoire national des arts et metiers - CNAM, 2012. http://tel.archives-ouvertes.fr/tel-00738838.
Salas, Alfonso de. "Communication commerciale et télévision : droit européen et comparé." Paris 2, 1997. http://www.theses.fr/1997PA020018.
Tudoret, Patrick. "De la paléo-télévision à la sur-télévision : vie et mort de l'émission littéraire." Paris 1, 2007. http://www.theses.fr/2007PA010265.
Petey, Mathilde. "Les enjeux de l'écriture télévisuelle documentaire : figures et lectures." Besançon, 2002. http://www.theses.fr/2002BESA1024.
Reynold, de Seresin Diane. "De l'industriel à la communication : la télévision, industrie et commerce d'ondes." Paris 10, 1988. http://www.theses.fr/1988PA100004.
Harlé, Mélusine. "L'ecole dans les journaux televises francais et americains : codes, messages, sens, et construction d'un imaginaire." Paris 3, 2000. http://www.theses.fr/2000PA030120.
Olivesi, Stéphane. "Histoire politique de la télévision." Rennes 1, 1997. http://www.theses.fr/1997REN10006.
Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.
The present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
Frau-Meigs, Divina. "Les flux télévisuels internationaux : figures, systèmes analogiques et transferts culturels." Paris 2, 1993. http://www.theses.fr/1993PA020071.
Bustami, Reem. "La télévision en Jordanie et les rapports sociaux." Paris 7, 1993. http://www.theses.fr/1993PA070016.
This thesis treats the reception of the television programmes by the publics, particularly women in karak region in jordan. "the omnipresence of the television in a "family public" indicates its emprise on the everyday life and social rapports". This thesis is divided in 7 chapters : the first chapter is a general historico-geographical cadre, it also presents the anatomy of the jordan television. The second chapter treats the methodology; demarche and technique. In the third chapter, the relation between television and social status, as well as the publics are studies. The fourth chapter an analyse of the programming of the jordan television and the problem of the language. Next is the plurality and the selection of channels and programmes. And then a chapter treats the television and what we call "temps vide" (we might translate it by "desert time". The last chapter, television and social rapports treats the relation "mothers daughters while and after watching certain programmes. Also publicity and image of the women. 1 volume, 350 pages and 109 bibliographical references
Cordier, Valérie. "Le fantastique et sa communication à la télévision." Paris 3, 2000. http://www.theses.fr/2000PA030017.
Carrier, Jean-Pierre. "Télévision et apprentissages scolaires : Téléscope, une revue militante." Paris 8, 1997. http://www.theses.fr/1997PA081216.
Making television part and parcel of school-learning remains a problem to-day. The gap is still too large between the world of the teacher and that of television. Accepting the cognitive function of television which alone can justify its pedagogical value, is therefore one of the main elements to allow the setting-up of television broadcastings which can serve as tools for school-learning. If we want teaching techniques which incorporate television to be generalised at all levels in our school system, there must be training-sessions affecting the largest number of teachers. Such is the original attempt of the magazine telescope. First it shows that certain broadcasts can indeed be used in a class context. The selective attitude of the review results in the emergence of a teachers'television, characterised by turning down prime-time private channels broadcasts which essentially focus on entertainment. Then it develops a television criticism serving to mould the viewers perspective and to have a professional dimension by acquainting teachers to elements of knowledge which can be derived from such broadcasts. Lastly, it sets up a model for a television pedagogy. This model however, remains very contradictory. Indeed, it both offers 1) a pedagogy of television which could become part of a general programme of media education, and a pedagogy via television which calls upon a structured conception of teaching processes ; 2) it also proposes to incorporate such learnings in school subjects and syllabuses with the possibility of acquiring related skills ; 3) new teaching techniques which also take into account the structure and composition of our school system. If such contradictions are not solved in the completion of the telescope- project, the review however, remains a major meeting-point for both teaching staff and television people and thus it helps, in a militant manner, to acknowledge the cognitive function of television and its usefulness in the fulfilment of school learning
Tricot-Chamard, Isabelle. "Les droits de la personnalité et la télévision." Paris 1, 2001. http://www.theses.fr/2001PA010343.
