C. BERTHO LAVENIR COURS
HISTOIRE CULTURELLE
Licence
Premier semestre 2010-2011
« Culture populaire, culture de masse et mass medias. 1910-2006 »
Purpose of the Course: The course aims to enable students to master, in the context of work on the cultural history of the twentieth century, the concepts of " ; popular culture, "" mass culture "and" mass media ", so they can implement in their choice of thesis topic by a master. It will consist of lectures of two hours combining theoretical approach and case analysis. The examples are mainly drawn from the history de l’Europe et des Etats-Unis.
On attendra des étudiants
- qu’ils connaissent dans le détail les notions et exemples abordées en cours ;
- qu’ils puissent les mettre en œuvre pour répondre à une question d'examen;
- qu’ils aient lu le manuel recommandé et au moins consulté les autres ouvrages cités dans la bibliographie
Contrôle des connaissances :
- un dossier
Le dossier devra être réalisé à l’aide d’un logiciel de traitement de texte, comporter des illustrations, avec légende et mention de la source, ainsi qu’une bibliographie en forme. Il ne devra pas dépasser huit pages (voir détails ci-dessous)
- un devoir sur table
Bibliographie
F. Barbier et C. Bertho Lavenir, Histoire des médias, de Diderot à Internet , A. Colin, 2003 (chapitres cinéma-radio-télévision-internet)
C. Bertho Lavenir, La démocratie et les médias , A Colin, 2000
Jean Loup Bourget Hollywood norm and the margin , Nathan cinema. Bibliography
completed during
I. COURSE CALENDAR
Thursday, October 7
Course No. 1 Forms of popular culture in the twentieth century
The beginnings of cinema as popular culture
Thursday, October 14
Hollywood cinema, a cultural industry (1)
Thursday, October 21
Hollywood cinema, a cultural industry (II)
Thursday, October 28 University Holiday
Thursday, November 4
Radio in the U.S.: the logic of hearing
Thursday, November 11: ferial
Thursday, November 18
television in the United States: The Birth of a mass media
Thursday, November 25
Critiques of mass culture
Thursday, December 2
Television as Popular Culture
Thursday, December 9
Internet and the reconfiguration of the mass media
Thursday, December 16
duty table
January 2011 - Ms Bertho Lavenir absent.
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II. DUTY LEISURE
Topic: "Choose a film produced by a Hollywood studio before 1960 and show how this film is both an industrial object and a work of art. You
first described the conditions of production that determine the film developed as an object:
- production conditions
- Studio organization,
- budget,
- personality and position, or producers,
- self-censorship and the Hays Code enforcement,
- "final cut" and / or "happy ending",
- advertising (Analysis of the poster), promotion. Warning there are posters different countries.
- use the star system. Tell how the characteristics of the stars contributing to the publicity of the film.
also will explain how this film can be considered a work:
- Gender:
- What genre is the movie (western gangster, comedy ...)?
- he obeys the rules of the genre?
-how deviates he renews or there?
- author:
- the director is considered to be a writer? since when? by whom? what are his other films?
-critical reception - what the critics said learned of this movie? when? in what media? Make a difference between criticism and scholarly literature promotional
- Film and Society
If the topic prompted, explore the film's relationships with contemporary society Is it a:
- entertainment, a political fable, a committed film ... (Note: the film is never a reflection of society. It's always more complicated.)
Conclusion summary form.
-----------------------------------
Form: having achieved word processing, including a bibliography and footnotes. Maximum size: eight pages. One or two well-chosen illustrations, captions and comments. I did not need the "technical"
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Recommendations; Read about the subject: movie produced in Hollywood and before 1960.
This topic is chosen so as to induce you to read history books or movies. The best approach is to first find a reference book on a director (Frank Capra, Cecil B. De Mille etc..) Or a genre (comedy, westerns, film noir ...) and then choose the movie. This way you'll have some of the elements necessary for your work. Also I do not ask you how she looks on film, I ask you to identify the fact that criticism has produced an aesthetic appreciation of him, which is different. You also avoid the testimonials rave about the acting ...
Delivery date to be specified
Do not send me any duty by mail please.
