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class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="François Jost" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/100274/27633/3223159/s200_fran_ois.jost.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">François Jost</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://univ-paris3.academia.edu/">Université Paris III - Sorbonne Nouvelle</a>, <a class="u-tcGrayDarker" href="https://univ-paris3.academia.edu/Departments/M%C3%A9diation_Culturelle/Documents">Médiation Culturelle</a>, <span class="u-tcGrayDarker">Emeritus</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="François" data-follow-user-id="100274" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="100274"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">1,160</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">149</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-authors</p><p class="data">3</p></div></a><div class="js-mentions-count-container" style="display: none;"><a href="/Fran%C3%A7oisJost/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data"></p></div></a></div><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">After having written 1O books about cinema, I currently work about television (10 books).<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://upf.academia.edu/JavierD%C3%ADazNoci"><img class="profile-avatar u-positionAbsolute" alt="Javier Díaz Noci" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/35664/11769/160437038/s200_javier.d_az_noci.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://upf.academia.edu/JavierD%C3%ADazNoci">Javier Díaz Noci</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Pompeu Fabra 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href="https://unisalento.academia.edu/PaulArthur"><img class="profile-avatar u-positionAbsolute" alt="Paul Arthur" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/172388/43207/39736/s200_paul.arthur.jpeg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://unisalento.academia.edu/PaulArthur">Paul Arthur</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Salento</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://upf.academia.edu/CarlosAScolari"><img class="profile-avatar u-positionAbsolute" alt="Carlos A. 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Scolari</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Pompeu Fabra University</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://unige-it.academia.edu/MauroGrondona"><img class="profile-avatar u-positionAbsolute" alt="Mauro Grondona" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/469529/156408/57161484/s200_mauro.grondona.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://unige-it.academia.edu/MauroGrondona">Mauro Grondona</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Genova</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar 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src="https://0.academia-photos.com/966291/356993/18096810/s200_ilia.palaguta.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://ghpa.academia.edu/IlyaPalaguta">Ilia Palaguta</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Saint-Petersburg Stieglitz State Academy of Art and Design</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://su-se.academia.edu/ViacheslavKuleshov"><img class="profile-avatar u-positionAbsolute" alt="Viacheslav Kuleshov" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/1895779/1756649/167070895/s200_viacheslav.kuleshov.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://su-se.academia.edu/ViacheslavKuleshov">Viacheslav Kuleshov</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Stockholm University</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://uam.academia.edu/JuanLuisGonzalezGarcia"><img class="profile-avatar u-positionAbsolute" alt="Juan Luis González García" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/2287285/726668/74056626/s200_juan_luis.gonz_lez_garc_a.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://uam.academia.edu/JuanLuisGonzalezGarcia">Juan Luis González García</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Universidad Autónoma de Madrid</p></div></div></ul></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="100274" href="https://www.academia.edu/Documents/in/Communication"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://univ-paris3.academia.edu/Fran%C3%A7oisJost","location":"/Fran%C3%A7oisJost","scheme":"https","host":"univ-paris3.academia.edu","port":null,"pathname":"/Fran%C3%A7oisJost","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Communication"]}" data-trace="false" 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data-dom-id="Pill-react-component-b2632cd5-a6e1-49f3-8aae-ee9821f4356b"></div> <div id="Pill-react-component-b2632cd5-a6e1-49f3-8aae-ee9821f4356b"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="left-most js-UserInfo-social-cv" data-broccoli-component="user-info.cv-button" data-click-track="profile-user-info-cv" data-cv-filename="publications_JOST.2024.doc" data-placement="top" data-toggle="tooltip" href="/Fran%C3%A7oisJost/CurriculumVitae"><button class="ds2-5-text-link ds2-5-text-link--small" style="font-size: 20px; letter-spacing: 0.8px"><span class="ds2-5-text-link__content">CV</span></button></li><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>246</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Talks" data-toggle="tab" href="#talks" role="tab" title="Talks"><span>4</span> <span class="ds2-5-body-sm-bold">Talks</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Translations" data-toggle="tab" href="#translations" role="tab" title="Translations"><span>1</span> <span class="ds2-5-body-sm-bold">Translations</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Books" data-toggle="tab" href="#books" role="tab" title="Books"><span>1</span> <span class="ds2-5-body-sm-bold">Books</span></a></li><li class="nav-chip more-tab" role="presentation"><a class="js-profile-documents-more-tab link-unstyled u-textTruncate" data-toggle="dropdown" role="tab">More  <i