Cet article s'interroge sur ce que peut signifier le concept d'énonciation cinématographique. C'e... more Cet article s'interroge sur ce que peut signifier le concept d'énonciation cinématographique. C'est le premier d'une série qui m'a amené à écrire Un monde à notre image.Énonciation, cinéma télévision
À l’origine de cette recherche sur les années 70, un sentiment et un désir. Le sentiment, d’abord... more À l’origine de cette recherche sur les années 70, un sentiment et un désir. Le sentiment, d’abord, que la télévision de cette décennie avait une façon bien à elle d’interroger la réalité, de s’adresser à ses spectateurs et de représenter leur vie. Il s’agit là, à vrai dire, bien plus que d’un sentiment. Plutôt d’une intuition fondée à la fois sur une étude antérieure des émissions mettant en scène la vie des Français (Jost, 2001), et sur ce que je sais par ailleurs du bouillonnement créatif d..
Cet article s'interroge sur ce que peut signifier le concept d'énonciation cinématographique. C'e... more Cet article s'interroge sur ce que peut signifier le concept d'énonciation cinématographique. C'est le premier d'une série qui m'a amené à écrire Un monde à notre image.Énonciation, cinéma télévision
À l’origine de cette recherche sur les années 70, un sentiment et un désir. Le sentiment, d’abord... more À l’origine de cette recherche sur les années 70, un sentiment et un désir. Le sentiment, d’abord, que la télévision de cette décennie avait une façon bien à elle d’interroger la réalité, de s’adresser à ses spectateurs et de représenter leur vie. Il s’agit là, à vrai dire, bien plus que d’un sentiment. Plutôt d’une intuition fondée à la fois sur une étude antérieure des émissions mettant en scène la vie des Français (Jost, 2001), et sur ce que je sais par ailleurs du bouillonnement créatif d..
Call for papers
International conference : September 12 - September 14, 2012 in Paris.
Organize... more Call for papers
International conference : September 12 - September 14, 2012 in Paris.
Organized by the CEISME (Media Images and Sounds Study Center), Sorbonne Nouvelle-Paris3, with the support of the Laboratoire d’Excellence ICCA (Laboratory of Excellence for Cultural Industry and Artistic Creations) and Inathèque de France.
What is quality television?
When it comes to television, we talk a lot about the audience, as if quantification was the only measurement unit for programs. However, public satisfaction is not correlated numerical results. TV channels know this and, since 1975, the French public service is trying to develop "indicators" of quality.
The question of evaluation has thus returned to all areas. It has been revived by the recent developments of formats - both in the United States, where the success of TV series has led to the concept of "Quality TV", as well as in South America and Europe, as the 2011 Obitel study on "calidad de la ficcíon televisiva" has demonstrated. Moreover, public service reforms in France and Portugal have engendered a whole new body of thought.
Of course defining the criteria for characterizing the quality of a program engenders difficulties - especially since producers, broadcasters, authors, but also the audience, do not necessarily share the same. Several points should be examined:
• quality and style: is the quality of a program defined by its stylistic requirements, such as for example, the conclusions made by researchers and critics of the U.S. series may lead us to believe? What role does originality play? The topic? The audiovisual treatment? Are there “quality formats”?
• quality and type of program: judgment of quality is often connected to stock footage programs such as fiction and documentaries. How do we define quality in “light entertainment”? How do we define quality in relation to genre? What is a good sports program? shows? And, more generally, what do we call “a good program”? What are the criteria used by the critics? Do they converge with those of viewers? In contrast, how can we define "trash TV"?
• quality and technique : what role does technique play when judging the quality of a program? Do the new possibilities of watching programs such as screen sizes (from very small to very large) impose new standards? Many images, such as amateur programs, do not adhere to "broadcast" standards anymore. Does this entail an abandonment of these criteria? What does Internet on TV change ?
• quality and the public: in some countries, it seems that quality is rated by the public who is reached by a certain chain or programs. Thus, stations like TV Brazil or PBS in the United States try to appeal to the diversity within a community that shares common values. How can we establish a link between quality and social background?
• quality and the audience: how can we connect quality and a possible audience? Are quality programs aimed at small audiences or are only time slots taken into consideration?
• quality, programming, TV stations: does quality lie within programs or within programming?
• quality and televisual culture: can we imagine that certain programs of the past be part of a directory with the same workings as the one for movies?