-
A small filmography to help you choose
STUDIO TITRE DATE GENRE
Columbia M. Deeds Goes to Town 1936 Comédie sociale
Columbia The Lady from Shangai La Dame Shanghai 1946 Drama
XXth Century Fox The Prisoner of Shark Island I did not kill Lincoln Historical drama
Liberty Films It's a Wonderful Life Wonderful Life 1946 Comedy
MGM The Big Store The Marx Brothers department store in 1941 Burlesque
MGM A Day at the Races A Day at the Races 1937 Burlesque
MGM Ivanhoe Ivanhoe 1952 Adventure
MGM The Philadelphia Story Comedy
MGM Ziegfield Ziegfield Follies Follies 1945 Film Music
MGM Bathing Beauty Bathing Beauty 1944 aquatic ballet
MGM The Shop Around the Corner Go 1940 MGM comedy
Gone with the Wind Gone with the Wind 1939 Drama
Paramount Roman Holiday Roman Holiday 1953 Comedy
Paramount Rear Window Rear Window 1954 Drama
Paramount The Man Who Shot Liberty Valance The Man Who Shot Liberty Valance 1961 Western
The Scarlet Empress Paramount The Scarlet Empress 1934 Historical drama
Paramount Gunfight At The OK Corral Gunfight at the OK Corral 1957 Western
Paramount Going my way The path strewn with stars 1943 Drama
Farewell My Lovely RKO Farewell My Lovely 1944 Thriller
RKO Once upon a Honeymoon Honeymoon 1942 Comedy (anti-Nazi)
RKO The Enigma of the narrow margin Chicago Express 1952 Thriller
United Artists and Warner To Have and have-nots The Port of Anguish 1944-45 Adventure
United Artists That Uncertain feeling Lost Illusions 1941 Comedy
United Artists Stagecoach Stagecoach 1939 Western
Universal Horror Frankenstein 1931
Universal His Butler's Sister The sister of my man 1946 Comedy
Warner Meet John Doe The man in the street 1941 Comedy Drama
Warner The Public Enemy Public Enemy Police 1931
Warner The Lefthanded Man The Gaucher 1958 Drama
Warning: Internet plagiarism :
You can use data from Internet by giving a precise reference to each citation.Lorsque the text is full it is in quotes and its provenance is given in footnotes. It is necessarily brief and a citation. A long text copied from Internet without indication of source is considered plagiarism.
also sticking hazardous chunks of text copied inconsistent on different sources and not responding to the question asked, even made in good faith, never give good results. Good luck
III. DOCUMENTS
1- Popular Culture Mass Culture: the opinion of educated people
Doc. No. 1 Bertolt Brecht: the "public taste", a ruse of capitalism?, 1931
Critique representations. Assertion # 2 "You can educate the public taste"
.... Suppose that the metaphysical comments about the film that our newspapers publish in the few pages that are not intended to be filled with ads was added physics is to say a vision of the mechanisms themselves, why and how the film (it is not possible, in fact, that film is only the product of diligence philanthropic of a few financiers eager to publicize the latest discoveries in technology and the finest minds of poets), which is So pass on this "backwards" so widely spread on the front that is illuminated this "front" so anxiously concealed in the back, and we present the film as a business (in poor condition) which is to fill the pump amorphous audience, unimaginable, enormous, to serve him regularly, immutably, his unvarying diet of entertainment, that does not allow more than the old methods of metaphysics to eliminate this last hurdle Absolute to progress called "public taste". Public taste, this complicated thing that costs and relates to both, is impeding progress. There is no doubt that the influence of buyers on the shaping of the product is growing and it has consequences reactionary. It therefore becomes necessary to fight for our progressive influence that this film represents buyers, these organizers provincial market. In looking more closely, these people allow themselves to exercise a function that should return to the press and our metaphysical dramas of choosing what is good for the consumer. Therefore the fight, because they are reactionary; et puis, nos métaphysiciens n’auront pas de mal à les trouver : ils se trouvent dans les pièces du fond de leurs feuilles, dans les pages d’annonces. Le goût du public, pour eux, c’est cette chose qui coûte et qui rapporte, l’expression authentique des besoins réels des masses cinématographiques. On l’établit dès lors empiriquement, et ces gens aux instincts aiguisés, qui dépendent matériellement de la justesse de leurs analyses, agissent exactement comme si les racines du goût étaient enfouies dans la situation sociale et économique des masses cinématographiques, comme si les acheteurs achetaient vraiment quelque chose, comme si l’objet purchased was determined by the situation of the buyer, and therefore as if the taste could not be changed by courts or by the aesthetic prémâchage juicy and noisy so successful that our Kerre and other Diebold [1] but at best a real and profound change of the situation "