Achilleas, Philippe. "La télévision par satellite entre liberté et souveraineté." Paris 1, 2000. http://www.theses.fr/2000PA010359.
Xavier, Joël Régis. "La télévision, une médiamorphose de la réalité : images et construction d'un regard critique de la monstration télévisuelle." Paris 8, 2011. http://www.theses.fr/2011PA083400.
If television is a « images exhibitor », those ones are often equated with reality. What happens then when that reality turned into a television images? Does this mean that the reality is reduced to visible ? First of all, which reality we’re talking about ? « The medium is the message » McLuhan said. Perhaps it will be a good thing, before answering these questions that seem, at first only related to television content, to consider the medium itself. Because the proven effects of television on the human brain are not negligible. Especially when it comes to young children placed very early in front of the screen. But television and image, in general, can be educational assets (probably still too unexplored) if we take into account the known parameters. Therefore, the diversity of open discourse on television makes it possible to understand the mechanisms and effects of it. And to take the measure of the power of the moving image in the heterogeneity of nowadays television genres, it’s imperative to refer to Art History to understand, in time, our relationship to the image in its broadest sense. For now, on one hand, technology allows us to access more informations ; on the other, some of these informations are at the origin of some stereotypes which, by the way to televisual realism, are exceeding the reality. But the reception is nevertheless heterogeneous and this must attract our attention
Chambat-Houillon, Marie-France. "Pour une théorie de la citation télévisuelle." Paris 3, 1998. http://www.theses.fr/1998PA030199.
We have sought to elaborate a theory of legitimate quotation from a transdisciplinary perspective in the televisual field by illustrating the limits of traditional definitions of the quotation (literary theory, legal studies and filing applications) that did not permit an understanding of the totality of quotational applications in this field [first fart]. Our argument consists therefore in not reducing the intertextual concept of the quotation to the simple appearance of a work's televisual representation in a program and in bringing out the essential principles of the reception of the televisual quotation : the quoting intentionality, the distinction between quotation-reply and quotation-performance which allows for the just appreciation of the repetition of the quotational enunciation [second part], the spectatorial recognition of the quotation starting with the understanding of its stamp and the qualities of its staging, the formal diversity of the quotational indices stemming from the semiotic complexity of the quoting text's televisual nature [third part], the pragmatic synthesis of spectatorial attitudes and the renewal of the question of the televisual quotation's functions thanks to the way we have used concepts from analytical philosophy [fourth part], the preoccupation with the differentiation between quotation and plagiarism in the case of the indices'mask of the quotational repetition [fifth part]. The consideration of the televisual quotation's conditions of possibility provides new reference points in the recent "theoretic continent" of televisual analyses and moves towards granting to the televisual acknowledgment within the institutional field of symbolic applications and of languages
Sabi, Djaboudi Arthur Félicien. "Les journalistes de la Radiodiffusion télévision gabonaise (R. T. G. ) : profils et pratiques." Bordeaux 3, 1999. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=1999BOR30048.
Lavat, Philippe. "Musiques et direct télévisuel : 1958-1963." Paris 3, 2008. http://www.theses.fr/2008PA030066.
The research undertaken focuses on music in live television programmes. It is divided in two parts : the theoretical construction of the topic, then the analysis of television programmes involving music during the late fifties and the early sixties. The theoretical construction starts with a cross disciplinary approach (summoning musicology, cinematographic sound studies, sociology and cognitive sciences) so as to better understand the musical phenomenon [1st chapter] ; music is then reassessed in a semiotic perspective, situated in the centre of a communication process [2nd chapter] ; the phenomenon is, at last, evaluated in a televised context through the analysis of the audiovisual particularities of television [3rd chapter], the study of the various potential uses of music in this particular context [4th chapter], and an analysis of genericity [5th chapter]. This aspect of the research is, first of all, devoted to a study of the different ways in wich television applies to its viewer(s) [6th chapter]. Then questions are raised concerning the presentation of music, in a semiotic and a pragmatic context [7th chapter]. And finally, a chapter is devoted to the “musicalisation” of programmes [8th chapter]. Such an analysis, on the conditions under which music operates in live television, may contribute to a better understanding of early television, while at the same giving added meaning to contemporary and future programmes
Menye, Ntsama Gisèle. "Les débuts de la télévision camerounaise : étude de la grille des programmes et analyse des représentations et pratiques des publics de Yaoundé." Grenoble 3, 1992. http://www.theses.fr/1992GRE39005.
