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Books on the topic 'Analyse de contenu vidéo'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Bardin, Laurence. L' analyse de contenu. 7th ed. Paris: Presses universitaires de France, 1993.

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2

Bardin, Laurence. L' analyse de contenu. 9th ed. Paris: Presses universitaires de France, 2001.

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3

Annick, Bouillaguet, ed. L' analyse de contenu. Paris: Presses universitaires de France, 1997.

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4

L' analyse de contenu. Paris: Presses universitaires France, 2007.

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5

La̓ nalyse de contenu. 4th ed. Paris: Presses Universitaires de France, 1986.

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6

Ghiglione, Rodolphe. Analyse de contenu et contenus d'analyses. Paris: Dunod, 1991.

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7

Vettraino-Soulard, Marie-Claude. Lire une image: Analyse de contenu iconique. Paris: Armand Colin, 1993.

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8

Mucchielli, Roger. L' Analyse de contenu des documents et des communications: Connaissance du problème, applications pratiques. 6th ed. Paris: Editions ESF, 1988.

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9

Duchastel, Jules. Système d\U+2019\analyse de contenu assistée par ordinateur (SACAO). Chicoutimi: J.-M. Tremblay, 2012. http://dx.doi.org/10.1522/030430804.

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10

Marcotte, Philippe. La presse hebdomadaire régionale du Québec: Analyse de l'évolution de son contenu. Sainte-Foy, Québec: Centre d'études sur les médias, 2007.

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11

Bonville, Jean de. L' analyse de contenu des médias: De la problématique au traitement statistique. Bruxelles: De Boeck Université, 2000.

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12

Bonville, Jean de. L' analyse de contenu des médias: De la problématique au traitement statistique. Bruxelles: De Boeck, 2006.

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13

Katerynuk, Kathy Lynn. Analyse du contenu socio-culturel de deux méthodes pour l'apprentissage du français, langue seconde. Sudbury, Ont: Département de français, Université Laurentienne, 1991.

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14

Mucchielli, Alex. L' entretien projectif. Paris: Eyrolles, 1992.

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15

L'Ecuyer, René. Méthodologie de l'analyse développementale de contenu: Méthode GPS et concept de soi. Sillery, Québec: Presses de l'Université du Québec, 1990.

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16

L'Écuyer, René. Méthodologie de l'analyse développementale de contenu: Méthode GPS et concept de soi. Sillery, Qué: Presses de l'Université du Québec, 1990.

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17

Gareau, Gertrude. Le programme-cadre d'enseignement religieux catholique francophone de l'Ontario de 1988: Contexte historique, processus de production et analyse du contenu. [s.l.]: G. Gareau, 1995.

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18

Levasseur, Jean. Anatomie d'un référendum (1995): Le syndrome d'une désinformation médiatique et politique. Montréal: XYZ éditeur, 2000.

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19

Naville-Morin, Violette. L' écriture de presse. Sainte-Foy: Presses de l'Université du Québec, 2003.

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20

Tchindji, Pierre-Paul. Le régime camerounais de répression judiciaire des infractions de presse: Analyse critique du système contenu dans la Loi 90/052 du 19 décembre 1990. Yaoundé, Cameroun: Fondation Friedrich Ebert au Cameroun, 1996.

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21

Déry, Richard. La structuration discursive de la problématique de la décision dans la revue Administrative Science Quarterly: Une contribution à l'épistémologie des sciences de l'organisation. S.l: s.n, 1989.

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22

Melissa, Rach, ed. Content strategy for the Web. 2nd ed. Berkeley, CA: New Riders, 2012.

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23

Coster, Maggy Lizaire-De. Analyse du discours de presse: Profil de deux hebdomadaires haïtiens des Etats-Unis, Haïti en marche et Haïti-observateur, et analyse de contenu de l'incendie de l'Eglise Saint Jean Bosco, base du père Jean-Bertrand Aristide. Port-au-Prince, Haïti: Editions Choucoune, 1996.

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24

Bernard, Merialdo, and Lian Shiguo, eds. TV content analysis: Techniques and applications / Yiannis Kompatsiaris, Bernard Merialdo, and Shiguo Lian. Boca Raton, FL: Taylor & Francis, 2012.

