Calenda - Economie de la culture

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href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=354">Europe</a></li> </ul> </div> </div> <div id="document" class="column"> <div id="main"> <div class="titles"> <h1 class="origt"><a href="187242">Economie de la culture</a></h1> <p class="origd">Appel à contribution pour le dossier Economie de la culture du numéro d'Automne-Hiver de la revue La Nouvelle Alternative</p> </div> <div class="mapuce2">*  *  *</div> <p id="pubdate"> Publié le mercredi 19 juin 2002 </p> <div id="texte"> <div id="resume"> <p class="intitule">Résumé</p> <div id="resume-187242-fr" class="tabContent" lang="fr" xml:lang="fr">LA NOUVELLE ALTERNATIVE Revue spécialisée sur l’Europe centrale et du sud-est, fondée en 1986 Revue publiée avec le concours du Centre national du Livre Appel à contribution L’économie de la culture en Europe centrale et du sud-est </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div id="annonce-187242-fr" class="tabContent" lang="fr" xml:lang="fr"><b>LA NOUVELLE ALTERNATIVE</b> <br /><i>Revue spécialisée sur l’Europe centrale et du sud-est, fondée en 1986</i> <br /><i>Revue publiée avec le concours du Centre national du Livre</i> <br /><br /><b>Appel à contribution</b> <br /><br /><b>L’économie de la culture en Europe centrale et du sud-est</b> <br /><br /><br />Après 1989 et l’effondrement du système de type soviétique, le secteur culturel a subi dans les pays d’Europe centrale et orientale de profonds changements. L’Etat s’est largement désengagé de son rôle de financement du secteur et de protecteur du statut des artistes. Dans le même temps, ces pays se sont davantage ouverts à la culture de masse occidentale (cinéma et littérature « bas de gamme », télévision commerciale, etc.). Ces changements ont rapidement donné naissance à un discours, émanant la plupart du temps des milieux cultivés voire des créateurs eux-mêmes, déplorant cette évolution et insistant sur l’appauvrissement et l’américanisation des contenus artistiques, sur la baisse du volume de la production artistique « de qualité », sur la dévalorisation du statut social de l’artiste, etc. <br /><br />Largement routinisée, cette interprétation sert trop souvent de prémisse aux discours sur l’état du secteur culturel en Europe centrale et orientale, sans véritable discussion sur les questionnements qu’elle désigne en amont comme légitimes et qui sous-tendent une telle reconstruction des faits. L’ambition du dossier sur « l’économie de la culture en Europe centrale et du sud-est » n’est certes pas de nier l’évidence quant aux mutations subies par le secteur culturel dans cette région, mais d’abandonner la dimension normative de cette approche qui conduit à apprécier ces mutations à la lumière de jugements esthétiques sur les contenus artistiques. Il s’agit aussi de remettre en cause certaines fausses évidences de cette approche. Ainsi, il n’est pas exact que 1989 a coïncidé avec l’irruption de la culture de masse occidentale à l’Est : la musique pop anglo-saxonne ou le cinéma hollywoodien, par exemple, étaient largement connus et commercialisés dès avant 1989, quoique inégalement, dans certains pays de l’Est. <br /><br />Nous entendons ainsi orienter la réflexion vers les transformations qui ont affecté l’économie de la culture dans ces pays. Quels sont les principaux opérateurs culturels ? Sont-ils nationaux ou s’agit-il de firmes multinationales ? Quels sont les acteurs qui concentrent les ressources et qui structurent les marchés (du disque, du cinéma, de l’édition, etc) ? Notre intuition, pour promouvoir cette approche, est que les changements que décrivent les discours préexistants trouvent leurs conditions de possibilité dans l’irruption de logiques nouvelles dans le secteur culturel ; logiques nouvelles dont les effets ne peuvent être correctement appréciés qu’à la condition de se donner les moyens méthodologiques de les observer. Cette approche doit aussi nous permettre d’envisager la transformation des logiques professionnelles à la faveur du passage d’une allocation des ressources par l’Etat à leur allocation par le marché. Par ce biais, il doit ainsi être possible de dépasser une des principales apories des discours existants, qui est son caractère mi-savant, mi-indigène, tant il est vrai qu’il est autant celui des observateurs que des créateurs eux-mêmes. Le discours sur la relégation des artistes, la dévalorisation sociale des œuvres artistiques de « prestige » ne correspond-il pas davantage au désarroi identitaire des créateurs face à la transformation des logiques professionnelles qu’il ne relève de l’analyse sociologique ? C’est à toutes ces questions que les articles publiés dans ce dossier tenteront