In this thesis, we study the social schemes which rule the production and consumption of television in an african country : cameroon. Wecompare television production to its reception and consumption by examining the interface between these two focuses of interest : the program planning. In the first part, we analyse television production. We develop the strategies, various and sometimes contradictory, develop by the principal actors, publics and private. Whether they are ntionals or foreigners, they actively endeavour into crtv productions, and their action correspond to economical, political and ideo logical stakes. In the second part, we raise issues about television reception, as seen through images and behaviours, both individual or collective, from the publics of yaounde. These representations and behaviours do not allways match with strategies which were at the basis of theproduction. Therefore, there is an inevitable gap between the publics of yaounde and their television, due to a discrepancy between people's expectations and the programs proposed. We conclude with a series of proposals leading to a better match and understanding between cameroonian television and its audience
Federspiel, Laurent. "Télérama et le débat sur la violence à la télévision (1960-2001)." Metz, 2001. http://www.theses.fr/2001METZA05L.
Benfredj, Nadjet. "La télévision algérienne : évolution des structures et des programmes." Grenoble 3, 1992. http://www.theses.fr/1992GRE39068.
This study mainly aims to analyse the way algerian t. Vworks. Its goal is to enlighten, for each historical period, the links between, on the one hand, , t. V as technics, programs and ideologie, and on the other hand, society, (with its linguistic and cultural complexity), political power and economy. Algerian managers of information, as well as laws, consider that t. V's main role consists in the education of the masses. So for, we can wonder wether t. V has fully achieved its goal by assuming this very role. This research deals with the history of the t. V experience in algeria. Up to now, this historical aspect of t. V has always been neglected. The problematic tries to bring eventual modifications for a more efficient and clever use of the media. This work is made up of three main parts : the first one deals with the algerian t. V history and fonctionment. The second part is an empirical reflexion over algerian t. V programs, and finally the last one lays the emphasis on its algerian audience
Machado, Elisabeth. "L'intime-quotidien à la télévision : formes et territoires : analyse comparée de deux chaînes de télévision privées européennes, SIC (Portugal) et TF1 (France)." Paris 3, 2005. http://www.theses.fr/2005PA030142.
Notre recherche, orientée sur l'étude des écrans en France et au Portugal, sous la bannière respective de deux chaînes privées, TF1 et de SIC, se propose d'identifier les conditions d'émergence, les dispositifs et les topiques de ce que nous avons appelé " l'intime-quotidien ". En adoptant une démarche pluridisciplinaire, diachronique (1986-2000, pour TF1, 1992-2000, pour SIC) et transculturelle, notre propos est d'observer, à travers plusieurs genres médiatiques (reality shows, talk shows, magazines, etc. ), comment la vie privée du citoyen ordinaire s'expose et se codifie à la télévision. Par le biais d'une analyse comparée, nous entendons repérer les écarts sémiotiques, mais aussi les aspects convergents dans cette exposition et vérifier si les représentations et les discours diffèrent d'une chaîne à une autre. Dans un monde de plus en plus globalisé, nous avons tenté d'appréhender les nuances et les degrés de pudeur et d'impudeur, qui caractérisent ces deux univers audiovisuels
Our research, focused on both French and Portuguese TV scenes – under the respective banner of private TV channels TF1 and SIC – intends to identify the conditions of emergence, the devices and the topics of what we named " daily-intimacy". By adopting a multidisciplinary, diachronic (1986-2000 for TF1, 1992-2000, for SIC) and overcultural approach, our purpose is to observe, among several mediatic genders (reality shows, talks shows magazines, etc. ), how the ordinary citizen's private life is exposed and how it is codifed on TV. By a compared analysis, we pretend to identify the semiotic gaps, but also the convergent aspects in this exhibition and to check if the representations and the discourses are different in these two channels. In a world more and more globalised, we have tried to locate the shades and the degrees of decency and indecency, which caracterized these two audio-visual universes
Bouquillion, Philippe. "Spectacle vivant et télévision : analyse socio-économique comparée du spectacle vivant et de la télévision en France pendant les années quatre-vingt." Grenoble 3, 1993. http://www.theses.fr/1993GRE39009.