• quality and ethics : what place should the ethical evaluation of a program have in their broadcasting ?
All of these questions, which are not intended to exhaust the issue of quality, must be addressed from different points of view, comparing the different players in televisual communication. All methods are welcome: historical, semiological, sociological, etc. The originality of this conference will be to exchange ideas between scientists and professionals, established researchers and young researchers on common subjects.
Authors are invited to submit the proposal in French or English, in 3000 signs (500 words) maximum, at the address colloquetvqualite@ceisme.fr, until February 20 2012. Each proposition will be evaluated anonymously by at least two scientific committee members. The selected authors will be informed at the end of March 2012.
Conference languages : French, English
CEISME Organizing Committee:
François Jost (Professor, Sorbonne Nouvelle), Marie-France Chambat-Houillon (Professor, Sorbonne Nouvelle), Bernard Papin (Associate Professor, Paris XI), Bruno Henocque (Associate Professor, Le Havre), Philippe Lavat (CEISME ).
Scientific Committee:
Director : François Jost (Professor, Sorbonne Nouvelle).
Marie-France Chambat-Houillon (Professor, Sorbonne Nouvelle), Gilles Delavaud (Professor, Paris 8), Bernard Papin (Associate Professor, Paris XI), Bruno Henocque (Associate Professor, Le Havre), Laurent Jullier (University Nancy 2), Philippe Lavat (CEISME), Daniel Psenny (Journalist, Le Monde), Jean-Michel Rodes (Director Inathèque de France), Myriam Tsikounas (Professor University of Paris I).
Si la banalidad no tiene historia, en cambio el culto de lo banal aparece como una obsesión de lo... more Si la banalidad no tiene historia, en cambio el culto de lo banal aparece como una obsesión de los artistas y pensadores del siglo XX. De Duchamp y sus ready-made a Warhol, quien rompe la frontera entre arte y medios; de Perec y su infraordinario a los sociólogos de lo cotidiano Lefevre y De Certeau, los iconos de la modernidad han sido los poetas de lo ordinario y lo cotidiano. Todos han reconocido en lo banal una virtud subversiva. Y a través del culto de lo banal, se trata de poner en tela de juicio las instituciones: la obra, el artista, el museo, pero también los grandes relatos y el autor.
Hoy, es el turno de que la televisión y sus reality shows magnifiquen lo banal. Pero ¿todavía tiene esta magnificación una virtud corrosiva?
François Jost es profesor en la Sorbonne Nouvelle, donde dirige el laboratorio Communication Information Médias. Ha escrito numerosos ensayos sobre cine y televisión y, en español, ha publicado El ojo-cámara y El relato cinematográfico.
Le film n'est ni un objet neutre ni une chose, comme l'a parfois prétendu la sémiologie. Ce n'est... more Le film n'est ni un objet neutre ni une chose, comme l'a parfois prétendu la sémiologie. Ce n'est pas non plus un simple reflet de notre monde ou le produit d'un processus machinique. Si les images nous retiennent, si nous sommes capables de nous disputer pour elles en sortant du cinéma ou en regardant la télévision, c'est que, loin de les prendre pour une imitation ou une duplication du monde filmé, nous ne cessons d'en faire un monde à notre image... Une théorie de l'énonciation cinématographique qui s'appuie sur des analyses de Truffaut ou Sternberg aussi bien que sur la retransmission de la révolution roumaine.
Parler de téléspectateur à l'heure des récits interactifs et immersifs ou du transmédia at -il en... more Parler de téléspectateur à l'heure des récits interactifs et immersifs ou du transmédia at -il encore un sens ? Souvent décrit comme un être passif vissé à son canapé, le spectateur serait aujourd'hui actif, opérant des choix entre différentes pratiques de visionnage, entre les chaînes de télévision et les plateformes, et mobile grâce aux dispositifs portables (Barthes et Chambat-Houillon, 2019). Dans quelle mesure cette perméabilité des situations de visionnage et des environnements médiatiques transforment-elles la notion ancienne de téléspectateur ?
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International conference : September 12 - September 14, 2012 in Paris.
Organized by the CEISME (Media Images and Sounds Study Center), Sorbonne Nouvelle-Paris3, with the support of the Laboratoire d’Excellence ICCA (Laboratory of Excellence for Cultural Industry and Artistic Creations) and Inathèque de France.
What is quality television?