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25

Turner, James M. Images en mouvement: Stockage, repérage, indexation. Sainte-Foy: Presses de l'Université du Québec, 1998.

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26

Gervereau, Laurent. Inventer l'actualité: La construction imaginaire du monde par les médias internationaux. Paris: La Découverte, 2004.

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27

Shoemaker, Pamela J. Mediating the message: Theories of influences on mass media content. New York: Longman, 1991.

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28

Shoemaker, Pamela J. Mediating the message: Theories of influences on mass media content. 2nd ed. White Plains, N.Y: Longman, 1996.

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29

Maillet, Lucienne G. Subject control of film and video: A comparison of three methods. Chicago: American Library Association, 1991.

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30

The God of the prophets: An analysis of divine action. Sheffield, England: Sheffield Academic Press, 1997.

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31

Coelho, Alessandra Martins. Multimedia Networking and Coding: State-of-the Art Motion Estimation in the Context of 3D TV. Cyprus: INTECH, 2013.

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32

Lenz, Carl Otto, and Klaus-Dieter Borchardt. Der Vertrag über eine Verfassung für Europa: Einführung, Text der Verfassung, Protokolle und Erklärungen. Baden-Baden: Nomos, 2004.

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33

D, Powers Steve Ph, ed. How to watch TV news. New York, N.Y: Penguin, 2008.

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34

D, Powers Steve Ph, ed. How to watch TV news. New York, N.Y., U.S.A: Penguin Books, 1992.

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35

l, Bardin. L' analyse de contenu, 10e édition. Presses Universitaires de France - PUF, 2001.

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36

Fudge, Heather Lynn. Structure et contenu dans une sélection de contes populaires acadiens: Une analyse sémio-narrative. 2001.

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37

Korsgaard, Mathias Bonde. Music Video Transformed. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.015.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter asks what music video has become today and how its audiovisual aesthetics have changed online. It suggests that music videos generally through process of remediation content more actively than any other media form, performing the dual function of “visualizing music” (by recasting a song visually) and “musicalizing vision” (by structuring images according to musical logic). The discussion identifies and provides an overview of several new music video types that have come into existence online, placing them in five categories. In particular, the chapter focuses on interactive music videos and music video apps through close analyses of both Arcade Fire’s interactive video “We Used to Wait” and Björk’s interactive “app album”Biophilia. Both of these actively challenge what we have come to expect of music videos while still performing some familiar functions, prompting us to consider whether they are even music videos.

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38

McAlpine, Kenneth B. Bits and Pieces. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.001.0001.

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This book explores the development of and the social, cultural, and historical context of chiptune, a form of electronic music that emerged from the first generation of video game consoles and home computers in the 1980s. Through a combination of musical and procedural analysis and practitioner interviews, the book explores the role the technical constraints of early video game hardware played in shaping the sound of 8-bit video game music and the inventive approaches to coding and composition musicians used to circumvent them. It examines the sounds, culture, and personalities behind the music and shows how chiptune links as closely to the music of Bach as to the aggressive posturing of punk or the driving electronic sounds of house. The book begins by looking at chiptune’s roots in video game music and discusses how, as the sound chips that gave rise to its distinctive voice were superseded by more sophisticated hardware, chiptune moved underground to become an important part of the demoscene, a networked community of digital artists. It discusses chiptune’s reemergence in the late 1990s as a new wave of young musicians rediscovered these obsolete machines and began to use them as quirky and characterful musical instruments, in the process taking chiptune from the desktop and placing it centre stage. The book concludes by contemplating what lies ahead; as more people incorporate the chiptune sound into their work, will it ever hit the mainstream or will it remain firmly countercultural as part of the digital underground?

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39

Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.

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40

Liu, Chih-Chieh. Denaturalizing Coco’s “Sexy” Hips. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.018.