At the end of the 80', fund rising depends on the audience and the notoriety in order to reach that objective : advertising is developing, the content is standardized and the diffusion system is favoured. These tendances have increased the costs rise. This problem is particulary important for the performing arts because the consumption is decreasing and because the tv channels are not intrested in broadcasting art programs
Olszak, Eric. "Stratégies des chaînes de télé et intervention publique : L'impact sur l'offre de programmes de fictions en Europe." Lille 1, 1996. https://pepite-depot.univ-lille.fr/LIBRE/Th_Num/1996/50374-1996-223.pdf.
Wang, Charlotte. "La télévision en Chine continentale : ses enjeux politiques et économiques aujourd'hui." Paris 2, 2009. http://www.theses.fr/2009PA020039.
Barrios, Ruben. "L'Autonomie de la télévision et la liberté de l'information." Paris 4, 1985. http://www.theses.fr/1985PA040085.
Fautrelle, Séverine. "Bilans et perspectives de la directive "télévision sans frontières"." Paris 2, 2003. http://www.theses.fr/2003PA020092.
Brethenoux, Daniel. "Etude de la réception télévisuelle : sémiologie TV / réception TV." Bordeaux 3, 1986. http://www.theses.fr/1986BOR30005.
The introduction places the television in the context of post-industrial society which is dominated by the generalized circulation of signs (with exchange values dominant, a society of spectacle). Semiological analysis attempts to organize the normalities of the screen with respect to signifiants and signifies. Five models can thus be defined : current events, documentaries, shows, fiction and advertisements. The initial sample survey involved direct contact with television viewers (in contrast with public opinion polls) in nondirective interviews with a small number of persons (13) to discuss an evening's television viewing (tuesday october 20, 1981). The hypotheses distinguish an individual component (television nutures), a social reference component (television confirms), and a social power component (television controls). The survey systematized these hypotheses based on another evening of television vie wieng (saturday apris 17, 1982 middle and high social strata). Television viewing cannot merely to social processes nor to individual psychological processes. The relationship between explicit and implicit discourse, the concept of social status underline this point. The television viewer seeks ideal and imaginary images allowing him to visualize his own problematics (individual social) and to integrate himself in the social conformities legitimated by the screen. 5)the final chapter (hypothesis testing) specifies and synthesizes the three components of television : the "nurturing television" defines the domain of the affects set in motion by the screen through "punctums", ideal objects, pleasurable shows, and contemplation of the television set. The "confirming television" shifts from symbolic and community aspirations towards recognition, integration, illustration of fields of knowledge acquired prior to viewing (desire to see). The "controlling television" defines a shift from specific rites to uniform rites and the acceptance of personal models. Public matters become private ones and private affairs become public ones, reinforcing the hypothesis of generalized exchange value
Mondoloni, Emilie. "Télévision et publics préscolaires : de la réception et des enjeux industriels et politiques." Grenoble, 2010. http://www.theses.fr/2010GRENL025.
Diémé, Ahmed Serigné. "Scénographie communicationnelle et espace public politique depuis 1960 : critique des effets et représentations télévisuels." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30005.
This thesis researche starts from a central question that here: which is the set relationship between the media order and the order symbolic system in the functiion of representation of the political phenomenon socio to the double direction of the term. The hypotesis is to assert that the relationship is complex: redundoncy, co existence, alteration, complementarity. Anyway, this study has revele certain processes related to the image practice ( scengraphie applied to the matériel and immateriel political public space)So, one must change the vsion of political public space as an experience, as an event, as a place the society tries to build the commun interest in the democratic system. One must also change the vision of representation, of communication in the double direction of the term, of symbolic system. This implies a new conception of political representation in contemporain era. This thesis has also started from different kind of images accordind ton the way televsion cuts and organises the phenomenon. Under this practice of image, we have found that the media ordre is determinated by the logic of the society of consumers and spectacle. Communication shoud not anymore, in our opinion, be considered as this diagram: E - M- R; because communication is lest an echange proces and more an intervention on things, people, situation, futur in political sens. We must also take in charge of the importance the the media as a form and as a cultural and political mecanisme in contemporain era. This are the scientific proposals of our study. But the researche is not finished an there are many perspectives in the media studies. Whatwill be the futur of policy accordind to media?