When it comes to television, we talk a lot about the audience, as if quantification was the only measurement unit for programs. However, public satisfaction is not correlated numerical results. TV channels know this and, since 1975, the French public service is trying to develop "indicators" of quality.
The question of evaluation has thus returned to all areas. It has been revived by the recent developments of formats - both in the United States, where the success of TV series has led to the concept of "Quality TV", as well as in South America and Europe, as the 2011 Obitel study on "calidad de la ficcíon televisiva" has demonstrated. Moreover, public service reforms in France and Portugal have engendered a whole new body of thought.
Of course defining the criteria for characterizing the quality of a program engenders difficulties - especially since producers, broadcasters, authors, but also the audience, do not necessarily share the same. Several points should be examined:
• quality and style: is the quality of a program defined by its stylistic requirements, such as for example, the conclusions made by researchers and critics of the U.S. series may lead us to believe? What role does originality play? The topic? The audiovisual treatment? Are there “quality formats”?
• quality and type of program: judgment of quality is often connected to stock footage programs such as fiction and documentaries. How do we define quality in “light entertainment”? How do we define quality in relation to genre? What is a good sports program? shows? And, more generally, what do we call “a good program”? What are the criteria used by the critics? Do they converge with those of viewers? In contrast, how can we define "trash TV"?
• quality and technique : what role does technique play when judging the quality of a program? Do the new possibilities of watching programs such as screen sizes (from very small to very large) impose new standards? Many images, such as amateur programs, do not adhere to "broadcast" standards anymore. Does this entail an abandonment of these criteria? What does Internet on TV change ?
• quality and the public: in some countries, it seems that quality is rated by the public who is reached by a certain chain or programs. Thus, stations like TV Brazil or PBS in the United States try to appeal to the diversity within a community that shares common values. How can we establish a link between quality and social background?
• quality and the audience: how can we connect quality and a possible audience? Are quality programs aimed at small audiences or are only time slots taken into consideration?
• quality, programming, TV stations: does quality lie within programs or within programming?
• quality and televisual culture: can we imagine that certain programs of the past be part of a directory with the same workings as the one for movies?
• quality and ethics : what place should the ethical evaluation of a program have in their broadcasting ?
All of these questions, which are not intended to exhaust the issue of quality, must be addressed from different points of view, comparing the different players in televisual communication. All methods are welcome: historical, semiological, sociological, etc. The originality of this conference will be to exchange ideas between scientists and professionals, established researchers and young researchers on common subjects.
Authors are invited to submit the proposal in French or English, in 3000 signs (500 words) maximum, at the address colloquetvqualite@ceisme.fr, until February 20 2012. Each proposition will be evaluated anonymously by at least two scientific committee members. The selected authors will be informed at the end of March 2012.
Conference languages : French, English
CEISME Organizing Committee:
François Jost (Professor, Sorbonne Nouvelle), Marie-France Chambat-Houillon (Professor, Sorbonne Nouvelle), Bernard Papin (Associate Professor, Paris XI), Bruno Henocque (Associate Professor, Le Havre), Philippe Lavat (CEISME ).
Scientific Committee:
Director : François Jost (Professor, Sorbonne Nouvelle).
Marie-France Chambat-Houillon (Professor, Sorbonne Nouvelle), Gilles Delavaud (Professor, Paris 8), Bernard Papin (Associate Professor, Paris XI), Bruno Henocque (Associate Professor, Le Havre), Laurent Jullier (University Nancy 2), Philippe Lavat (CEISME), Daniel Psenny (Journalist, Le Monde), Jean-Michel Rodes (Director Inathèque de France), Myriam Tsikounas (Professor University of Paris I).
Hoy, es el turno de que la televisión y sus reality shows magnifiquen lo banal. Pero ¿todavía tiene esta magnificación una virtud corrosiva?
François Jost es profesor en la Sorbonne Nouvelle, donde dirige el laboratorio Communication Information Médias. Ha escrito numerosos ensayos sobre cine y televisión y, en español, ha publicado El ojo-cámara y El relato cinematográfico.
Sobre el libro:
Revista Otra Parte, Federico Baeza: http://revistaotraparte.com/semanal/ensayo-teoria/el-culto-de-lo-banal/
Une théorie de l'énonciation cinématographique qui s'appuie sur des analyses de Truffaut ou Sternberg aussi bien que sur la retransmission de la révolution roumaine.