<\/p>\n
\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 23\/12\/2024<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> T\u00e9l\u00e9vision<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\u00c9diteur<\/span><\/span> CNRS Editions<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBenoit<\/span> Lafon<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, benoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie<\/span> Schmitt<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, Laurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tFran\u00e7ois Jost, Directeur de la revue<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tfrancois.jost@sorbonne-nouvelle.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tBenoit Lafon, coordinateur du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tbenoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie Schmitt, coordinatrice du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tlaurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nLa revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production \u00bb sous la direction de Benoit Lafon et Laurie Schmitt.<\/p>\nPr\u00e9sentation<\/h2>\nCe dossier vise \u00e0 traiter du documentaire t\u00e9l\u00e9visuel \u00e9largi au domaine audiovisuel dans une perspective d\u2019extension des m\u00e9dias et de la t\u00e9l\u00e9vision en particulier vers les services en ligne (Lafon, 2017 ; Jost, 2019). Nous nous int\u00e9ressons ici \u00e0 la diffusion lin\u00e9aire et non lin\u00e9aire de programmes de flux et de stock, consid\u00e9rant que les groupes de t\u00e9l\u00e9vision diffusent aujourd\u2019hui leurs programmes \u2013 en particulier les documentaires \u2013 en lin\u00e9aire (par ex. France 5) et en d\u00e9synchronis\u00e9 (par ex. France.tv), et que le genre documentaire se d\u00e9multiplie au point de devenir dans certains cas un programme de flux, s\u00e9riel et p\u00e9rissable. En outre, par-del\u00e0 la traditionnelle offre t\u00e9l\u00e9visuelle de documentaires, produits ou co-produits et diffus\u00e9s par les cha\u00eenes de t\u00e9l\u00e9vision, se d\u00e9veloppent de nouvelles offres de documentaires, port\u00e9es par les plateformes audiovisuelles (cha\u00eenes YouTube, Dailymotion\u2026) et par les services de M\u00e9dias Audiovisuels \u00e0 la Demande (SMAD : Netflix, Disney+, Prime Video, T\u00ebnk\u2026) : le documentaire conna\u00eet de ce fait une d\u00e9multiplication de son offre, corr\u00e9l\u00e9e \u00e0 l\u2019\u00e9mergence de nouveaux acteurs de contenus audiovisuels et plus seulement t\u00e9l\u00e9visuels. Les recherches sur la t\u00e9l\u00e9vision et l\u2019audiovisuel dans leur rapport au num\u00e9rique ont tendance \u00e0 privil\u00e9gier des analyses sur la fiction soulignant comment celle-ci est \u00ab un objet de convoitise des op\u00e9rateurs \u00bb (Guibert, Rebillard et Rochelandet, 2016 : 213) ou mettant en lumi\u00e8re le renouvellement des s\u00e9ries (Donnat et Pasquier, 2011 ; Esquenazi, 2014 ; Campion, 2018). Il s\u2019agit ici de se questionner sur les contours et \u00e9volutions du documentaire t\u00e9l\u00e9visuel et audiovisuel car il appara\u00eet, aujourd\u2019hui, largement d\u00e9multipli\u00e9. En effet, le documentaire est omnipr\u00e9sent sur nos \u00e9crans, de t\u00e9l\u00e9vision bien s\u00fbr, mais plus largement sur l\u2019ensemble des services de m\u00e9dias audiovisuels : services de rattrapage TV et vid\u00e9o \u00e0 la demande -V\u00e0D- (TF1+, France.tv, 6Play, Arte.tv…), services sp\u00e9cifiques de V\u00e0D (Netfix, Disney+, UniversCin\u00e9, Spicee…) ou encore services de partage de vid\u00e9o – plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques – (YouTube, Dailymotion, TikTok, Instagram…). Les contours du documentaire t\u00e9l\u00e9visuel se redessinent donc et se red\u00e9finissent autour du documentaire audiovisuel. \u00ab <\/strong>Genre noble \u00e0 la t\u00e9l\u00e9vision, le documentaire a g\u00e9n\u00e9ralement trait \u00e0 la d\u00e9couverte et \u00e0 la connaissance. (…) Sauf exception, il rel\u00e8ve plus de la t\u00e9l\u00e9vision \u201c\u00e9ducative\u201d que de la t\u00e9l\u00e9vision de divertissement, qui fait r\u00e9f\u00e9rence.\u00a0<\/em> \u00bb\u00a0 (Le Champion, Danard, 2014 : 78). Pour autant, ces derni\u00e8res ann\u00e9es, documentaires de vulgarisation scientifique, historiques ou d’actualit\u00e9s c\u00f4toient des documentaires de cr\u00e9ation, mais \u00e9galement des documentaires biographiques ou sportifs, souvent construits sur des structures d\u2019intrigues reposant sur des \u00ab personnages \u00bb et se voulant \u00ab divertissants \u00bb. \u00c0 cela s\u2019ajoutent des formats unitaires ou s\u00e9riels.<\/p>\nPar-del\u00e0 cette variation des sous-genres et des formats, les diffuseurs eux-m\u00eames se multiplient :\u00a0 les cha\u00eenes publiques \u00e0 vocation culturelle et\/ou \u00e9ducative (Arte, France 5) les cha\u00eenes th\u00e9matiques gratuites (RMC D\u00e9couverte et Story) ou payantes qu\u2019elles soient nationales (Histoire, Science et Vie TV) ou internationales (Discovery, National Geographic), les \u00e9diteurs vid\u00e9o, les cha\u00eenes YouTube ou encore les services de m\u00e9dias audiovisuels \u00e0 la demande (Smad).\u00a0L\u2019ann\u00e9e 2023 marque d\u2019ailleurs pour le Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC), en association avec la Cin\u00e9math\u00e8que du documentaire et la Scam, \u00ab l\u2019ann\u00e9e du documentaire \u00bb, occasion de \u00ab c\u00e9l\u00e9brer la grande richesse de cette \u00ab forme d\u2019expression \u00bb, sa vitalit\u00e9, son inventivit\u00e9 et sa diversit\u00e9. Le documentaire appara\u00eet bien aujourd\u2019hui d\u00e9multipli\u00e9, il devient un genre majeur de nouvelles offres t\u00e9l\u00e9visuelles et audiovisuelles, mis en vitrine par ces derni\u00e8res.<\/p>\nCe num\u00e9ro de dossier se construit autour de trois axes majeurs.<\/p>\n\nLa programmation des documentaires : d\u00e9multiplication des formats, esth\u00e9tiques et sous-genres<\/strong><\/li>\n<\/ul>\nLes contributions auront pour objectif d\u2019interroger, d\u2019un point de vue pr\u00e9f\u00e9rentiellement socio-discursif et socio-s\u00e9miotique – avec des perspectives socio-\u00e9conomiques – la programmation des documentaires par la t\u00e9l\u00e9vision et les services en ligne. Il s\u2019agira de questionner notamment la d\u00e9multiplication des formats (unitaires\/s\u00e9riels, courts\/longs…),\u00a0des esth\u00e9tiques (prises de vue re\u0301elles, archives, animation, re\u0301alite\u0301 augmente\u0301e ou virtuelle\u2026) et\u00a0des sous-genres du documentaire audiovisuel : th\u00e9matiques tels qu\u2019historique, scientifique ou de soci\u00e9t\u00e9 ; biopic ; docu-soap… voire documentaire de cr\u00e9ation<\/span>[1]<\/a>, genre reconnu en soi, dans ses recadrages audiovisuels et t\u00e9l\u00e9visuels.<\/span><\/p>\nAu format jusqu\u2019alors dominant du 52 minutes, d\u2019autres s\u2019ajoutent progressivement\u00a0des formats courts de moins de 44 minutes, comme des formats longs de plus de 92 minutes (comme en t\u00e9moignent les diff\u00e9rents rapports du CNC en raison notamment de la politique d\u2019acquisition des cha\u00eenes nationales gratuites). Si les programmes unitaires sont encore largement majoritaires, les s\u00e9ries documentaires se d\u00e9veloppent et trouvent une place importante sur les services de V\u00e0D, \u00e0 l\u2019image de Netflix, Amazon Prime Video ou encore Disney+. L\u00e0 aussi, les documentaires s\u00e9riels subissent la m\u00eame tendance de l\u2019allongement de leur format, avec des \u00e9pisodes pouvant se situer entre 45 et 59 minutes. Ajoutons que la se\u0301rie documentaire franc\u0327aise est la 3e<\/sup>\u00a0nationalite\u0301 la plus repre\u0301sente\u0301e derrie\u0300re les programmes ame\u0301ricains et britanniques en juillet 2022, sur les services de vid\u00e9os \u00e0 la demande par abonnement -V\u00e0DA- (CNC, 2023). D\u00e8s lors, s\u2019int\u00e9resser au format s\u2019accompagne aussi de questions sur le formatage. Car comme l\u2019\u00e9crivent Guillaume Soulez et Kira Kitsopanidou (2015) :\u00a0\u00ab \u00a0Le format poss\u00e8de en effet le caract\u00e8re contraignant d\u2019une forme impos\u00e9e, d\u2019une forme qui s\u2019inscrit dans la r\u00e9alit\u00e9 des \u00e9changes entre cr\u00e9ateurs, producteurs, diffuseurs et spectateurs pour en r\u00e9gler l\u2019efficacit\u00e9, la lisibilit\u00e9 ou encore l\u2019ad\u00e9quation \u00e0 une norme, qui peut \u00eatre temporelle, th\u00e9matique, programmatique, stylistique, etc., et m\u00eame tout cela \u00e0 la fois<\/em> \u00bb. D\u2019ailleurs, auteurs et r\u00e9alisateurs de documentaires s\u2019interrogent sur leur libert\u00e9 \u00e9ditoriale et, \u00e0 rebours, les risques de standardisation auxquels ils sont confront\u00e9s mais aussi sur les situations de commande auxquels ils sont soumis pour r\u00e9pondre aux logiques de programmation des cha\u00eenes notamment (Fipadoc, janvier 2022).<\/p>\nDu c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> T\u00e9l\u00e9vision<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\u00c9diteur<\/span><\/span> CNRS Editions<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBenoit<\/span> Lafon<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, benoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie<\/span> Schmitt<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, Laurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tFran\u00e7ois Jost, Directeur de la revue<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tfrancois.jost@sorbonne-nouvelle.