class="fa fa-chevron-down"></i></a><ul class="js-profile-documents-more-dropdown dropdown-menu dropdown-menu-right profile-documents-more-dropdown" role="menu"><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Direction-of-Journal-Numbers" data-toggle="tab" href="#directionofjournalnumbers" role="tab" style="border: none;"><span>1</span> Direction of Journal Numbers</a></li></ul></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by François Jost</h3></div><div class="js-work-strip profile--work_container" data-work-id="119796848"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/119796848/Discours_cine_matographique_narration_deux_fa%C3%A7on_denvisager_le_probl%C3%A8me_de_l%C3%A9nonciation"><img alt="Research paper thumbnail of Discours cinématographique, narration: deux façon d'envisager le problème de l'énonciation" class="work-thumbnail" src="https://attachments.academia-assets.com/115137834/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/119796848/Discours_cine_matographique_narration_deux_fa%C3%A7on_denvisager_le_probl%C3%A8me_de_l%C3%A9nonciation">Discours cinématographique, narration: deux façon d'envisager le problème de l'énonciation</a></div><div class="wp-workCard_item"><span>Théorie du film</span><span>, 1980</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Cet article s'interroge sur ce que peut signifier le concept d'énonciation cinématographique. C'e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">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</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f4040a0c83c5673b65973e1366d1ee2d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115137834,"asset_id":119796848,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115137834/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="119796848"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="119796848"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 119796848; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=119796848]").text(description); $(".js-view-count[data-work-id=119796848]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 119796848; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='119796848']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f4040a0c83c5673b65973e1366d1ee2d" } } $('.js-work-strip[data-work-id=119796848]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":119796848,"title":"Discours cinématographique, narration: deux façon d'envisager le problème de l'énonciation","internal_url":"https://www.academia.edu/119796848/Discours_cine_matographique_narration_deux_fa%C3%A7on_denvisager_le_probl%C3%A8me_de_l%C3%A9nonciation","owner_id":100274,"coauthors_can_edit":true,"owner":{"id":100274,"first_name":"François","middle_initials":null,"last_name":"Jost","page_name":"FrançoisJost","domain_name":"univ-paris3","created_at":"2009-12-13T18:37:01.115-08:00","display_name":"François Jost","url":"https://univ-paris3.academia.edu/Fran%C3%A7oisJost"},"attachments":[{"id":115137834,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/115137834/thumbnails/1.jpg","file_name":"Discours_cinematographique.pdf","download_url":"https://www.academia.edu/attachments/115137834/download_file","bulk_download_file_name":"Discours_cine_matographique_narration_de.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/115137834/Discours_cinematographique-libre.pdf?1716378986=\u0026response-content-disposition=attachment%3B+filename%3DDiscours_cine_matographique_narration_de.pdf\u0026Expires=1739746297\u0026Signature=LfRWpY2j-~vk7HkzgWtLY7Rp4JuX9ez0Kca03FveATadgabpMNAzXdpGphMWWMkOMcAjImBVEzM2nhM1-wQNxU7MVGnbwgg114EL2bqYfg5xV7ctbe-mtfk27xrYed3ie7Kjd8EQj0qU0VDaQeoIMjPDRlO~lghNthttl0KcNvDfUmK130cxYazxLR5Xqp0dAVTh3ym9ZqMJSCZMopnCNjqQzMvhUPfgCEo8uEQ0ElVWIDT11Gc~hJaS9Gyf6F~dKouLtgry6wkBJ5Mb3z1w3Yc21Tqs9OcBlD3eNCyb3LGQpeN6gj8~CMx-gU408qFHSgb-6Eo2O3AuRr0QrnRY0A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="119796563"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/119796563/9_What_Kind_of_Art_Is_the_Cinema_of_Interactions"><img alt="Research paper thumbnail of 9. What Kind of Art Is the Cinema of Interactions?" class="work-thumbnail" src="https://attachments.academia-assets.com/115137713/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/119796563/9_What_Kind_of_Art_Is_the_Cinema_of_Interactions">9. What Kind of Art Is the Cinema of Interactions?</a></div><div class="wp-workCard_item"><span>Amsterdam University Press eBooks</span><span>, Dec 31, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What kind of art is the cinema of interactions?" This title promotes the concept of interaction; ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What kind of art is the cinema of interactions?" This title promotes the concept of interaction; the intention is therefore to analyze "a work that presents itself as openly interactive: Bandersnatch" (2018), a part of the science-f iction anthology series Black Mirror. With the help of Goodman and Genette, François Jost develops two major concepts previously coined by the former-autography and allography-to help answer the question as to whether the opposition between film and TV series has to do with differences in artistic quality, a debate exacerbated by Netflix's candidacy at film festivals. Using also a comparison with music partitions, Jost wonders whether the viewer of the interactive work may be called an operator, performer, player, or interpreter.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d388737550b90d393954c5be5ef838f5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115137713,"asset_id":119796563,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115137713/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="119796563"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="119796563"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 119796563; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=119796563]").text(description); $(".js-view-count[data-work-id=119796563]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 119796563; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='119796563']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d388737550b90d393954c5be5ef838f5" } } $('.js-work-strip[data-work-id=119796563]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":119796563,"title":"9. 