1,720,981 research outputs found
Francis Balle et Christine Leteinturier, La télévision, 1987
No full textBachand Denis. Francis Balle et Christine Leteinturier, La télévision, 1987. In: Communication. Information Médias Théories, volume 10 n°2-3, automne 1989. pp. 223-226
Francis Balle et Christine Leteinturier, La télévision, 1987
No full textBachand Denis. Francis Balle et Christine Leteinturier, La télévision, 1987. In: Communication. Information Médias Théories, volume 10 n°2-3, automne 1989. pp. 223-226
Les jeunes Français et la télévision canadienne
No full textBachand Denis, Fabre Jean-Bernard. Les jeunes Français et la télévision canadienne. In: Communication. Information Médias Théories, volume 8 n°3, printemps 1987. pp. 71-80
La para-littérature enfantine : le contenu des dessins animés
No full textBachand Denis, Turcotte M.-Andrée. La para-littérature enfantine : le contenu des dessins animés. In: Communication. Information Médias Théories, volume 10 n°2-3, automne 1989. pp. 173-186
Réflexions critiques à propos du spectacle de la consommation
No full textThe consumer carnival : a critical appraisal
To consume has become more than an economic activity ; it is now a cultural trait of modern society. To paraphase Shakespeare, the author could proclaim : "to consume is to play-act, and the consumers are the actors". We live in a society where the dominant ideologies permeate every facet of daily life. To hold together this ideological cocoon the main cultural agents, such as publicity and the mass media, have mobilized the ressources of most if not all communication sciences : semiology, cybernetics etc.
Within this perspective, the author examines the dyad Art/Design and raises the question : is the art of marketing becoming the marketing of art ? The author describes the works of two artists, Jacques Caselman and Samuel Tore de Carvalho, and concludes by commenting on what he considers to be a prime example of the art market ; the Centre Beaubourg of Paris.Il est manifeste, estime l'auteur, que le spectacle de la consommation est devenu un phénomène permanent de la vie moderne. Il s'agit en fait d'une société cybernétisée où le totalitarisme idéologique s'infiltre dans le code social, et envahit entièrement le système de la représentation sociale. Et puis, précise-t-il, la recherche sémiologique a bonne audience dans les agences de publicité, la cybernétique dans les centres commerciaux et la communication dans les mass media. Dans le contexte de ces perspectives, certains aspects sociaux du couple Art/Design sont examinés, en considérant tout autant la culturalisation des marchandises que la marchandisation de la culture. L'oeuvre de deux artistes, Jacques Carelman et Samuel Tore de Carvalho, est brièvement décrite. Et, en guise de conclusion aux problèmes de consommation évoqués, un projet exemplaire à cet égard est commencé : le Centre Beaubourg, centre culturel récemment inauguré à Paris.Reflexiones criticas sobre el espectáculo del consomo
Es evidente, sugun el autor, que le espectáculo del consumo se ha vuelto un fenómeno permanente de la vidad moderna. Se trata de hecho de una sociedad cibernetizada donde el totalitarismo ideológico se infiltra en el código social e invade enteramente el sistema de la representación social. Además, precisa el autor, la investigación semiológica corre en las agencias de publicidad, la cibernética en los centros commerciales y la comunicación en los medios de masa. En este contexto, ciertos aspetos sociales de la pareja Arte /Design se examinan, considerando tanto la culturalización de mercancías como la mercancialización de la cultura. La obra de dos artistas, Jacques Carelman y Samuel Tore de Carvalho, se describe brevemente . A guisa de conclusión sobre los problemas de consumo evocados, se comenta un proyecto ejemplar desde este punto de vista : el Centre Beaubourg (centro cultural que recientemente fue inaugurado en Paris).Bachand Denis. Réflexions critiques à propos du spectacle de la consommation. In: Communication Information, volume 2 n°2, automne 1977. Manifeste iconique. pp. 302-316
Spectacle and Resistance in the Modern and Postmodern Eras
No full textThe advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/6472725
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Filming the In-between: Studying the Representation of Cultural Identities of Immigrant Families In Canadian and Quebec Cinema
No full textWith a statistical rise in visible, audible and cultural minorities in Canada, the importance of recognizing the relationship between immigrants,
culture and identity as constructed in collective discourse becomes paramount. Through hermeneutic and sociocritical paradigms, this research applies a constructionist approach to qualitatively analyze representations of cultural identities in Canadian and Quebec films
projecting intergenerational conflicts within immigrant families. From these analyses, five tendencies were elicited: guilt, displacement,
in-betweenness, reflections on Canadian society, and heterogeneous perspectives. While deconstructing cultural identity portrayals remains crucial, it is equally important to study these systems of meaning within production. The research is extended through the appendaged short film,Tracing Shadows, a glimpse into the voices of the Ukrainian diaspora in
Canada. Both textual analyses and the filmic creation demonstrate the symbiotic connection between society and culture, nurtured within
collective identity narratives’ depictions of time and space
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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