Nel, Noël. "Le débat télévisé." Nancy 2, 1987. http://www.theses.fr/1987NAN21023.
Gouraud, Lionel. "L'"instit", la télévision et le social : problèmes sociaux et création audiovisuelle." Toulouse 2, 2003. http://www.theses.fr/2003TOU20029.
The main character in the TV serial : "The Schoolmaster", Victor Novak, inheriting from the great archetypal images of fictional heroes, presents the schoolteacher function under an enthusing or irritating aspect as the case may be. In the heart of TV production, the schooling system invests large financial and symbolical means to promote this formerly in crisis job. In the meantime, picture creators and story-tellers meet certain social expectations, consciously or not. Combining both dimensions of the object, we wish to show that this TV serial has played an important part in building a "powerful" image of the schoolmaster ; secondly, has or hasn't this representation altered the relations between the profession and its audience ? Is such an image of any professional use ? "The Schoolmaster" isn't a gratuitous act ; it fulfils functions serving both the creating and the political worlds
Vovou, Ionna. "La démocratie à l'ère de la télévision : les débats politiques à la télévision hellenique (1990-1998)." Paris 3, 2000. http://www.theses.fr/2000PA030166.
Asloun, Benaïssa. "L'information des télévisions internationales reçues au Maroc : le cas de TV5 Europe et MBC." Paris 2, 1995. http://www.theses.fr/1995PA020006.
There is no doubt that the televisual terrain have been recently marked by the emergence of television with an "international" vocation. Using new technologies, mainly satellite communications, the new comers allow millions of tele vision viewers to get the same information and image simultaneously or otherwise. Until recently, the same viewers have been isolated by geographical and political barriers. While some celebrate this technological innovation, others are more concerned about their cultural identity. The purpose of the present research is not inasmuch to engage the debate over this new phenomenon. It is, however, a mod est contribution to demonstrate, through the analysis of televised news of tv5 europe and mbc, the relativity of the con cept and the proposed value of the "international" at another level, the arrival of "international" television to morroc o, did not destroy nor delay the natural evolution of the national media system. Contrary to this received view, "international" television has enormously contributed to the positive evolution of moroccan television system to meet th e new needs of a demanding public. Inaddition, we attempt to argue that the considerable abondon of moroccan television viewers and their escape to "international" television is justified by their continuing search for quality and satisfaction
Truchet, Sophie. "L'Influence de la télévision américaine sur la télévision en Europe : étude comparée des télévisions allemande et française des années 1960 aux années 1990." Reims, 1998. http://www.theses.fr/1998REIML010.
Lewendoski, Philippe. "Les télévisions françaises dans la perspective du grand marché européen et de la concurrence internationale : le cas de la haute définition." Paris 2, 1994. http://www.theses.fr/1994PA020022.
Liu, Chang. "La télévision chinoise d'hier à demain : nouvelle approche empirique des programmes et de l'audience." Paris 2, 1992. http://www.theses.fr/1992PA020006.
Since it was first introduced into china in 1958, television has made a remariable and rapid growth, much to the astonishment of the international community. What are the reasons for its evolution, and its particularity at the legal and journalistic statue levels? and, more to this point, by what means has its programming expanded over the last 34 years? how is this powerful media used by the chinese public today? also, how do the french and american televisions intend to contribute and, to what extent, can chinese television benefit from their ewperiences in order to elaborate its own future policy? this thesis endeavours to approach the subject in a systematic and exhaustive manner in an attempt to answer all these questions. The conclusion indicates that the strategy should turn towards a pluralistic politics and a freer economy
Choi, Joon Sik. "Le confucianisme et la fiction télévisée coréenne : processus de la communication entre émetteur et récepteur de la fiction télévisée coréenne." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30016.