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tBenoit Lafon, coordinateur du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tbenoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie Schmitt, coordinatrice du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tlaurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nLa revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production \u00bb sous la direction de Benoit Lafon et Laurie Schmitt.<\/p>\nPr\u00e9sentation<\/h2>\nCe dossier vise \u00e0 traiter du documentaire t\u00e9l\u00e9visuel \u00e9largi au domaine audiovisuel dans une perspective d\u2019extension des m\u00e9dias et de la t\u00e9l\u00e9vision en particulier vers les services en ligne (Lafon, 2017 ; Jost, 2019). Nous nous int\u00e9ressons ici \u00e0 la diffusion lin\u00e9aire et non lin\u00e9aire de programmes de flux et de stock, consid\u00e9rant que les groupes de t\u00e9l\u00e9vision diffusent aujourd\u2019hui leurs programmes \u2013 en particulier les documentaires \u2013 en lin\u00e9aire (par ex. France 5) et en d\u00e9synchronis\u00e9 (par ex. France.tv), et que le genre documentaire se d\u00e9multiplie au point de devenir dans certains cas un programme de flux, s\u00e9riel et p\u00e9rissable. En outre, par-del\u00e0 la traditionnelle offre t\u00e9l\u00e9visuelle de documentaires, produits ou co-produits et diffus\u00e9s par les cha\u00eenes de t\u00e9l\u00e9vision, se d\u00e9veloppent de nouvelles offres de documentaires, port\u00e9es par les plateformes audiovisuelles (cha\u00eenes YouTube, Dailymotion\u2026) et par les services de M\u00e9dias Audiovisuels \u00e0 la Demande (SMAD : Netflix, Disney+, Prime Video, T\u00ebnk\u2026) : le documentaire conna\u00eet de ce fait une d\u00e9multiplication de son offre, corr\u00e9l\u00e9e \u00e0 l\u2019\u00e9mergence de nouveaux acteurs de contenus audiovisuels et plus seulement t\u00e9l\u00e9visuels. Les recherches sur la t\u00e9l\u00e9vision et l\u2019audiovisuel dans leur rapport au num\u00e9rique ont tendance \u00e0 privil\u00e9gier des analyses sur la fiction soulignant comment celle-ci est \u00ab un objet de convoitise des op\u00e9rateurs \u00bb (Guibert, Rebillard et Rochelandet, 2016 : 213) ou mettant en lumi\u00e8re le renouvellement des s\u00e9ries (Donnat et Pasquier, 2011 ; Esquenazi, 2014 ; Campion, 2018). Il s\u2019agit ici de se questionner sur les contours et \u00e9volutions du documentaire t\u00e9l\u00e9visuel et audiovisuel car il appara\u00eet, aujourd\u2019hui, largement d\u00e9multipli\u00e9. En effet, le documentaire est omnipr\u00e9sent sur nos \u00e9crans, de t\u00e9l\u00e9vision bien s\u00fbr, mais plus largement sur l\u2019ensemble des services de m\u00e9dias audiovisuels : services de rattrapage TV et vid\u00e9o \u00e0 la demande -V\u00e0D- (TF1+, France.tv, 6Play, Arte.tv…), services sp\u00e9cifiques de V\u00e0D (Netfix, Disney+, UniversCin\u00e9, Spicee…) ou encore services de partage de vid\u00e9o – plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques – (YouTube, Dailymotion, TikTok, Instagram…). Les contours du documentaire t\u00e9l\u00e9visuel se redessinent donc et se red\u00e9finissent autour du documentaire audiovisuel. \u00ab <\/strong>Genre noble \u00e0 la t\u00e9l\u00e9vision, le documentaire a g\u00e9n\u00e9ralement trait \u00e0 la d\u00e9couverte et \u00e0 la connaissance. (…) Sauf exception, il rel\u00e8ve plus de la t\u00e9l\u00e9vision \u201c\u00e9ducative\u201d que de la t\u00e9l\u00e9vision de divertissement, qui fait r\u00e9f\u00e9rence.\u00a0<\/em> \u00bb\u00a0 (Le Champion, Danard, 2014 : 78). Pour autant, ces derni\u00e8res ann\u00e9es, documentaires de vulgarisation scientifique, historiques ou d’actualit\u00e9s c\u00f4toient des documentaires de cr\u00e9ation, mais \u00e9galement des documentaires biographiques ou sportifs, souvent construits sur des structures d\u2019intrigues reposant sur des \u00ab personnages \u00bb et se voulant \u00ab divertissants \u00bb. \u00c0 cela s\u2019ajoutent des formats unitaires ou s\u00e9riels.<\/p>\nPar-del\u00e0 cette variation des sous-genres et des formats, les diffuseurs eux-m\u00eames se multiplient :\u00a0 les cha\u00eenes publiques \u00e0 vocation culturelle et\/ou \u00e9ducative (Arte, France 5) les cha\u00eenes th\u00e9matiques gratuites (RMC D\u00e9couverte et Story) ou payantes qu\u2019elles soient nationales (Histoire, Science et Vie TV) ou internationales (Discovery, National Geographic), les \u00e9diteurs vid\u00e9o, les cha\u00eenes YouTube ou encore les services de m\u00e9dias audiovisuels \u00e0 la demande (Smad).\u00a0L\u2019ann\u00e9e 2023 marque d\u2019ailleurs pour le Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC), en association avec la Cin\u00e9math\u00e8que du documentaire et la Scam, \u00ab l\u2019ann\u00e9e du documentaire \u00bb, occasion de \u00ab c\u00e9l\u00e9brer la grande richesse de cette \u00ab forme d\u2019expression \u00bb, sa vitalit\u00e9, son inventivit\u00e9 et sa diversit\u00e9. Le documentaire appara\u00eet bien aujourd\u2019hui d\u00e9multipli\u00e9, il devient un genre majeur de nouvelles offres t\u00e9l\u00e9visuelles et audiovisuelles, mis en vitrine par ces derni\u00e8res.<\/p>\nCe num\u00e9ro de dossier se construit autour de trois axes majeurs.<\/p>\n\nLa programmation des documentaires : d\u00e9multiplication des formats, esth\u00e9tiques et sous-genres<\/strong><\/li>\n<\/ul>\nLes contributions auront pour objectif d\u2019interroger, d\u2019un point de vue pr\u00e9f\u00e9rentiellement socio-discursif et socio-s\u00e9miotique – avec des perspectives socio-\u00e9conomiques – la programmation des documentaires par la t\u00e9l\u00e9vision et les services en ligne. Il s\u2019agira de questionner notamment la d\u00e9multiplication des formats (unitaires\/s\u00e9riels, courts\/longs…),\u00a0des esth\u00e9tiques (prises de vue re\u0301elles, archives, animation, re\u0301alite\u0301 augmente\u0301e ou virtuelle\u2026) et\u00a0des sous-genres du documentaire audiovisuel : th\u00e9matiques tels qu\u2019historique, scientifique ou de soci\u00e9t\u00e9 ; biopic ; docu-soap… voire documentaire de cr\u00e9ation<\/span>[1]<\/a>, genre reconnu en soi, dans ses recadrages audiovisuels et t\u00e9l\u00e9visuels.<\/span><\/p>\nAu format jusqu\u2019alors dominant du 52 minutes, d\u2019autres s\u2019ajoutent progressivement\u00a0des formats courts de moins de 44 minutes, comme des formats longs de plus de 92 minutes (comme en t\u00e9moignent les diff\u00e9rents rapports du CNC en raison notamment de la politique d\u2019acquisition des cha\u00eenes nationales gratuites). Si les programmes unitaires sont encore largement majoritaires, les s\u00e9ries documentaires se d\u00e9veloppent et trouvent une place importante sur les services de V\u00e0D, \u00e0 l\u2019image de Netflix, Amazon Prime Video ou encore Disney+. L\u00e0 aussi, les documentaires s\u00e9riels subissent la m\u00eame tendance de l\u2019allongement de leur format, avec des \u00e9pisodes pouvant se situer entre 45 et 59 minutes. Ajoutons que la se\u0301rie documentaire franc\u0327aise est la 3e<\/sup>\u00a0nationalite\u0301 la plus repre\u0301sente\u0301e derrie\u0300re les programmes ame\u0301ricains et britanniques en juillet 2022, sur les services de vid\u00e9os \u00e0 la demande par abonnement -V\u00e0DA- (CNC, 2023). D\u00e8s lors, s\u2019int\u00e9resser au format s\u2019accompagne aussi de questions sur le formatage. Car comme l\u2019\u00e9crivent Guillaume Soulez et Kira Kitsopanidou (2015) :\u00a0\u00ab \u00a0Le format poss\u00e8de en effet le caract\u00e8re contraignant d\u2019une forme impos\u00e9e, d\u2019une forme qui s\u2019inscrit dans la r\u00e9alit\u00e9 des \u00e9changes entre cr\u00e9ateurs, producteurs, diffuseurs et spectateurs pour en r\u00e9gler l\u2019efficacit\u00e9, la lisibilit\u00e9 ou encore l\u2019ad\u00e9quation \u00e0 une norme, qui peut \u00eatre temporelle, th\u00e9matique, programmatique, stylistique, etc., et m\u00eame tout cela \u00e0 la fois<\/em> \u00bb. D\u2019ailleurs, auteurs et r\u00e9alisateurs de documentaires s\u2019interrogent sur leur libert\u00e9 \u00e9ditoriale et, \u00e0 rebours, les risques de standardisation auxquels ils sont confront\u00e9s mais aussi sur les situations de commande auxquels ils sont soumis pour r\u00e9pondre aux logiques de programmation des cha\u00eenes notamment (Fipadoc, janvier 2022).<\/p>\nDu c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> T\u00e9l\u00e9vision<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\u00c9diteur<\/span><\/span> CNRS Editions<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBenoit<\/span> Lafon<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, benoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie<\/span> Schmitt<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, Laurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tFran\u00e7ois Jost, Directeur de la revue<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tfrancois.jost@sorbonne-nouvelle.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tBenoit Lafon, coordinateur du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tbenoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie Schmitt, coordinatrice du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tlaurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nLa revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production \u00bb sous la direction de Benoit Lafon et Laurie Schmitt.