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La télévision des années 70 existe-t-elle ?" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/119796551/Chapitre_premier_La_t%C3%A9l%C3%A9vision_des_ann%C3%A9es_70_existe_t_elle_">Chapitre premier. La télévision des années 70 existe-t-elle ?</a></div><div class="wp-workCard_item"><span>CNRS Éditions eBooks</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">À l’origine de cette recherche sur les années 70, un sentiment et un désir. Le sentiment, d’abord...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">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..</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="119796551"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="119796551"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 119796551; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=119796551]").text(description); $(".js-view-count[data-work-id=119796551]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 119796551; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='119796551']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=119796551]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":119796551,"title":"Chapitre premier. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="119796541"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/119796541/What_remains_of_cinema_in_TV_series"><img alt="Research paper thumbnail of What remains of cinema in TV series?" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/119796541/What_remains_of_cinema_in_TV_series">What remains of cinema in TV series?</a></div><div class="wp-workCard_item"><span>Interfaces</span><span>, Dec 21, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="119796541"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="119796541"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 119796541; 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C'e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">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</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f4040a0c83c5673b65973e1366d1ee2d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115137834,"asset_id":119796848,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115137834/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="119796848"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="119796848"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 119796848; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=119796848]").text(description); $(".js-view-count[data-work-id=119796848]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 119796848; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='119796848']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f4040a0c83c5673b65973e1366d1ee2d" } } $('.js-work-strip[data-work-id=119796848]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":119796848,"title":"Discours cinématographique, narration: deux façon d'envisager le problème de l'énonciation","internal_url":"https://www.academia.edu/119796848/Discours_cine_matographique_narration_deux_fa%C3%A7on_denvisager_le_probl%C3%A8me_de_l%C3%A9nonciation","owner_id":100274,"coauthors_can_edit":true,"owner":{"id":100274,"first_name":"François","middle_initials":null,"last_name":"Jost","page_name":"FrançoisJost","domain_name":"univ-paris3","created_at":"2009-12-13T18:37:01.115-08:00","display_name":"François Jost","url":"https://univ-paris3.academia.edu/Fran%C3%A7oisJost"},"attachments":[{"id":115137834,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/115137834/thumbnails/1.jpg","file_name":"Discours_cinematographique.pdf","download_url":"https://www.academia.edu/attachments/115137834/download_file","bulk_download_file_name":"Discours_cine_matographique_narration_de.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/115137834/Discours_cinematographique-libre.pdf?1716378986=\u0026response-content-disposition=attachment%3B+filename%3DDiscours_cine_matographique_narration_de.pdf\u0026Expires=1739746297\u0026Signature=LfRWpY2j-~vk7HkzgWtLY7Rp4JuX9ez0Kca03FveATadgabpMNAzXdpGphMWWMkOMcAjImBVEzM2nhM1-wQNxU7MVGnbwgg114EL2bqYfg5xV7ctbe-mtfk27xrYed3ie7Kjd8EQj0qU0VDaQeoIMjPDRlO~lghNthttl0KcNvDfUmK130cxYazxLR5Xqp0dAVTh3ym9ZqMJSCZMopnCNjqQzMvhUPfgCEo8uEQ0ElVWIDT11Gc~hJaS9Gyf6F~dKouLtgry6wkBJ5Mb3z1w3Yc21Tqs9OcBlD3eNCyb3LGQpeN6gj8~CMx-gU408qFHSgb-6Eo2O3AuRr0QrnRY0A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="119796563"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/119796563/9_What_Kind_of_Art_Is_the_Cinema_of_Interactions"><img alt="Research paper thumbnail of 9. What Kind of Art Is the Cinema of Interactions?" class="work-thumbnail" src="https://attachments.academia-assets.com/115137713/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/119796563/9_What_Kind_of_Art_Is_the_Cinema_of_Interactions">9. What Kind of Art Is the Cinema of Interactions?</a></div><div class="wp-workCard_item"><span>Amsterdam University Press eBooks</span><span>, Dec 31, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What kind of art is the cinema of interactions?" This title promotes the concept of interaction; ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What kind of art is the cinema of interactions?" This title promotes the concept of interaction; the intention is therefore to analyze "a work that presents itself as openly interactive: Bandersnatch" (2018), a part of the science-f iction anthology series Black Mirror. With the help of Goodman and Genette, François Jost develops two major concepts previously coined by the former-autography and allography-to help answer the question as to whether the opposition between film and TV series has to do with differences in artistic quality, a debate exacerbated by Netflix's candidacy at film festivals. Using also a comparison with music partitions, Jost wonders whether the viewer of the interactive work may be called an operator, performer, player, or interpreter.