The objective of this thesis is to show the stakes of the communication-processes of Korean dramas, broadcasted on televisions, in the peculiar situation where the Confucianism needs to be readjusted in our modern world. This thesis sets down the hypothesis that this process is a deliberate intention of the government to intervene within the identity of the Korean communities, in order to eventually modify their identity in the future : the Korean dramas are adapted mirror images of the social daily life and, therefore, participate to the construction of the ‘social reality’. In the second part of the XX century, the Korean identity has drastically changed owing to the influences of the industrialization and the westernization of the population. A new identity is being developed, breaking-off of Confucianism ideology. This thesis is divided in two parts. The first part is devoted to the two fundamental aspects that explain the Korean mentality. On the one hand, we identify the Confucianism as a moral, a religion and ideology for the Korean people. On the other hand, we examine the Korean dramas in general broadcasted on TV with the aim of establishing their status in the Korean TV in general. In the second part of the thesis, we study in detail the Korean dramas using the argumentation-theory in order to prove that the TV broadcasted Korean dramas constitute a broad investigation-field allowing the knowledge of the Korean Society
Bachmann, Sophie. "Histoire politique et sociale de la réforme de la radio-télévision en 1974 : "la délivrance ?"." Paris, Institut d'études politiques, 1986. http://www.theses.fr/1986IEPP0004.
The main purpose of this thesis is to explain why and how the reform of the ORTF has been taken just after the election of Mr. Valery Giscard d'Estaing as the President of the Republic in 1974. The first part discribes the genesis of the reform and analyses the crisis at the automn 1973 after a lot of reforms of structures. In spite of the project of decentralization of the ORTF prepared by his manager Mr. Marceau Long, the new government after the elections at the Presidency of the republic decides to suppress the ORTF and to create seven independent societies. The second part analyses the reasons of the choice of the government, the purpose of the reform and the oppositions during the preparation and the vote of this law. The third part presents the main - social and political - problems for the application of the reform after the vote of the law
Hermans, Michel. "Les enjeux politiques de la mise en concurrence de la télévision en Europe francophone." Paris 1, 1997. http://www.theses.fr/1997PA010262.
Europe is divided into linguistic zones going beyond the states' borders. This could thus lead to a cultural, but also an economic and political integration taking shape. The audiovisual sector is an excellent illustration of this type of integration. French-speaking Europe doubtless produces the convincing proof for this. Indeed, France exerts a great audiovisual influence on two culturally and politically broken up countries, i. E. Belgium and Switzerland. Though the latter is less concerned than belgium. This prospect has been reinforced by the competition of televisions in Europe through the economic stakes that have developed. Technological progress, in particular the cable and the satellite, have strongly furthered the competition in the French-speaking zone. On the other hand, the framework in which this competition developed, has allowed the emergence of transborder television. The political power has always reparded the role of television in the citizen's life as very important. From that point of view the similarity between the institutional structure and that of the audiovisual landscape in each state is characteristic. This is made clear by the models established in Great-Britain, Italy and Germany. Belgium and France are a synthesis of the models. The way of facing up to the competition was the consequence of a tacit alliance between the political and economic powers. Through this competition and this internationalization of television, the political stakes were strongly disrupted within the French-speaking zone, mainly in small countries such as Belgium
Cordelle, Annie. "TV3-Catalunya, audiovisuel et culture catalane : de 1983 à 2006." Versailles-St Quentin en Yvelines, 2015. http://www.theses.fr/2015VERS013S.