<\/p>\nPr\u00e9sentation<\/h2>\nCe dossier vise \u00e0 traiter du documentaire t\u00e9l\u00e9visuel \u00e9largi au domaine audiovisuel dans une perspective d\u2019extension des m\u00e9dias et de la t\u00e9l\u00e9vision en particulier vers les services en ligne (Lafon, 2017 ; Jost, 2019). Nous nous int\u00e9ressons ici \u00e0 la diffusion lin\u00e9aire et non lin\u00e9aire de programmes de flux et de stock, consid\u00e9rant que les groupes de t\u00e9l\u00e9vision diffusent aujourd\u2019hui leurs programmes \u2013 en particulier les documentaires \u2013 en lin\u00e9aire (par ex. France 5) et en d\u00e9synchronis\u00e9 (par ex. France.tv), et que le genre documentaire se d\u00e9multiplie au point de devenir dans certains cas un programme de flux, s\u00e9riel et p\u00e9rissable. En outre, par-del\u00e0 la traditionnelle offre t\u00e9l\u00e9visuelle de documentaires, produits ou co-produits et diffus\u00e9s par les cha\u00eenes de t\u00e9l\u00e9vision, se d\u00e9veloppent de nouvelles offres de documentaires, port\u00e9es par les plateformes audiovisuelles (cha\u00eenes YouTube, Dailymotion\u2026) et par les services de M\u00e9dias Audiovisuels \u00e0 la Demande (SMAD : Netflix, Disney+, Prime Video, T\u00ebnk\u2026) : le documentaire conna\u00eet de ce fait une d\u00e9multiplication de son offre, corr\u00e9l\u00e9e \u00e0 l\u2019\u00e9mergence de nouveaux acteurs de contenus audiovisuels et plus seulement t\u00e9l\u00e9visuels. Les recherches sur la t\u00e9l\u00e9vision et l\u2019audiovisuel dans leur rapport au num\u00e9rique ont tendance \u00e0 privil\u00e9gier des analyses sur la fiction soulignant comment celle-ci est \u00ab un objet de convoitise des op\u00e9rateurs \u00bb (Guibert, Rebillard et Rochelandet, 2016 : 213) ou mettant en lumi\u00e8re le renouvellement des s\u00e9ries (Donnat et Pasquier, 2011 ; Esquenazi, 2014 ; Campion, 2018). Il s\u2019agit ici de se questionner sur les contours et \u00e9volutions du documentaire t\u00e9l\u00e9visuel et audiovisuel car il appara\u00eet, aujourd\u2019hui, largement d\u00e9multipli\u00e9. En effet, le documentaire est omnipr\u00e9sent sur nos \u00e9crans, de t\u00e9l\u00e9vision bien s\u00fbr, mais plus largement sur l\u2019ensemble des services de m\u00e9dias audiovisuels : services de rattrapage TV et vid\u00e9o \u00e0 la demande -V\u00e0D- (TF1+, France.tv, 6Play, Arte.tv…), services sp\u00e9cifiques de V\u00e0D (Netfix, Disney+, UniversCin\u00e9, Spicee…) ou encore services de partage de vid\u00e9o – plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques – (YouTube, Dailymotion, TikTok, Instagram…). Les contours du documentaire t\u00e9l\u00e9visuel se redessinent donc et se red\u00e9finissent autour du documentaire audiovisuel. \u00ab <\/strong>Genre noble \u00e0 la t\u00e9l\u00e9vision, le documentaire a g\u00e9n\u00e9ralement trait \u00e0 la d\u00e9couverte et \u00e0 la connaissance. (…) Sauf exception, il rel\u00e8ve plus de la t\u00e9l\u00e9vision \u201c\u00e9ducative\u201d que de la t\u00e9l\u00e9vision de divertissement, qui fait r\u00e9f\u00e9rence.\u00a0<\/em> \u00bb\u00a0 (Le Champion, Danard, 2014 : 78). Pour autant, ces derni\u00e8res ann\u00e9es, documentaires de vulgarisation scientifique, historiques ou d’actualit\u00e9s c\u00f4toient des documentaires de cr\u00e9ation, mais \u00e9galement des documentaires biographiques ou sportifs, souvent construits sur des structures d\u2019intrigues reposant sur des \u00ab personnages \u00bb et se voulant \u00ab divertissants \u00bb. \u00c0 cela s\u2019ajoutent des formats unitaires ou s\u00e9riels.<\/p>\nPar-del\u00e0 cette variation des sous-genres et des formats, les diffuseurs eux-m\u00eames se multiplient :\u00a0 les cha\u00eenes publiques \u00e0 vocation culturelle et\/ou \u00e9ducative (Arte, France 5) les cha\u00eenes th\u00e9matiques gratuites (RMC D\u00e9couverte et Story) ou payantes qu\u2019elles soient nationales (Histoire, Science et Vie TV) ou internationales (Discovery, National Geographic), les \u00e9diteurs vid\u00e9o, les cha\u00eenes YouTube ou encore les services de m\u00e9dias audiovisuels \u00e0 la demande (Smad).\u00a0L\u2019ann\u00e9e 2023 marque d\u2019ailleurs pour le Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC), en association avec la Cin\u00e9math\u00e8que du documentaire et la Scam, \u00ab l\u2019ann\u00e9e du documentaire \u00bb, occasion de \u00ab c\u00e9l\u00e9brer la grande richesse de cette \u00ab forme d\u2019expression \u00bb, sa vitalit\u00e9, son inventivit\u00e9 et sa diversit\u00e9. Le documentaire appara\u00eet bien aujourd\u2019hui d\u00e9multipli\u00e9, il devient un genre majeur de nouvelles offres t\u00e9l\u00e9visuelles et audiovisuelles, mis en vitrine par ces derni\u00e8res.<\/p>\nCe num\u00e9ro de dossier se construit autour de trois axes majeurs.<\/p>\n\nLa programmation des documentaires : d\u00e9multiplication des formats, esth\u00e9tiques et sous-genres<\/strong><\/li>\n<\/ul>\nLes contributions auront pour objectif d\u2019interroger, d\u2019un point de vue pr\u00e9f\u00e9rentiellement socio-discursif et socio-s\u00e9miotique – avec des perspectives socio-\u00e9conomiques – la programmation des documentaires par la t\u00e9l\u00e9vision et les services en ligne. Il s\u2019agira de questionner notamment la d\u00e9multiplication des formats (unitaires\/s\u00e9riels, courts\/longs…),\u00a0des esth\u00e9tiques (prises de vue re\u0301elles, archives, animation, re\u0301alite\u0301 augmente\u0301e ou virtuelle\u2026) et\u00a0des sous-genres du documentaire audiovisuel : th\u00e9matiques tels qu\u2019historique, scientifique ou de soci\u00e9t\u00e9 ; biopic ; docu-soap… voire documentaire de cr\u00e9ation<\/span>[1]<\/a>, genre reconnu en soi, dans ses recadrages audiovisuels et t\u00e9l\u00e9visuels.<\/span><\/p>\nAu format jusqu\u2019alors dominant du 52 minutes, d\u2019autres s\u2019ajoutent progressivement\u00a0des formats courts de moins de 44 minutes, comme des formats longs de plus de 92 minutes (comme en t\u00e9moignent les diff\u00e9rents rapports du CNC en raison notamment de la politique d\u2019acquisition des cha\u00eenes nationales gratuites). Si les programmes unitaires sont encore largement majoritaires, les s\u00e9ries documentaires se d\u00e9veloppent et trouvent une place importante sur les services de V\u00e0D, \u00e0 l\u2019image de Netflix, Amazon Prime Video ou encore Disney+. L\u00e0 aussi, les documentaires s\u00e9riels subissent la m\u00eame tendance de l\u2019allongement de leur format, avec des \u00e9pisodes pouvant se situer entre 45 et 59 minutes. Ajoutons que la se\u0301rie documentaire franc\u0327aise est la 3e<\/sup>\u00a0nationalite\u0301 la plus repre\u0301sente\u0301e derrie\u0300re les programmes ame\u0301ricains et britanniques en juillet 2022, sur les services de vid\u00e9os \u00e0 la demande par abonnement -V\u00e0DA- (CNC, 2023). D\u00e8s lors, s\u2019int\u00e9resser au format s\u2019accompagne aussi de questions sur le formatage. Car comme l\u2019\u00e9crivent Guillaume Soulez et Kira Kitsopanidou (2015) :\u00a0\u00ab \u00a0Le format poss\u00e8de en effet le caract\u00e8re contraignant d\u2019une forme impos\u00e9e, d\u2019une forme qui s\u2019inscrit dans la r\u00e9alit\u00e9 des \u00e9changes entre cr\u00e9ateurs, producteurs, diffuseurs et spectateurs pour en r\u00e9gler l\u2019efficacit\u00e9, la lisibilit\u00e9 ou encore l\u2019ad\u00e9quation \u00e0 une norme, qui peut \u00eatre temporelle, th\u00e9matique, programmatique, stylistique, etc., et m\u00eame tout cela \u00e0 la fois<\/em> \u00bb. D\u2019ailleurs, auteurs et r\u00e9alisateurs de documentaires s\u2019interrogent sur leur libert\u00e9 \u00e9ditoriale et, \u00e0 rebours, les risques de standardisation auxquels ils sont confront\u00e9s mais aussi sur les situations de commande auxquels ils sont soumis pour r\u00e9pondre aux logiques de programmation des cha\u00eenes notamment (Fipadoc, janvier 2022).<\/p>\nDu c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> T\u00e9l\u00e9vision<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\u00c9diteur<\/span><\/span> CNRS Editions<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBenoit<\/span> Lafon<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, benoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie<\/span> Schmitt<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, Laurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tFran\u00e7ois Jost, Directeur de la revue<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tfrancois.jost@sorbonne-nouvelle.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tBenoit Lafon, coordinateur du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tbenoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie Schmitt, coordinatrice du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tlaurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nLa revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production \u00bb sous la direction de Benoit Lafon et Laurie Schmitt.<\/p>\nPr\u00e9sentation<\/h2>\nCe dossier vise \u00e0 traiter du documentaire t\u00e9l\u00e9visuel \u00e9largi au domaine audiovisuel dans une perspective d\u2019extension des m\u00e9dias et de la t\u00e9l\u00e9vision en particulier vers les services en ligne (Lafon, 2017 ; Jost, 2019). Nous nous int\u00e9ressons ici \u00e0 la diffusion lin\u00e9aire et non lin\u00e9aire de programmes de flux et de stock, consid\u00e9rant que les groupes de t\u00e9l\u00e9vision diffusent aujourd\u2019hui leurs programmes \u2013 en particulier les documentaires \u2013 en lin\u00e9aire (par ex. France 5) et en d\u00e9synchronis\u00e9 (par ex. France.tv), et que le genre documentaire se d\u00e9multiplie au point de devenir dans certains cas un programme de flux, s\u00e9riel et p\u00e9rissable. En outre, par-del\u00e0 la traditionnelle offre t\u00e9l\u00e9visuelle de documentaires, produits ou co-produits et diffus\u00e9s par les cha\u00eenes de t\u00e9l\u00e9vision, se d\u00e9veloppent de nouvelles offres de documentaires, port\u00e9es par les plateformes audiovisuelles (cha\u00eenes YouTube, Dailymotion\u2026) et par les services de M\u00e9dias Audiovisuels \u00e0 la Demande (SMAD : Netflix, Disney+, Prime Video, T\u00ebnk\u2026) : le documentaire conna\u00eet de ce fait une d\u00e9multiplication de son offre, corr\u00e9l\u00e9e \u00e0 l\u2019\u00e9mergence de nouveaux acteurs de contenus audiovisuels et plus seulement t\u00e9l\u00e9visuels. Les recherches sur la t\u00e9l\u00e9vision et l\u2019audiovisuel dans leur rapport au num\u00e9rique ont tendance \u00e0 privil\u00e9gier des analyses sur la fiction soulignant comment celle-ci est \u00ab un objet de convoitise des op\u00e9rateurs \u00bb (Guibert, Rebillard et Rochelandet, 2016 : 213) ou mettant en lumi\u00e8re le renouvellement des s\u00e9ries (Donnat et Pasquier, 2011 ; Esquenazi, 2014 ; Campion, 2018). Il s\u2019agit ici de se questionner sur les contours et \u00e9volutions du documentaire t\u00e9l\u00e9visuel et audiovisuel car il appara\u00eet, aujourd\u2019hui, largement d\u00e9multipli\u00e9. En effet, le documentaire est omnipr\u00e9sent sur nos \u00e9crans, de t\u00e9l\u00e9vision bien s\u00fbr, mais plus largement sur l\u2019ensemble des services de m\u00e9dias audiovisuels : services de rattrapage TV et vid\u00e9o \u00e0 la demande -V\u00e0D- (TF1+, France.tv, 6Play, Arte.tv…), services sp\u00e9cifiques de V\u00e0D (Netfix, Disney+, UniversCin\u00e9, Spicee…) ou encore services de partage de vid\u00e9o – plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques – (YouTube, Dailymotion, TikTok, Instagram…). Les contours du documentaire t\u00e9l\u00e9visuel se redessinent donc et se red\u00e9finissent autour du documentaire audiovisuel. \u00ab <\/strong>Genre noble \u00e0 la t\u00e9l\u00e9vision, le documentaire a g\u00e9n\u00e9ralement trait \u00e0 la d\u00e9couverte et \u00e0 la connaissance. (…) Sauf exception, il rel\u00e8ve plus de la t\u00e9l\u00e9vision \u201c\u00e9ducative\u201d que de la t\u00e9l\u00e9vision de divertissement, qui fait r\u00e9f\u00e9rence.