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d388737550b90d393954c5be5ef838f5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":115137713,"asset_id":119796563,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/115137713/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="119796563"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="119796563"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 119796563; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=119796563]").text(description); $(".js-view-count[data-work-id=119796563]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 119796563; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='119796563']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d388737550b90d393954c5be5ef838f5" } } $('.js-work-strip[data-work-id=119796563]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":119796563,"title":"9. 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La télévision des années 70 existe-t-elle ?" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/119796551/Chapitre_premier_La_t%C3%A9l%C3%A9vision_des_ann%C3%A9es_70_existe_t_elle_">Chapitre premier. La télévision des années 70 existe-t-elle ?</a></div><div class="wp-workCard_item"><span>CNRS Éditions eBooks</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">À l’origine de cette recherche sur les années 70, un sentiment et un désir. Le sentiment, d’abord...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">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..</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="119796551"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="119796551"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 119796551; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=119796551]").text(description); $(".js-view-count[data-work-id=119796551]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 119796551; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='119796551']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=119796551]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":119796551,"title":"Chapitre premier. 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Organize...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Call for papers<br /><br />International conference : September 12 - September 14, 2012 in Paris.<br /><br />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.<br /><br />What is quality television?<br /><br />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. <br /><br />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. <br /><br />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: <br /><br />• 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”? <br /><br />• 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"? <br /><br />• 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 ? <br /><br />• 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? <br /><br />• 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? <br /><br />• quality, programming, TV stations: does quality lie within programs or within programming? <br /><br />• 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? <br /><br />• quality and ethics : what place should the ethical evaluation of a program have in their broadcasting ? <br /><br />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. <br /><br />Authors are invited to submit the proposal in French or English, in 3000 signs (500 words) maximum, at the address <a href="mailto:colloquetvqualite@ceisme.fr" rel="nofollow">colloquetvqualite@ceisme.fr</a>, 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.<br /><br />Conference languages : French, English <br /><br />CEISME Organizing Committee: <br /><br />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 ). <br /><br />Scientific Committee: <br /><br />Director : François Jost (Professor, Sorbonne Nouvelle). <br /><br />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).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f2b8ed34f994d9936ea0383938c622b1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":8140170,"asset_id":1712335,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/8140170/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1712335"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1712335"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1712335; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1712335]").text(description); $(".js-view-count[data-work-id=1712335]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1712335; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1712335']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f2b8ed34f994d9936ea0383938c622b1" } } $('.js-work-strip[data-work-id=1712335]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1712335,"title":"What is quality television?","translated_title":"","metadata":{"abstract":"Call for papers\n\nInternational conference : September 12 - September 14, 2012 in Paris.\n\nOrganized 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.\n\nWhat is quality television?\n\nWhen 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. \n\nThe 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. \n\nOf 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: \n\n•\tquality 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”? \n\n•\tquality 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\"? \n\n•\tquality 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 ? \n\n•\tquality 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? \n\n•\tquality 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? \n\n•\tquality, programming, TV stations: does quality lie within programs or within programming? \n\n•\tquality 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? \n\n•\tquality and ethics : what place should the ethical evaluation of a program have in their broadcasting ? \n\nAll 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. 