During the pro-Franco years, the Catalan identity is strongly repressed whatever its form of expression. Appearance of the Spanish national first channel, TVE1, born in 1953. It’s installed in Madrid beside the Ministry of Information: a whole symbol. Ground of resistance, trade and innovation, Catalonia obtains in 1983 the statute of Autonomy and the right to a audio-visual channel of diffusion: TV3-Catalunya. Diffused in catalan language, with engineering teams initiated by those french of FR3, the special programs of TV3 develop the culture and the regional heritage of Catalonia. Contrary to chain FR3, TV3 preserves durably its pionniers characteristic. In spite of the multiplication of the chains, its TV ratings are worthy of those of french chain TF1. TV3 develops by learnedly using the local stations and the partners abroad around a common objective: to promote the culture, the heritage, creation and the catalan language. While being self-promotion in its programs, TV3 generates a star system whose concurrent chains tear off the stars. Since 2000, the European States assert the cultural exception, by which safeguarding is accompanied by a renewed interest towards the regional heritages and dynamisms. Without licence fees, nor great national economic support, autonomic television is based on its own financial resources, based on publicity. Its evolution extends on the international plan by a satellite and digital cover. Is TV3 to becoming a model of self-funded television, whose Europe of the media can be inspired?
Germain, Bernard. "Documentaires, spectateurs et institutions : lectures du réel au cinéma et à la télévision." Paris 3, 1997. http://www.theses.fr/1998PA030024.
This reception theory-based dissertation investigates the relationship between creative documentaries, the film-making process they involve, and the spectator envisioned by the institutions which produce or broadcast them. The spectator reactions studied are primarily those of cinema or television professionals who either agree or disagree on the effect produced or to be produced on the traditional end-of-the-line spectator. The documentaries made by the author of the dissertation, along with their adaptations by various institutions, serve as a basis for the research. By imposing upon themselves a team-reading, the chain of professionals (film-maker, producer, cameraman, director of photography, editor, broadcaster, etc. ) invents a filmic text and orients it more or less consciously toward a standard product - whose subjectivity is supposed universal -, unless the film-maker makes a particular effort to personalize his work. The reception theories on which the analysis of these practices is based are michel picard's literary theory of "reading as play", which situates reading in winnicott's transitional space, and roger odin's semio-pragmatic theory which proposes an analysis of institutional involvement in the reception of films
Ferjani, Riadh. "L'Etat et l'internationalisation de la télévision en Tunisie : 1988-1993." Paris 2, 1995. http://www.theses.fr/1995PA020004.
The internationalization television process in tunisia is governed by the structuration of the state after independence. The polical control on television began to fall when the change of the international audiovisual system met the new social groups requests. The internationalization is also a result of the tunisian audiovisual space space evolution in the eighties and the state television organisation and management. Thats why, when the state allowed forein (rai uno and antenne 2) and privat (canal horizons tunisie) channels to transmit their programms, he will try on the same time to limit the competition specially in news fild. Moreover, in order to subdue the internationalization effects, some reforms were introced in the state television. But the diversification of financial ressources (advertisement and encouragement of privat producers) are reaveld insufficient to create a national programms industry. The analysis of the state role in internationalisation process of television permitt us finally to clarify the interaction ways between the national and international levels. Under the inconsistent apearence of that process, the action of tunisian state is marked by a coherence stem from his role in the society : the integration of tunisian audiovisual space in his international surroundings is possible only ift don't affect the state position as a global actor
Dallet, Sylvie. "La Révolution française à travers le cinéma et la télévision." Paris 10, 1987. http://www.theses.fr/1987PA100059.
Cinema and television are in the 20th century the new vehicles and by the people to commemorate or understand the past. The audio and visual messages they give compete with the written teaching of schools and universities and the oral teaching of theater, for instance, in the nineteenth century. These new medias dip their inspiration out of history and create a new kind of cinema, the historical cinema, with specific rules. This thesis contains first a methodological research about the basis of historical cinema, treating either of “peplum”, western of French Revolution cinema – on another hand it’s a classical historiography thesis for it traces back to the ideological origin of animated pictures. These pictures stand at the same time for political stakes (government majority changes), university strategies (in the fight between the academic and the self educated historian) and historiographicdebates from the nineteenth century (nature and culture, monarchy and democracy, sciences and symbol). The topic of this thesis is to show that behind the apparent rough and few precision of the material, lay old and complex historiographical tradition. Than it’s a constant reference to historiographical writing, literature and political history of the twentieth century
Ruiz, Raphaël. "Télévision et processus de paix : l'exemple nord-irlandais : (1993-1998." Grenoble 2, 2003. http://www.theses.fr/2003GRE21031.