\u00a0<\/em> \u00bb\u00a0 (Le Champion, Danard, 2014 : 78). Pour autant, ces derni\u00e8res ann\u00e9es, documentaires de vulgarisation scientifique, historiques ou d’actualit\u00e9s c\u00f4toient des documentaires de cr\u00e9ation, mais \u00e9galement des documentaires biographiques ou sportifs, souvent construits sur des structures d\u2019intrigues reposant sur des \u00ab personnages \u00bb et se voulant \u00ab divertissants \u00bb. \u00c0 cela s\u2019ajoutent des formats unitaires ou s\u00e9riels.<\/p>\nPar-del\u00e0 cette variation des sous-genres et des formats, les diffuseurs eux-m\u00eames se multiplient :\u00a0 les cha\u00eenes publiques \u00e0 vocation culturelle et\/ou \u00e9ducative (Arte, France 5) les cha\u00eenes th\u00e9matiques gratuites (RMC D\u00e9couverte et Story) ou payantes qu\u2019elles soient nationales (Histoire, Science et Vie TV) ou internationales (Discovery, National Geographic), les \u00e9diteurs vid\u00e9o, les cha\u00eenes YouTube ou encore les services de m\u00e9dias audiovisuels \u00e0 la demande (Smad).\u00a0L\u2019ann\u00e9e 2023 marque d\u2019ailleurs pour le Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC), en association avec la Cin\u00e9math\u00e8que du documentaire et la Scam, \u00ab l\u2019ann\u00e9e du documentaire \u00bb, occasion de \u00ab c\u00e9l\u00e9brer la grande richesse de cette \u00ab forme d\u2019expression \u00bb, sa vitalit\u00e9, son inventivit\u00e9 et sa diversit\u00e9. Le documentaire appara\u00eet bien aujourd\u2019hui d\u00e9multipli\u00e9, il devient un genre majeur de nouvelles offres t\u00e9l\u00e9visuelles et audiovisuelles, mis en vitrine par ces derni\u00e8res.<\/p>\nCe num\u00e9ro de dossier se construit autour de trois axes majeurs.<\/p>\n\nLa programmation des documentaires : d\u00e9multiplication des formats, esth\u00e9tiques et sous-genres<\/strong><\/li>\n<\/ul>\nLes contributions auront pour objectif d\u2019interroger, d\u2019un point de vue pr\u00e9f\u00e9rentiellement socio-discursif et socio-s\u00e9miotique – avec des perspectives socio-\u00e9conomiques – la programmation des documentaires par la t\u00e9l\u00e9vision et les services en ligne. Il s\u2019agira de questionner notamment la d\u00e9multiplication des formats (unitaires\/s\u00e9riels, courts\/longs…),\u00a0des esth\u00e9tiques (prises de vue re\u0301elles, archives, animation, re\u0301alite\u0301 augmente\u0301e ou virtuelle\u2026) et\u00a0des sous-genres du documentaire audiovisuel : th\u00e9matiques tels qu\u2019historique, scientifique ou de soci\u00e9t\u00e9 ; biopic ; docu-soap… voire documentaire de cr\u00e9ation<\/span>[1]<\/a>, genre reconnu en soi, dans ses recadrages audiovisuels et t\u00e9l\u00e9visuels.<\/span><\/p>\nAu format jusqu\u2019alors dominant du 52 minutes, d\u2019autres s\u2019ajoutent progressivement\u00a0des formats courts de moins de 44 minutes, comme des formats longs de plus de 92 minutes (comme en t\u00e9moignent les diff\u00e9rents rapports du CNC en raison notamment de la politique d\u2019acquisition des cha\u00eenes nationales gratuites). Si les programmes unitaires sont encore largement majoritaires, les s\u00e9ries documentaires se d\u00e9veloppent et trouvent une place importante sur les services de V\u00e0D, \u00e0 l\u2019image de Netflix, Amazon Prime Video ou encore Disney+. L\u00e0 aussi, les documentaires s\u00e9riels subissent la m\u00eame tendance de l\u2019allongement de leur format, avec des \u00e9pisodes pouvant se situer entre 45 et 59 minutes. Ajoutons que la se\u0301rie documentaire franc\u0327aise est la 3e<\/sup>\u00a0nationalite\u0301 la plus repre\u0301sente\u0301e derrie\u0300re les programmes ame\u0301ricains et britanniques en juillet 2022, sur les services de vid\u00e9os \u00e0 la demande par abonnement -V\u00e0DA- (CNC, 2023). D\u00e8s lors, s\u2019int\u00e9resser au format s\u2019accompagne aussi de questions sur le formatage. Car comme l\u2019\u00e9crivent Guillaume Soulez et Kira Kitsopanidou (2015) :\u00a0\u00ab \u00a0Le format poss\u00e8de en effet le caract\u00e8re contraignant d\u2019une forme impos\u00e9e, d\u2019une forme qui s\u2019inscrit dans la r\u00e9alit\u00e9 des \u00e9changes entre cr\u00e9ateurs, producteurs, diffuseurs et spectateurs pour en r\u00e9gler l\u2019efficacit\u00e9, la lisibilit\u00e9 ou encore l\u2019ad\u00e9quation \u00e0 une norme, qui peut \u00eatre temporelle, th\u00e9matique, programmatique, stylistique, etc., et m\u00eame tout cela \u00e0 la fois<\/em> \u00bb. D\u2019ailleurs, auteurs et r\u00e9alisateurs de documentaires s\u2019interrogent sur leur libert\u00e9 \u00e9ditoriale et, \u00e0 rebours, les risques de standardisation auxquels ils sont confront\u00e9s mais aussi sur les situations de commande auxquels ils sont soumis pour r\u00e9pondre aux logiques de programmation des cha\u00eenes notamment (Fipadoc, janvier 2022).<\/p>\nDu c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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\n\t\t\t\t\t\t\t\u00c9diteur<\/span><\/span> CNRS Editions<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBenoit<\/span> Lafon<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, benoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie<\/span> Schmitt<\/span>, Universit\u00e9 Grenoble Alpes, Gresec<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, Laurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tFran\u00e7ois Jost, Directeur de la revue<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tfrancois.jost@sorbonne-nouvelle.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tBenoit Lafon, coordinateur du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tbenoit.lafon@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tLaurie Schmitt, coordinatrice du num\u00e9ro<\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tlaurie.schmitt@univ-grenoble-alpes.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nLa revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production \u00bb sous la direction de Benoit Lafon et Laurie Schmitt.<\/p>\nPr\u00e9sentation<\/h2>\nCe dossier vise \u00e0 traiter du documentaire t\u00e9l\u00e9visuel \u00e9largi au domaine audiovisuel dans une perspective d\u2019extension des m\u00e9dias et de la t\u00e9l\u00e9vision en particulier vers les services en ligne (Lafon, 2017 ; Jost, 2019). Nous nous int\u00e9ressons ici \u00e0 la diffusion lin\u00e9aire et non lin\u00e9aire de programmes de flux et de stock, consid\u00e9rant que les groupes de t\u00e9l\u00e9vision diffusent aujourd\u2019hui leurs programmes \u2013 en particulier les documentaires \u2013 en lin\u00e9aire (par ex. France 5) et en d\u00e9synchronis\u00e9 (par ex. France.tv), et que le genre documentaire se d\u00e9multiplie au point de devenir dans certains cas un programme de flux, s\u00e9riel et p\u00e9rissable. En outre, par-del\u00e0 la traditionnelle offre t\u00e9l\u00e9visuelle de documentaires, produits ou co-produits et diffus\u00e9s par les cha\u00eenes de t\u00e9l\u00e9vision, se d\u00e9veloppent de nouvelles offres de documentaires, port\u00e9es par les plateformes audiovisuelles (cha\u00eenes YouTube, Dailymotion\u2026) et par les services de M\u00e9dias Audiovisuels \u00e0 la Demande (SMAD : Netflix, Disney+, Prime Video, T\u00ebnk\u2026) : le documentaire conna\u00eet de ce fait une d\u00e9multiplication de son offre, corr\u00e9l\u00e9e \u00e0 l\u2019\u00e9mergence de nouveaux acteurs de contenus audiovisuels et plus seulement t\u00e9l\u00e9visuels. Les recherches sur la t\u00e9l\u00e9vision et l\u2019audiovisuel dans leur rapport au num\u00e9rique ont tendance \u00e0 privil\u00e9gier des analyses sur la fiction soulignant comment celle-ci est \u00ab un objet de convoitise des op\u00e9rateurs \u00bb (Guibert, Rebillard et Rochelandet, 2016 : 213) ou mettant en lumi\u00e8re le renouvellement des s\u00e9ries (Donnat et Pasquier, 2011 ; Esquenazi, 2014 ; Campion, 2018). Il s\u2019agit ici de se questionner sur les contours et \u00e9volutions du documentaire t\u00e9l\u00e9visuel et audiovisuel car il appara\u00eet, aujourd\u2019hui, largement d\u00e9multipli\u00e9. En effet, le documentaire est omnipr\u00e9sent sur nos \u00e9crans, de t\u00e9l\u00e9vision bien s\u00fbr, mais plus largement sur l\u2019ensemble des services de m\u00e9dias audiovisuels : services de rattrapage TV et vid\u00e9o \u00e0 la demande -V\u00e0D- (TF1+, France.tv, 6Play, Arte.tv…), services sp\u00e9cifiques de V\u00e0D (Netfix, Disney+, UniversCin\u00e9, Spicee…) ou encore services de partage de vid\u00e9o – plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques – (YouTube, Dailymotion, TikTok, Instagram…). Les contours du documentaire t\u00e9l\u00e9visuel se redessinent donc et se red\u00e9finissent autour du documentaire audiovisuel. \u00ab <\/strong>Genre noble \u00e0 la t\u00e9l\u00e9vision, le documentaire a g\u00e9n\u00e9ralement trait \u00e0 la d\u00e9couverte et \u00e0 la connaissance. (…) Sauf exception, il rel\u00e8ve plus de la t\u00e9l\u00e9vision \u201c\u00e9ducative\u201d que de la t\u00e9l\u00e9vision de divertissement, qui fait r\u00e9f\u00e9rence.