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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. \n\nThe 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. \n\nOf 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: \n\n•\tquality 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”? \n\n•\tquality 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\"? \n\n•\tquality 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 ? \n\n•\tquality 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? \n\n•\tquality 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? \n\n•\tquality, programming, TV stations: does quality lie within programs or within programming? \n\n•\tquality 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? \n\n•\tquality and ethics : what place should the ethical evaluation of a program have in their broadcasting ? \n\nAll 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. \n\nAuthors 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. 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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. \n\nThe 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. \n\nOf 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: \n\n•\tquality 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”? \n\n•\tquality 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\"? \n\n•\tquality 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 ? \n\n•\tquality 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? \n\n•\tquality 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? \n\n•\tquality, programming, TV stations: does quality lie within programs or within programming? \n\n•\tquality 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? \n\n•\tquality and ethics : what place should the ethical evaluation of a program have in their broadcasting ? \n\nAll 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. \n\nAuthors 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. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="4285608" id="translations"><div class="js-work-strip profile--work_container" data-work-id="10342457"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/10342457/El_culto_de_lo_banal"><img alt="Research paper thumbnail of El culto de lo banal" class="work-thumbnail" src="https://attachments.academia-assets.com/36407106/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/10342457/El_culto_de_lo_banal">El culto de lo banal</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://univ-paris3.academia.edu/Fran%C3%A7oisJost">François Jost</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uba.academia.edu/AgustinaP%C3%A9rezRial">Agustina Pérez Rial</a></span></div><div class="wp-workCard_item"><span>Libraria Editorial, 2012</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Si la banalidad no tiene historia, en cambio el culto de lo banal aparece como una obsesión de lo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">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. <br /> <br />Hoy, es el turno de que la televisión y sus reality shows magnifiquen lo banal. Pero ¿todavía tiene esta magnificación una virtud corrosiva? <br /> <br />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. <br /> <br />Sobre el libro: <br />Revista Otra Parte, Federico Baeza: <a href="http://revistaotraparte.com/semanal/ensayo-teoria/el-culto-de-lo-banal/" rel="nofollow">http://revistaotraparte.com/semanal/ensayo-teoria/el-culto-de-lo-banal/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5dc7973f4e97a500e57f32b6f14ad87a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36407106,"asset_id":10342457,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36407106/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10342457"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10342457"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10342457; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10342457]").text(description); $(".js-view-count[data-work-id=10342457]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10342457; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10342457']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5dc7973f4e97a500e57f32b6f14ad87a" } } $('.js-work-strip[data-work-id=10342457]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10342457,"title":"El culto de lo banal","translated_title":"","metadata":{"abstract":"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. 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Énonciation, Cinéma, Télévision.pdf" class="work-thumbnail" src="https://attachments.academia-assets.com/52771784/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32596807/Un_monde_a_notre_image_%C3%89nonciation_Cin%C3%A9ma_T%C3%A9l%C3%A9vision_pdf">Un monde à notre image. Énonciation, Cinéma, Télévision.pdf</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Le film n'est ni un objet neutre ni une chose, comme l'a parfois prétendu la sémiologie. Ce n'est...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">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...<br />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.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="168bd5e8337ce7dc9bed2a572912acbc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52771784,"asset_id":32596807,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52771784/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32596807"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32596807"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32596807; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32596807]").text(description); $(".js-view-count[data-work-id=32596807]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32596807; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='32596807']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "168bd5e8337ce7dc9bed2a572912acbc" } } $('.js-work-strip[data-work-id=32596807]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":32596807,"title":"Un monde à notre image. 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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). 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