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This chapter, starting from a seemingly standardized dance promotion in Mandarin pop, one of the dominant music genres in East Asia, attempts to reveal the cultural logics and to denaturalize the corporeal discourses behind what is commonly perceived as the “naturally” spectacular hip movement of a Chinese-American superstar, Coco Lee, whose dance is, in Taiwan, often linked with the idea of “sexiness” and “American-ness.” Calling upon Judith Butler’s idea of performativity (1990) in tandem with Richard Dyer’s notion of star image (1979) and the concept of the dancing body (Thomas 1995; Foster 1996), this chapter, using music video analysis (Vernallis 2004; Beebe and Middleton 2007), delineates Coco’sHip Hop Tonight(2006) to point out the contradictions and reversals of the body in contemporary multimedial context in that “sexiness” is desexualized, “American-ness” is Sinocized, and the meaning of “Chinese-ness” continues to shift according to local cultural and political sensibilities. In this process, music video becomes an intersecting point in which cultural boundaries negotiate and body politics fight to gain the upper hand, revealing a web of complex power struggles in Taiwan where meaning of the body is locally produced yet globally contested.

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41

Fortin, Bernard. La conception du conservatisme du Times de Londres, 1957-1963. 2004.

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42

Clasen, Mathias. Why Horror Seduces. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.001.0001.

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This book explains the appeals and functions of horror entertainment by drawing on cutting-edge findings in the evolutionary social sciences, showing how the horror genre is a product of human nature. It is the first book to integrate the study of horror with the sciences of human nature and to offer a sustained analysis of the ways in which our evolutionary heritage constrains and directs horror in literature, film, and computer games. The central claim of the book is that horror entertainment works by targeting ancient and deeply conserved neurobiological mechanisms. We are attracted to horrifying entertainment because we have an adaptive tendency to find pleasure in make-believe that allows us to experience negative emotions at high levels of intensity within a safe context. This book offers a detailed theoretical account of the biological underpinnings of the paradoxically and perennially popular genre of horror. The theoretical account is bolstered with original analyses of a range of well-known and popular modern American works of horror literature and horror film to illustrate how these works target evolved cognitive and emotional mechanisms to fulfill their function of absorbing, engaging, and horrifying audiences: I Am Legend (1954), Rosemary’s Baby (1967), Night of the Living Dead (1968), Jaws (1975), The Shining (1977), Halloween (1978), and The Blair Witch Project (1999). The book’s final chapter expands the discussion to include interactive, highly immersive horror experiences offered through horror video games and commercial haunted attractions.

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43

La télévision et la guerre: Déformation ou construction de la réalité ? : le conflit en Bosnie (1990-1994). [Paris]: INA, 2001.

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44

Patrick, Charaudeau, and Institut national de l'audiovisuel (France), eds. La télévision et la guerre: Déformation ou construction de la réalité? : le conflit en Bosnie (1900-1994). Bruxelles: De Boeck Université, 2001.

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45

Weinel, Jonathan. Inner Sound. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.001.0001.

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Inner Sound explores how altered states of consciousness have shaped the design of electronic music and audio-visual media. The book begins by discussing consciousness, and how this may change during states such as dreaming, psychedelic experience, meditation, and trance. Next, a variety of shamanic traditions are reviewed, in order to explore how indigenous societies have reflected visionary experiences through visual art and music. This provides the necessary background from which to consider how analogue and digital audio technologies enable specific capabilities for representing or inducing altered states of consciousness in psychedelic rock, electronic dance music, and electroacoustic music. Developing the discussion to consider sound in the context of audio-visual media, the role of altered states of consciousness in films, visual music, VJ performances, interactive video games, and virtual reality applications is also discussed. Through the analysis of these examples, the author uncovers common mechanisms, and ultimately proposes a conceptual model for ‘Altered States of Consciousness Simulations’. This theoretical model describes how sound can be used to simulate various subjective states of consciousness from a first-person perspective, in an interactive context. Throughout the book, the ethical issues regarding altered states of consciousness in electronic music and audio-visual media are also explored, ultimately allowing the reader to consider not only the design of Altered States of Consciousness Simulations, but also the implications of their use for digital society. In this way, Inner Sound explores the limits of technology for representing and manipulating consciousness, at the frontiers of electronic music and art.

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46

Griffin, William Paul. The God of the Prophets: An Analysis of Divine Action (Jsot Supplement Series, 249). Sheffield Academic Press, 1999.

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47

Benasayag, Miguel. La Fabrication de l'information : Les journalistes et l'idéologie de la communiunication. La Découverte, 1999.

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48

How to watch TV news. penguin book, 1992.

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