\u00a0<\/em> \u00bb\u00a0 (Le Champion, Danard, 2014 : 78). Pour autant, ces derni\u00e8res ann\u00e9es, documentaires de vulgarisation scientifique, historiques ou d’actualit\u00e9s c\u00f4toient des documentaires de cr\u00e9ation, mais \u00e9galement des documentaires biographiques ou sportifs, souvent construits sur des structures d\u2019intrigues reposant sur des \u00ab personnages \u00bb et se voulant \u00ab divertissants \u00bb. \u00c0 cela s\u2019ajoutent des formats unitaires ou s\u00e9riels.<\/p>\nPar-del\u00e0 cette variation des sous-genres et des formats, les diffuseurs eux-m\u00eames se multiplient :\u00a0 les cha\u00eenes publiques \u00e0 vocation culturelle et\/ou \u00e9ducative (Arte, France 5) les cha\u00eenes th\u00e9matiques gratuites (RMC D\u00e9couverte et Story) ou payantes qu\u2019elles soient nationales (Histoire, Science et Vie TV) ou internationales (Discovery, National Geographic), les \u00e9diteurs vid\u00e9o, les cha\u00eenes YouTube ou encore les services de m\u00e9dias audiovisuels \u00e0 la demande (Smad).\u00a0L\u2019ann\u00e9e 2023 marque d\u2019ailleurs pour le Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC), en association avec la Cin\u00e9math\u00e8que du documentaire et la Scam, \u00ab l\u2019ann\u00e9e du documentaire \u00bb, occasion de \u00ab c\u00e9l\u00e9brer la grande richesse de cette \u00ab forme d\u2019expression \u00bb, sa vitalit\u00e9, son inventivit\u00e9 et sa diversit\u00e9. Le documentaire appara\u00eet bien aujourd\u2019hui d\u00e9multipli\u00e9, il devient un genre majeur de nouvelles offres t\u00e9l\u00e9visuelles et audiovisuelles, mis en vitrine par ces derni\u00e8res.<\/p>\nCe num\u00e9ro de dossier se construit autour de trois axes majeurs.<\/p>\n\nLa programmation des documentaires : d\u00e9multiplication des formats, esth\u00e9tiques et sous-genres<\/strong><\/li>\n<\/ul>\nLes contributions auront pour objectif d\u2019interroger, d\u2019un point de vue pr\u00e9f\u00e9rentiellement socio-discursif et socio-s\u00e9miotique – avec des perspectives socio-\u00e9conomiques – la programmation des documentaires par la t\u00e9l\u00e9vision et les services en ligne. Il s\u2019agira de questionner notamment la d\u00e9multiplication des formats (unitaires\/s\u00e9riels, courts\/longs…),\u00a0des esth\u00e9tiques (prises de vue re\u0301elles, archives, animation, re\u0301alite\u0301 augmente\u0301e ou virtuelle\u2026) et\u00a0des sous-genres du documentaire audiovisuel : th\u00e9matiques tels qu\u2019historique, scientifique ou de soci\u00e9t\u00e9 ; biopic ; docu-soap… voire documentaire de cr\u00e9ation<\/span>[1]<\/a>, genre reconnu en soi, dans ses recadrages audiovisuels et t\u00e9l\u00e9visuels.<\/span><\/p>\nAu format jusqu\u2019alors dominant du 52 minutes, d\u2019autres s\u2019ajoutent progressivement\u00a0des formats courts de moins de 44 minutes, comme des formats longs de plus de 92 minutes (comme en t\u00e9moignent les diff\u00e9rents rapports du CNC en raison notamment de la politique d\u2019acquisition des cha\u00eenes nationales gratuites). Si les programmes unitaires sont encore largement majoritaires, les s\u00e9ries documentaires se d\u00e9veloppent et trouvent une place importante sur les services de V\u00e0D, \u00e0 l\u2019image de Netflix, Amazon Prime Video ou encore Disney+. L\u00e0 aussi, les documentaires s\u00e9riels subissent la m\u00eame tendance de l\u2019allongement de leur format, avec des \u00e9pisodes pouvant se situer entre 45 et 59 minutes. Ajoutons que la se\u0301rie documentaire franc\u0327aise est la 3e<\/sup>\u00a0nationalite\u0301 la plus repre\u0301sente\u0301e derrie\u0300re les programmes ame\u0301ricains et britanniques en juillet 2022, sur les services de vid\u00e9os \u00e0 la demande par abonnement -V\u00e0DA- (CNC, 2023). D\u00e8s lors, s\u2019int\u00e9resser au format s\u2019accompagne aussi de questions sur le formatage. Car comme l\u2019\u00e9crivent Guillaume Soulez et Kira Kitsopanidou (2015) :\u00a0\u00ab \u00a0Le format poss\u00e8de en effet le caract\u00e8re contraignant d\u2019une forme impos\u00e9e, d\u2019une forme qui s\u2019inscrit dans la r\u00e9alit\u00e9 des \u00e9changes entre cr\u00e9ateurs, producteurs, diffuseurs et spectateurs pour en r\u00e9gler l\u2019efficacit\u00e9, la lisibilit\u00e9 ou encore l\u2019ad\u00e9quation \u00e0 une norme, qui peut \u00eatre temporelle, th\u00e9matique, programmatique, stylistique, etc., et m\u00eame tout cela \u00e0 la fois<\/em> \u00bb. D\u2019ailleurs, auteurs et r\u00e9alisateurs de documentaires s\u2019interrogent sur leur libert\u00e9 \u00e9ditoriale et, \u00e0 rebours, les risques de standardisation auxquels ils sont confront\u00e9s mais aussi sur les situations de commande auxquels ils sont soumis pour r\u00e9pondre aux logiques de programmation des cha\u00eenes notamment (Fipadoc, janvier 2022).<\/p>\nDu c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production \u00bb sous la direction de Benoit Lafon et Laurie Schmitt.<\/p>\n
Ce dossier vise \u00e0 traiter du documentaire t\u00e9l\u00e9visuel \u00e9largi au domaine audiovisuel dans une perspective d\u2019extension des m\u00e9dias et de la t\u00e9l\u00e9vision en particulier vers les services en ligne (Lafon, 2017 ; Jost, 2019). Nous nous int\u00e9ressons ici \u00e0 la diffusion lin\u00e9aire et non lin\u00e9aire de programmes de flux et de stock, consid\u00e9rant que les groupes de t\u00e9l\u00e9vision diffusent aujourd\u2019hui leurs programmes \u2013 en particulier les documentaires \u2013 en lin\u00e9aire (par ex. France 5) et en d\u00e9synchronis\u00e9 (par ex. France.tv), et que le genre documentaire se d\u00e9multiplie au point de devenir dans certains cas un programme de flux, s\u00e9riel et p\u00e9rissable. En outre, par-del\u00e0 la traditionnelle offre t\u00e9l\u00e9visuelle de documentaires, produits ou co-produits et diffus\u00e9s par les cha\u00eenes de t\u00e9l\u00e9vision, se d\u00e9veloppent de nouvelles offres de documentaires, port\u00e9es par les plateformes audiovisuelles (cha\u00eenes YouTube, Dailymotion\u2026) et par les services de M\u00e9dias Audiovisuels \u00e0 la Demande (SMAD : Netflix, Disney+, Prime Video, T\u00ebnk\u2026) : le documentaire conna\u00eet de ce fait une d\u00e9multiplication de son offre, corr\u00e9l\u00e9e \u00e0 l\u2019\u00e9mergence de nouveaux acteurs de contenus audiovisuels et plus seulement t\u00e9l\u00e9visuels. Les recherches sur la t\u00e9l\u00e9vision et l\u2019audiovisuel dans leur rapport au num\u00e9rique ont tendance \u00e0 privil\u00e9gier des analyses sur la fiction soulignant comment celle-ci est \u00ab un objet de convoitise des op\u00e9rateurs \u00bb (Guibert, Rebillard et Rochelandet, 2016 : 213) ou mettant en lumi\u00e8re le renouvellement des s\u00e9ries (Donnat et Pasquier, 2011 ; Esquenazi, 2014 ; Campion, 2018). Il s\u2019agit ici de se questionner sur les contours et \u00e9volutions du documentaire t\u00e9l\u00e9visuel et audiovisuel car il appara\u00eet, aujourd\u2019hui, largement d\u00e9multipli\u00e9. En effet, le documentaire est omnipr\u00e9sent sur nos \u00e9crans, de t\u00e9l\u00e9vision bien s\u00fbr, mais plus largement sur l\u2019ensemble des services de m\u00e9dias audiovisuels : services de rattrapage TV et vid\u00e9o \u00e0 la demande -V\u00e0D- (TF1+, France.tv, 6Play, Arte.tv…), services sp\u00e9cifiques de V\u00e0D (Netfix, Disney+, UniversCin\u00e9, Spicee…) ou encore services de partage de vid\u00e9o – plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques – (YouTube, Dailymotion, TikTok, Instagram…). Les contours du documentaire t\u00e9l\u00e9visuel se redessinent donc et se red\u00e9finissent autour du documentaire audiovisuel. \u00ab <\/strong>Genre noble \u00e0 la t\u00e9l\u00e9vision, le documentaire a g\u00e9n\u00e9ralement trait \u00e0 la d\u00e9couverte et \u00e0 la connaissance. (…) Sauf exception, il rel\u00e8ve plus de la t\u00e9l\u00e9vision \u201c\u00e9ducative\u201d que de la t\u00e9l\u00e9vision de divertissement, qui fait r\u00e9f\u00e9rence.\u00a0<\/em> \u00bb\u00a0 (Le Champion, Danard, 2014 : 78). Pour autant, ces derni\u00e8res ann\u00e9es, documentaires de vulgarisation scientifique, historiques ou d’actualit\u00e9s c\u00f4toient des documentaires de cr\u00e9ation, mais \u00e9galement des documentaires biographiques ou sportifs, souvent construits sur des structures d\u2019intrigues reposant sur des \u00ab personnages \u00bb et se voulant \u00ab divertissants \u00bb. \u00c0 cela s\u2019ajoutent des formats unitaires ou s\u00e9riels.<\/p>\nPar-del\u00e0 cette variation des sous-genres et des formats, les diffuseurs eux-m\u00eames se multiplient :\u00a0 les cha\u00eenes publiques \u00e0 vocation culturelle et\/ou \u00e9ducative (Arte, France 5) les cha\u00eenes th\u00e9matiques gratuites (RMC D\u00e9couverte et Story) ou payantes qu\u2019elles soient nationales (Histoire, Science et Vie TV) ou internationales (Discovery, National Geographic), les \u00e9diteurs vid\u00e9o, les cha\u00eenes YouTube ou encore les services de m\u00e9dias audiovisuels \u00e0 la demande (Smad).