de répondre. Nous proposons ci-dessous quatre grandes pistes de réflexions, étant toutefois entendu que cette liste n’est pas limitative et que d’autres objets ou terrains peuvent également être l’objet de contributions. <br /><br /><b>1. La redéfinition des espaces pertinents de la production culturelle : </b><br />la rupture de 1989 a-t-elle correspondu à une décentralisation de la production culturelle ou au contraire à une (re)centralisation du fait de la concentration des ressources dans les mains de quelques opérateurs ? Cette problématique doit bien entendu être reliée à la transformation des politiques culturelles des Etats et au volume des financements auxquels ceux-ci peuvent consentir. <br /><br /><b>2. Les investisseurs étrangers : </b><br />en quoi leur présence représente-t-elle une contrainte pour les acteurs nationaux ? A quelles ressources donnent-ils accès ? Leur influence sur la production culturelle s’exerce-t-elle aussi par le biais d’une transformation des pratiques culturelles dans la société ? Quelques données chiffrées sur cette implantation peuvent être souhaitables pour mieux en mesurer l’ampleur. <br /><br /><b>3. Les métiers de la culture : </b><br />outre la transformation des pratiques professionnelles, déjà évoquée, les contributions pourront traiter, sur la base de données précises, de l’apparition du chômage ou de la précarité dans certaines professions culturelles (comédiens, plasticiens, musiciens, etc). Une certaine attention pourra également être accordée à la transformation des environnements institutionnels (disparition ou transformations des syndicats ou des organisations professionnelles d’avant 1989, comme les Unions d’écrivains). Par ailleurs, pourra être posée la question des chances des jeunes artistes, en tant que « nouveaux entrants », de « percer » dans cet environnement redéfini. Enfin, des éclairages sur des trajectoires professionnelles peuvent également permettre d’éclairer les changements qui affectent les professions culturelles. <br /><br /><b>4. Les compétitions pour la définition de la production culturelle légitime : </b><br />la concurrence nouvelle à laquelle doit faire face la production culturelle de « prestige » a-t-elle des effets structurants sur les différents marchés ou sur les configurations institutionnelles propres à chaque grand domaine artistique (rivalité entre « anciens » et « nouveaux » syndicats, par exemple) ? Comment la culture de « prestige » se réorganise-t-elle (devient-elle « alternative », par exemple, et qu’est-ce qui décide de ce choix ?) <br /><br /><br />Les propositions d’articles (5 à 10 lignes) sont à envoyer à la rédaction avant le 30 juin 2002, à La Nouvelle Alternative, 41 rue Bobillot, 75013 Paris ou par courrier électronique: redaction@nouvelle-alternative.org <br />Les contributions seront à envoyer avant le 30 septembre 2002. La rédaction se réserve la possibilité de les soumettre au comité de lecture. <br /></div> </div> <div id="categories" class="cat"> <p class="intitule">Catégories</p> <ul> <li><a href="search?primary=fsubject&fsubject=236">Économie</a> (Catégorie principale)</li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Représentations</a> > <a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=327">Espaces</a> > <a href="search?primary=fsubject&fsubject=354">Europe</a></li> </ul> </div> <div id="eventformats"><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>lundi 30 septembre 2002</li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-clés</p> <ul> <li>Europe centrale, postcommunisme, productions culturelles, économie de la culture</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Frédéric Zalewski<br/><em>courriel :</em> redaction [at] nouvelle-alternative [dot] org<br/></li> <li>secrétaire de rédaction<br/><em>courriel :</em> <br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de référence</p> <ul> <li><a href="http://www.nouvelle-alternative.org">http://www.nouvelle-alternative.org</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Odile Caillat<br/><em>courriel :</em> odile [at] caillat [dot] nom [dot] fr</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise à disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>« Economie de la culture », <span class="category">Appel à contribution</span>, <em>Calenda</em>, Publié le mercredi 19 juin 2002, <a class="url" href="https://doi.org/10.58079/7sb">https://doi.org/10.58079/7sb</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" onclick="javascript:window.open('187242?formatage=print', '', 'menubar=yes,toolbar=no,scrollbars=yes,width=800,height=600');return false;" href="187242?formatage=print">Imprimer</a> <a id="signaler" 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