\u00a0L\u2019ann\u00e9e 2023 marque d\u2019ailleurs pour le Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC), en association avec la Cin\u00e9math\u00e8que du documentaire et la Scam, \u00ab l\u2019ann\u00e9e du documentaire \u00bb, occasion de \u00ab c\u00e9l\u00e9brer la grande richesse de cette \u00ab forme d\u2019expression \u00bb, sa vitalit\u00e9, son inventivit\u00e9 et sa diversit\u00e9. Le documentaire appara\u00eet bien aujourd\u2019hui d\u00e9multipli\u00e9, il devient un genre majeur de nouvelles offres t\u00e9l\u00e9visuelles et audiovisuelles, mis en vitrine par ces derni\u00e8res.<\/p>\nCe num\u00e9ro de dossier se construit autour de trois axes majeurs.<\/p>\n\nLa programmation des documentaires : d\u00e9multiplication des formats, esth\u00e9tiques et sous-genres<\/strong><\/li>\n<\/ul>\nLes contributions auront pour objectif d\u2019interroger, d\u2019un point de vue pr\u00e9f\u00e9rentiellement socio-discursif et socio-s\u00e9miotique – avec des perspectives socio-\u00e9conomiques – la programmation des documentaires par la t\u00e9l\u00e9vision et les services en ligne. Il s\u2019agira de questionner notamment la d\u00e9multiplication des formats (unitaires\/s\u00e9riels, courts\/longs…),\u00a0des esth\u00e9tiques (prises de vue re\u0301elles, archives, animation, re\u0301alite\u0301 augmente\u0301e ou virtuelle\u2026) et\u00a0des sous-genres du documentaire audiovisuel : th\u00e9matiques tels qu\u2019historique, scientifique ou de soci\u00e9t\u00e9 ; biopic ; docu-soap… voire documentaire de cr\u00e9ation<\/span>[1]<\/a>, genre reconnu en soi, dans ses recadrages audiovisuels et t\u00e9l\u00e9visuels.<\/span><\/p>\nAu format jusqu\u2019alors dominant du 52 minutes, d\u2019autres s\u2019ajoutent progressivement\u00a0des formats courts de moins de 44 minutes, comme des formats longs de plus de 92 minutes (comme en t\u00e9moignent les diff\u00e9rents rapports du CNC en raison notamment de la politique d\u2019acquisition des cha\u00eenes nationales gratuites). Si les programmes unitaires sont encore largement majoritaires, les s\u00e9ries documentaires se d\u00e9veloppent et trouvent une place importante sur les services de V\u00e0D, \u00e0 l\u2019image de Netflix, Amazon Prime Video ou encore Disney+. L\u00e0 aussi, les documentaires s\u00e9riels subissent la m\u00eame tendance de l\u2019allongement de leur format, avec des \u00e9pisodes pouvant se situer entre 45 et 59 minutes. Ajoutons que la se\u0301rie documentaire franc\u0327aise est la 3e<\/sup>\u00a0nationalite\u0301 la plus repre\u0301sente\u0301e derrie\u0300re les programmes ame\u0301ricains et britanniques en juillet 2022, sur les services de vid\u00e9os \u00e0 la demande par abonnement -V\u00e0DA- (CNC, 2023). D\u00e8s lors, s\u2019int\u00e9resser au format s\u2019accompagne aussi de questions sur le formatage. Car comme l\u2019\u00e9crivent Guillaume Soulez et Kira Kitsopanidou (2015) :\u00a0\u00ab \u00a0Le format poss\u00e8de en effet le caract\u00e8re contraignant d\u2019une forme impos\u00e9e, d\u2019une forme qui s\u2019inscrit dans la r\u00e9alit\u00e9 des \u00e9changes entre cr\u00e9ateurs, producteurs, diffuseurs et spectateurs pour en r\u00e9gler l\u2019efficacit\u00e9, la lisibilit\u00e9 ou encore l\u2019ad\u00e9quation \u00e0 une norme, qui peut \u00eatre temporelle, th\u00e9matique, programmatique, stylistique, etc., et m\u00eame tout cela \u00e0 la fois<\/em> \u00bb. D\u2019ailleurs, auteurs et r\u00e9alisateurs de documentaires s\u2019interrogent sur leur libert\u00e9 \u00e9ditoriale et, \u00e0 rebours, les risques de standardisation auxquels ils sont confront\u00e9s mais aussi sur les situations de commande auxquels ils sont soumis pour r\u00e9pondre aux logiques de programmation des cha\u00eenes notamment (Fipadoc, janvier 2022).<\/p>\nDu c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Par-del\u00e0 cette variation des sous-genres et des formats, les diffuseurs eux-m\u00eames se multiplient :\u00a0 les cha\u00eenes publiques \u00e0 vocation culturelle et\/ou \u00e9ducative (Arte, France 5) les cha\u00eenes th\u00e9matiques gratuites (RMC D\u00e9couverte et Story) ou payantes qu\u2019elles soient nationales (Histoire, Science et Vie TV) ou internationales (Discovery, National Geographic), les \u00e9diteurs vid\u00e9o, les cha\u00eenes YouTube ou encore les services de m\u00e9dias audiovisuels \u00e0 la demande (Smad).\u00a0L\u2019ann\u00e9e 2023 marque d\u2019ailleurs pour le Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC), en association avec la Cin\u00e9math\u00e8que du documentaire et la Scam, \u00ab l\u2019ann\u00e9e du documentaire \u00bb, occasion de \u00ab c\u00e9l\u00e9brer la grande richesse de cette \u00ab forme d\u2019expression \u00bb, sa vitalit\u00e9, son inventivit\u00e9 et sa diversit\u00e9. Le documentaire appara\u00eet bien aujourd\u2019hui d\u00e9multipli\u00e9, il devient un genre majeur de nouvelles offres t\u00e9l\u00e9visuelles et audiovisuelles, mis en vitrine par ces derni\u00e8res.<\/p>\n
Ce num\u00e9ro de dossier se construit autour de trois axes majeurs.<\/p>\n
Les contributions auront pour objectif d\u2019interroger, d\u2019un point de vue pr\u00e9f\u00e9rentiellement socio-discursif et socio-s\u00e9miotique – avec des perspectives socio-\u00e9conomiques – la programmation des documentaires par la t\u00e9l\u00e9vision et les services en ligne. Il s\u2019agira de questionner notamment la d\u00e9multiplication des formats (unitaires\/s\u00e9riels, courts\/longs…),\u00a0des esth\u00e9tiques (prises de vue re\u0301elles, archives, animation, re\u0301alite\u0301 augmente\u0301e ou virtuelle\u2026) et\u00a0des sous-genres du documentaire audiovisuel : th\u00e9matiques tels qu\u2019historique, scientifique ou de soci\u00e9t\u00e9 ; biopic ; docu-soap… voire documentaire de cr\u00e9ation<\/span>[1]<\/a>, genre reconnu en soi, dans ses recadrages audiovisuels et t\u00e9l\u00e9visuels.<\/span><\/p>\nAu format jusqu\u2019alors dominant du 52 minutes, d\u2019autres s\u2019ajoutent progressivement\u00a0des formats courts de moins de 44 minutes, comme des formats longs de plus de 92 minutes (comme en t\u00e9moignent les diff\u00e9rents rapports du CNC en raison notamment de la politique d\u2019acquisition des cha\u00eenes nationales gratuites). Si les programmes unitaires sont encore largement majoritaires, les s\u00e9ries documentaires se d\u00e9veloppent et trouvent une place importante sur les services de V\u00e0D, \u00e0 l\u2019image de Netflix, Amazon Prime Video ou encore Disney+. L\u00e0 aussi, les documentaires s\u00e9riels subissent la m\u00eame tendance de l\u2019allongement de leur format, avec des \u00e9pisodes pouvant se situer entre 45 et 59 minutes. Ajoutons que la se\u0301rie documentaire franc\u0327aise est la 3e<\/sup>\u00a0nationalite\u0301 la plus repre\u0301sente\u0301e derrie\u0300re les programmes ame\u0301ricains et britanniques en juillet 2022, sur les services de vid\u00e9os \u00e0 la demande par abonnement -V\u00e0DA- (CNC, 2023). D\u00e8s lors, s\u2019int\u00e9resser au format s\u2019accompagne aussi de questions sur le formatage. Car comme l\u2019\u00e9crivent Guillaume Soulez et Kira Kitsopanidou (2015) :\u00a0\u00ab \u00a0Le format poss\u00e8de en effet le caract\u00e8re contraignant d\u2019une forme impos\u00e9e, d\u2019une forme qui s\u2019inscrit dans la r\u00e9alit\u00e9 des \u00e9changes entre cr\u00e9ateurs, producteurs, diffuseurs et spectateurs pour en r\u00e9gler l\u2019efficacit\u00e9, la lisibilit\u00e9 ou encore l\u2019ad\u00e9quation \u00e0 une norme, qui peut \u00eatre temporelle, th\u00e9matique, programmatique, stylistique, etc., et m\u00eame tout cela \u00e0 la fois<\/em> \u00bb. D\u2019ailleurs, auteurs et r\u00e9alisateurs de documentaires s\u2019interrogent sur leur libert\u00e9 \u00e9ditoriale et, \u00e0 rebours, les risques de standardisation auxquels ils sont confront\u00e9s mais aussi sur les situations de commande auxquels ils sont soumis pour r\u00e9pondre aux logiques de programmation des cha\u00eenes notamment (Fipadoc, janvier 2022).<\/p>\nDu c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Au format jusqu\u2019alors dominant du 52 minutes, d\u2019autres s\u2019ajoutent progressivement\u00a0des formats courts de moins de 44 minutes, comme des formats longs de plus de 92 minutes (comme en t\u00e9moignent les diff\u00e9rents rapports du CNC en raison notamment de la politique d\u2019acquisition des cha\u00eenes nationales gratuites). Si les programmes unitaires sont encore largement majoritaires, les s\u00e9ries documentaires se d\u00e9veloppent et trouvent une place importante sur les services de V\u00e0D, \u00e0 l\u2019image de Netflix, Amazon Prime Video ou encore Disney+. L\u00e0 aussi, les documentaires s\u00e9riels subissent la m\u00eame tendance de l\u2019allongement de leur format, avec des \u00e9pisodes pouvant se situer entre 45 et 59 minutes. Ajoutons que la se\u0301rie documentaire franc\u0327aise est la 3e<\/sup>\u00a0nationalite\u0301 la plus repre\u0301sente\u0301e derrie\u0300re les programmes ame\u0301ricains et britanniques en juillet 2022, sur les services de vid\u00e9os \u00e0 la demande par abonnement -V\u00e0DA- (CNC, 2023). D\u00e8s lors, s\u2019int\u00e9resser au format s\u2019accompagne aussi de questions sur le formatage. Car comme l\u2019\u00e9crivent Guillaume Soulez et Kira Kitsopanidou (2015) :\u00a0\u00ab \u00a0Le format poss\u00e8de en effet le caract\u00e8re contraignant d\u2019une forme impos\u00e9e, d\u2019une forme qui s\u2019inscrit dans la r\u00e9alit\u00e9 des \u00e9changes entre cr\u00e9ateurs, producteurs, diffuseurs et spectateurs pour en r\u00e9gler l\u2019efficacit\u00e9, la lisibilit\u00e9 ou encore l\u2019ad\u00e9quation \u00e0 une norme, qui peut \u00eatre temporelle, th\u00e9matique, programmatique, stylistique, etc., et m\u00eame tout cela \u00e0 la fois<\/em> \u00bb. D\u2019ailleurs, auteurs et r\u00e9alisateurs de documentaires s\u2019interrogent sur leur libert\u00e9 \u00e9ditoriale et, \u00e0 rebours, les risques de standardisation auxquels ils sont confront\u00e9s mais aussi sur les situations de commande auxquels ils sont soumis pour r\u00e9pondre aux logiques de programmation des cha\u00eenes notamment (Fipadoc, janvier 2022).<\/p>\nDu c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Du c\u00f4t\u00e9 des sous-genres, les documentaires sportifs \u00e0 titre d\u2019exemple sont de plus en plus nombreux sur Netflix, les documentaires biographiques sur Arte.tv trouvent une place de choix dans la cat\u00e9gorie portraits, les documentaires d\u2019actualit\u00e9s sont pl\u00e9biscit\u00e9s sur Spicee, etc. Comment se construit l\u2019offre documentaire ? Comment \u00e9volue-t-elle ? Comment les \u00e9critures se renouvellent-elles ? Dans son \u00e9tude\u00a0Le march\u00e9 du documentaire en 2023,<\/em>\u00a0le CNC rel\u00e8ve par exemple \u00ab une perc\u00e9e de l\u2019intelligence artificielle \u00bb mais aussi le d\u00e9veloppement de nouvelles formes documentaires interactives ou immersives, comme ce fut le cas un temps avec le webdocumentaire (Broudoux, 2011 ; Salles et Schmitt, 2017). D\u00e8s lors, pour reprendre une interrogation de Chlo\u00e9 Delaporte (2015 : 80), l\u2019\u00e9mergence de nouveaux m\u00e9dias s\u2019accompagne-t-elle de nouveaux genres,\u00a0voire de sous genres ? Comment la \u00ab genration \u00bb (Delaporte, 2015) en documentaire r\u00e9pond-elle \u00e0 des strat\u00e9gies\u00a0des producteurs, des diffuseurs ou encore des financeurs ? \u00c0 titre d\u2019exemple, on peut ici questionner le cas de reportages de soci\u00e9t\u00e9 (tels ceux b\u00e9n\u00e9ficiant d\u2019une aide CNC et diffus\u00e9s par M6 ou TF1) ou des \u00e9missions de t\u00e9l\u00e9-r\u00e9alit\u00e9, \u00e0 l\u2019image de Pop Stars,<\/em> qui utilisent l\u2019\u00e9tiquette documentaire pour toucher des subsides du CNC, bien qu\u2019elles n\u2019ob\u00e9issent pas aux crit\u00e8res d\u00e9finitoires du documentaire.<\/p>\nEntre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n\nL\u2019\u00e9criture documentaire audiovisuelle : th\u00e8mes et variations<\/strong><\/li>\n<\/ul>\nLa d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\nConcernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Entre segmentation et diversification du documentaire se dessinent de multiples fa\u00e7ons de programmer, de formater et de cat\u00e9goriser des documentaires au pluriel, processus caract\u00e9risant la d\u00e9multiplication au centre de ce dossier.<\/p>\n
La d\u00e9multiplication des documentaires se traduit \u00e9galement par un foisonnement des th\u00e8mes et de leurs variations : de quoi parlent les documentaires ? Et pour quels publics ? Quels proc\u00e9d\u00e9s d\u2019\u00e9criture mettent-ils en \u0153uvre ? Il est question ici, dans une approche socio-discursive, voire socio-ethnographique, d\u2019aborder les diff\u00e9rents modes de prise de vues, les mani\u00e8res de tourner (Niney, 2009) le documentaire et ainsi d\u2019interroger son rapport au r\u00e9el. Ce faisant, les questionnements socio-politiques sur la contribution des documentaires \u00e0 la construction des questions publiques, par le rapport de la m\u00e9diatisation \u00e0 la publicisation (Pailliart, 2019) seront bienvenus.<\/p>\n
Concernant les sujets abord\u00e9s, on peut ainsi se questionner sur leur \u00e9volution (perspective diachronique), mais \u00e9galement sur des sujets sp\u00e9cifiques, les documentaires apparaissant class\u00e9s par offres th\u00e9matiques dans la programmation et la mise \u00e0 disposition pour les publics. R\u00e9my Le Champion et Benoit Danard \u00e9crivaient en 2014 : \u00ab Le documentaire recouvre un large \u00e9ventail de th\u00e9matiques. (\u2026) Un documentariste ne con\u00e7oit pas de la m\u00eame mani\u00e8re un documentaire sportif et un documentaire historique, scientifique ou animalie<\/em>r \u00bb (Le Champion, Danard, 2014 : 78). Qu\u2019en est-il 10 ans plus tard ? Comment des th\u00e9matiques documentaires sp\u00e9cifiques se sont-elles transform\u00e9es, voire sp\u00e9cialis\u00e9es en fonction des publics vis\u00e9s ?<\/p>\nAinsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Ainsi, les th\u00e8mes canoniques des documentaires (histoire, sciences, soci\u00e9t\u00e9s, culture-art, sports, aventure-exploration…), peuvent-ils faire l\u2019objet de variations, produisant \u00e9ventuellement des sous-genres reconnaissables. Les documentaires sur la 2e<\/sup> Guerre mondiale, nombreux, constituent une sous-cat\u00e9gorie bien identifiable, elle-m\u00eame productrice de r\u00e9cits sp\u00e9cifiques : Shoah, histoires v\u00e9cues, strat\u00e9gie militaire et combats, portraits de personnages historiques, images coloris\u00e9es… De m\u00eame, les documentaires scientifiques peuvent engendrer de multiples sous-genres, l\u2019exploration spatiale se distinguant par exemple fortement des questions m\u00e9dicales ou environnementales, ce dernier th\u00e8me pouvant faire l\u2019objet de multiples questionnements eu \u00e9gard \u00e0 son actualit\u00e9.<\/p>\nLes questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\nL\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n\nLes m\u00e9dias audiovisuels \u00e9tendus et\u00a0le documentaire : les acteurs du documentaire<\/strong><\/li>\n<\/ul>\nHistoriquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n <\/p>\nLes contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n\nles cha\u00eenes publiques qui jouent un r\u00f4le de premier plan, notamment en raison de leur engagement en la faveur du documentaire : \u00ab En l\u2019esp\u00e8ce, quatre diffuseurs publics, ARTE, France 3 et France 5, concentrent 63 % des investissements de la totalit\u00e9 des cha\u00eenes fran\u00e7aises.<\/em> \u00bb (Le Champion, Danard, 2014 : 79-80). Dans cette perspective, il n\u2019est pas \u00e9tonnant de voir des acteurs historiques du secteur, connaissant tr\u00e8s bien les rouages de la fili\u00e8re, offrir ou d\u00e9velopper des \u00ab plateformes num\u00e9riques \u00bb, \u00e0 l\u2019image d\u2019Arte.tv ou de France.tv.<\/li>\nles cha\u00eenes priv\u00e9es qui ne sont pas en reste, au plan national : RMC D\u00e9couverte, Histoire, Canal+ Docs, Ushua\u00efa TV\u2026\u00a0mais \u00e9galement international : National Geographic, Discovery…<\/li>\nles services de V\u00e0D sp\u00e9cialis\u00e9s dans le documentaire tels que T\u00ebnk, 99.media et Spicee, ou bien faisant la part belle au documentaire \u00e0 l\u2019image d\u2019UniversCin\u00e9, Cin\u00e9mutins, Netflix, Paramount+, Prime Video…<\/li>\nles plateformes vid\u00e9o ou r\u00e9seaux socio-num\u00e9riques comme Youtube,\u00a0TikTok et Instagram.<\/li>\n<\/ul>\nAinsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Les questions environnementales comme les nouvelles explorations spatiales illustrent de fait l\u2019\u00e9mergence r\u00e9cente de nouveaux th\u00e8mes documentaires que le pr\u00e9sent dossier entend \u00e9voquer : changement climatique et catastrophes environnementales, informatique et nouvelles technologies, mais \u00e9galement \u00e9mergence de nouvelles personnalit\u00e9s \u00e9rig\u00e9es en figures publiques, souvent g\u00e9n\u00e9rationnelles avec de nombreux biopics, en France et \u00e0 l\u2019international (Orelsan, Squeezie, Innoxtag, Taylor Swift…). Quant \u00e0 France 5, beaucoup de ses documentaires sont consacr\u00e9s \u00e0 la consommation tels qu\u2019au sein des s\u00e9ries \u00ab Enqu\u00eate de sant\u00e9 \u00bb ou \u00ab Les docs conso. Enqu\u00eate dans nos caddies \u00bb, r\u00e9v\u00e9lant une logique plus proche du magazine de reportage que du documentaire proprement dit.<\/p>\n
L\u2019examen de ces th\u00e9matiques anciennes et renouvel\u00e9es, de leurs mutations, pourra s\u2019accompagner d\u2019enqu\u00eates approfondies sur les \u00e9critures mobilis\u00e9es par ces documentaires (ce qui rejoint la question des formats) :\u00a0 \u00e9tude de proc\u00e9d\u00e9s visuels, sonores, narratifs mis en place pour favoriser la captation et l\u2019implication des publics.<\/p>\n
Historiquement en France, la sous-fili\u00e8re du documentaire s\u2019est organis\u00e9e et structur\u00e9e en \u00e9tant notamment port\u00e9e par des aides publiques (en particulier \u00e9manant du CNC) et en r\u00e9pondant \u00e0 des processus de production extr\u00eamement rigoureux et institutionnalis\u00e9s. Le documentaire constitue d\u2019ailleurs le premier genre audiovisuel aid\u00e9 par le CNC :\u00a071 M\u20ac ont \u00e9t\u00e9 vers\u00e9s a\u0300 plus de 550 producteurs audiovisuels en 2021 (CNC, dossier de presse, 2023).\u00a0Dans la structuration du secteur, chaque acteur intervenant dans cette cha\u00eene de coop\u00e9ration joue un r\u00f4le cl\u00e9 pour aller de la cr\u00e9ation du film \u00e0 sa diffusion aupr\u00e8s des publics.<\/p>\n
Les contributions au dossier pourront, dans une approche socio-professionnelle et socio-\u00e9conomique, interroger diff\u00e9rents acteurs de la production et de la diffusion de documentaires, en particulier :<\/p>\n
Ainsi, dans ce qui rel\u00e8ve du documentaire audiovisuel, l\u2019offre actuelle est complexe, prot\u00e9iforme m\u00eame, notamment parce que le documentaire, pour ces diffuseurs, devient un enjeu symbolique de diff\u00e9renciation du service, un enjeu \u00e9conomique de positionnement dans le march\u00e9, un enjeu professionnel de structuration des pratiques. Il est \u00e9galement question, dans ces jeux d\u2019acteurs, de sa production. Car \u00ab La production documentaire est une activit\u00e9 d\u2019artisan. Il n\u2019est pas rare qu\u2019une soci\u00e9t\u00e9 de production ne fabrique qu\u2019un seul programme dans l\u2019ann\u00e9e.<\/em> \u00bb (Le Champion & Danard, 2014 : 80). De cette \u00e9conomie fragile d\u00e9coulent des pratiques professionnelles en tension, pour des acteurs qui se voient remettre en cause leurs droits par des acteurs internationaux, qui poussent notamment au retrait du statut de producteur d\u00e9l\u00e9gu\u00e9 au b\u00e9n\u00e9fice de producteur ex\u00e9cutif (Stephan, 2023).<\/p>\nEnfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Enfin, les contributions pourront s\u2019int\u00e9resser aux transformations de la r\u00e9gulation du domaine, car comme\u00a0l\u2019\u00e9crit Alain Le Diberder \u00e0 propos des programmes audiovisuels : \u00ab les documentaires arrivent en deuxi\u00e8me place <\/em>[apr\u00e8s les fictions] dans l\u2019ordre du prestige comme dans celui des attentions des pouvoirs publics\u00a0<\/em> \u00bb (2019, p. 30). Ce qui se joue ici a trait bien s\u00fbr au financement du documentaire, aux logiques d\u2019investissements d\u2019acteurs nationaux ou \u00e9trangers (d\u00e9finis dans le cadre de la directive SMA et du d\u00e9cret Smad) et ainsi des circuits de son exploitation.<\/p>\nCalendrier pr\u00e9visionnel :<\/h2>\n\n23 d\u00e9cembre 2024 :<\/strong> date-limite de l\u2019envoi des propositions d\u2019articles (2000 signes maximum espace compris)<\/li>\n\u00c0 partir du 17 janvier 2025 :<\/strong> notification aux auteurs<\/li>\n14 avril 2025 :<\/strong> r\u00e9ception des articles (de 35 000 \u00e0 45 000 signes espaces compris) avec r\u00e9sum\u00e9 et biographie<\/li>\n19 mai 2025 :<\/strong> retour aux auteurs des \u00e9valuations en double aveugle<\/li>\n30 juin 2025 :<\/strong> r\u00e9ception de la version d\u00e9finitive des articles apr\u00e8s corrections (avec r\u00e9sum\u00e9 et biographie)<\/li>\nPublication pr\u00e9vue septembre-octobre 2025<\/li>\n<\/ul>\nEnvoyer les propositions \u00e0 :<\/h2>\n\nBenoit Lafon benoit.lafon@univ-grenoble-alpes.fr<\/a><\/li>\nLaurie Schmitt laurie.schmitt@univ-grenoble-alpes.fr<\/a><\/li>\nFran\u00e7ois Jost francois.jost@sorbonne-nouvelle.fr<\/a><\/li>\n<\/ul>\n\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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\u00a0<\/strong><\/p>\nR\u00e9f\u00e9rences : <\/strong><\/h2>\nBroudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Broudoux Evelyne, 2011, \u00ab Le documentaire \u00e9largi au Web \u00bb, Les\u00a0 Enjeux\u00a0 de\u00a0 l\u2019information\u00a0 et\u00a0 de\u00a0 la\u00a0 Communication<\/em>, http:\/\/www.cairn.info\/revue-les-enjeux-de-l-information-et-de-la-communication-2011-.html<\/a><\/p>\nCampion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Campion Benjamin, 2018, Le concept HBO. Elever la s\u00e9rie t\u00e9l\u00e9vis\u00e9e au rang d\u2019art, <\/em>Presses universitaires Fran\u00e7ois-Rabelais, Paris, 2018.<\/p>\nCNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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CNC, 2024,\u00a0Le march\u00e9 du documentaire en 2023<\/em>, juin 2024.<\/p>\nDelaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Delaporte Chlo\u00eb, 2015, Le genre filmique. Cin\u00e9ma, t\u00e9l\u00e9vision, internet, <\/em>Presses Sorbonne Nouvelle, Paris.<\/p>\nGuibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Guibert G\u00e9r\u00f4me, Rebillard Franck, Rochelandet Fabrice, 2016, M\u00e9dias, culture et num\u00e9rique. Approches socio\u00e9conomiques<\/em>, Armand Colin Paris.<\/p>\nJost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Jost Fran\u00e7ois, 2019, \u00ab Extension du domaine t\u00e9l\u00e9visuel \u00bb, T\u00e9l\u00e9vision<\/em>, vol. 1, n\u00b0 10, p. 17-31.<\/p>\nJost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Jost Fran\u00e7ois (dir.), 2010, \u00ab T\u00e9l\u00e9vision et r\u00e9alit\u00e9 \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b01, CNRS Editions<\/p>\nLafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Lafon Benoit, 2017, \u00ab M\u00e9dias sociaux : l\u2019extension du domaine m\u00e9diatique par l\u2019industrialisation du relationnel \u00bb, Les Enjeux de l\u2019Information et de la Communication<\/em>, n\u00b0 18, vol. 3A, p. 77-88, [En ligne] Disponible \u00e0 l\u2019adresse : https:\/\/lesenjeux.univ-grenoble-alpes.fr\/2017\/supplement-a\/04-medias-sociaux-lextension-du-domaine-mediatique-par-lindustrialisation-du-relationnel\/<\/a><\/p>\nLe Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Le Champion R\u00e9my, Danard Beno\u00eet, 2014,\u00a0Les programmes audiovisuels<\/em>. Collection : Rep\u00e8res, La D\u00e9couverte.<\/p>\nLe Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Le Diberder Alain, 2019, La nouvelle \u00e9conomie de l\u2019audiovisue<\/em>l, Editions de la D\u00e9couverte, Paris.<\/p>\nMonnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Monnet-Cantagrel H\u00e9l\u00e8ne, Neuvillers Marie-Caroline (dir.), 2024, \u00ab Formats : transformations et variations,<\/em> \u00bb, T\u00e9l\u00e9vision<\/em>, n\u00b015, CNRS Editions<\/p>\nNiney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Niney Fran\u00e7ois, 2009,\u00a0Le Documentaire et ses faux semblants<\/em>, Paris, Klincksieck, coll. \u00ab 50 questions \u00bb.<\/p>\nPailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le documentaire d\u00e9multipli\u00e9\" \/>\n<meta property=\"og:description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. De la t\u00e9l\u00e9vision \u00e0 l\u2019audiovisuel : programmation, \u00e9critures, production\u00a0\u00bb sous la direction de Benoit Lafon et Laurie Schmitt.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/le-documentaire-demultiplie\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-04T08:19:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-11-04T08:19:58+00:00\" \/>\n<meta name=\"author\" content=\"Laurie Schmitt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"author\":{\"name\":\"Laurie Schmitt\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#\\\/schema\\\/person\\\/cdfb8cc55e8fd8823b3d944276ef447f\"},\"headline\":\"Le documentaire d\u00e9multipli\u00e9\",\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\"},\"wordCount\":3045,\"publisher\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#organization\"},\"keywords\":[\"Audiovisuel\",\"Documentaire\",\"\u00c9critures\",\"Production\",\"t\u00e9l\u00e9vision\"],\"articleSection\":[\"AAC Publications\",\"Article\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"url\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/aac-publication\\\/le-documentaire-demultiplie\\\/\",\"name\":\"Le documentaire d\u00e9multipli\u00e9\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.sfsic.org\\\/en\\\/#website\"},\"datePublished\":\"2024-11-04T08:19:56+00:00\",\"dateModified\":\"2024-11-04T08:19:58+00:00\",\"description\":\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Pailliart Isabelle, 2019, \u00ab M\u00e9diatisation et espace public \u00bb, in <\/em>Lafon B. (dir.), M\u00e9dias et m\u00e9diatisation. Analyser les m\u00e9dias imprim\u00e9s, audiovisuels, num\u00e9riques<\/em>, Grenoble, PUG, p. 191-211.<\/p>\nSalles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Salles Chlo\u00eb, Schmitt Laurie, 2017, \u00ab Les webdocumentaires, un terrain d\u2019exp\u00e9rimentation num\u00e9rique \u00bb,\u00a0Sur le journalisme<\/em>, Universit\u00e9 libre de Bruxelles, volume 6, n\u00b01, p. 158-171. URL :\u00a0\u00a0http:\/\/www.surlejournalisme.kinghost.net\/rev\/index.php\/slj\/article\/view\/297\/190<\/a><\/p>\nSchmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Schmitt Thomas, 2002,\u00a0\u00ab Le cin\u00e9ma documentaire \u00e0 la t\u00e9l\u00e9vision \u00bb, in Creton Laurent (dir.),\u00a0Le cin\u00e9ma \u00e0 l\u2019\u00e9preuve du syst\u00e8me t\u00e9l\u00e9visuel,<\/em>\u00a0CNRS Editions, Paris, p. 207-217.<\/p>\nSoulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Soulez Guillaume et Kitsopanidou Kira (dir.), 2015, \u00ab Le levain des m\u00e9dias. Forme, format, m\u00e9dia \u00bb, Paris,\u00a0MEI (M\u00e9diation et information)<\/em>, no<\/sup>\u00a039<\/p>\nStephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. 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Stephan\u00a0Ga\u00ebl, 2023, Produire<\/em>,\u00a0disent-ils – Plateformes num\u00e9riques et transformations d’une profession<\/em> ; Editeur : Presses des Mines, Paris.<\/p>\n[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. 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[1]<\/a> \u00ab Le documentaire de cr\u00e9ation se r\u00e9f\u00e8re au r\u00e9el, le transforme par le regard original de son auteur et t\u00e9moigne d\u2019un esprit d\u2019innovation dans sa conception, sa r\u00e9alisation et son \u00e9criture. Il se distingue du reportage par la maturation du sujet trait\u00e9 et par la r\u00e9flexion approfondie, la forte empreinte de la personnalit\u00e9 d\u2019un r\u00e9alisateur et (ou) d\u2019un auteur<\/em> \u00bb. \u00bb (Schmitt, in Creton, 2002 : 208)<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\taaa-television-16-documentaire-demultiplie (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nAudiovisuel<\/span><\/a><\/li>\nDocumentaire<\/span><\/a><\/li>\n\u00c9critures<\/span><\/a><\/li>\nProduction<\/span><\/a><\/li>\nt\u00e9l\u00e9vision<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLe documentaire d\u00e9multipli\u00e9<\/title>\n<meta name=\"description\" content=\"La revue T\u00e9l\u00e9vision lance un appel \u00e0 contributions pour son num\u00e9ro 16, intitul\u00e9 \u00ab\u00a0Le documentaire d\u00e9multipli\u00e9. 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Mis en ligne le 27 octobre 2024 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 23\/12\/2024 Type de r\u00e9ponse R\u00e9sum\u00e9 Type de contribution attendue Article Nom […]<\/p>\n","protected":false},"author":1104,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[111,593,166,107,471],"thematique":[35],"sfsic":[],"class_list":["post-32880","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-audiovisuel","tag-documentaire","tag-ecritures","tag-production","tag-television","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n