Bertolt Brecht on film , 1931, trans. Fr 1931, 1970, p. 172
2 ° Walter Benjamin, The "mechanization" of the work of art, a real basis new aesthetic (1936)
"The mass is the matrix which, at present, engendered new attitudes vis-à-vis the work of art. The quantity is transformed into quality: masses much larger participants have produced a transformed mode of participation. The fact that this mode occurs first, discredited form must not mislead, and yet he did not fail to attack with passion in this superficial aspect of the problem. Among these, Duhamel has expressed as The most radical. The main complaint is that the film is the mode of participation it generates among the masses. Duhamel sees in the film "an entertainment island, a pastime of illiterate, miserable creatures, bewildered by their work and their concerns ..., a show that requires no effort, which requires no further action in ... thoughts, awakens in hearts no light excites no hope, if not that, ridiculous, to be one day "Star in Los Angeles" [2] ;
It Clearly, it is essentially always la vieille plainte que les masses ne cherchent qu’à se distraire alors que l’art exige le recueillement. C’est là un lieu commun. Reste à savoir s’il est apte à résoudre le problème. Celui qui se recueille devant l’œuvre d’art s’y plonge : il y pénètre comme disparut le peintre chinois qui disparut dans le pavillon peint sur le fond de son paysage. Par contre la masse, de par sa distraction même, recueille l’ouvre d’art dans son sein, elle lui transmet son rythme de vie, elle l’embrasse de ses flots […].
Walter Benjamin, Ecrits français , "The Work of Art in the Age of Mechanical Reproduction," XVIII Folios Tests, 2003, 499 p., pp. 214-215
Doc No. 3 Theodor W. Adorno: the culture industry (1951)
"Nowadays when the consciousness of leaders begins to coincide with trends in wider society, the tension between culture and kitsch is disappearing. Culture continues to lead his opponent to follow him she despises, she supports it. By administering the whole of humanity, it operates at the same time the rupture between humanity and culture. Even coarseness, brutality and tight imposed objectively oppressed are handled with subjective sovereignty in humor. Nothing could more accurately define this state in both full and antagonist that incorporation of barbarism. Yet in doing the will of the manipulators can invoke the universal will. Their mass society has not only produced junk for customers, she produced the customers themselves. They were hungry for cinema, radio and magazine, some dissatisfaction has ever left them in the order that they take without giving in return what it promises, it has continued to burn for the jailer remember them and finally offers his left hand to the hungry stones on which the right hand refuses bread. Without the slightest resistance, the citizens of a certain age - who should have known something else - falling from a quarter century in the arms of the entertainment industry who knows so well to build on hungry hearts. "
Theodor W. Adorno, Minima Moralia . Reflections on life maimed , Payot, [1951], 2003, 357 p., "The Palace of Janus, pp. 199 p. 200
Doc No. 4 Marcuse, art and alienation
Absorbed in the good, the art of loses its challenge to the world order to become one tool among many social conformity .
"Currently this essential distance between the arts and about every day is gradually abolished by the technical progress of society. The great refusal is denied. The "other dimension" is absorbed by the prevailing world affairs. The works in the distance are themselves incorporated into this company and they circulate as part and piece of hardware that adorns psychoanalysis and the prevailing world affairs, so they sell - they sell they comforting or they excite. Advocates of mass culture are ridiculous to protest against the employment of Bach as background music in the kitchen against the sale of works of Plato, Hegel, Shelley, Baudelaire, Marx and Freud, to the drugstore. They insist that the classics have left the mausoleum and came back to life, the fact that thus the public is educated. That's true but if they return to life as classic as they relive other than themselves, they are deprived of their antagonistic force, their strangeness that was the very dimension of their truth. The purpose and function of work has fundamentally changed. While initially they were inconsistent with the status quo, this contradiction has now disappeared. "
Herbert Marcuse, One Dimensional Man , Minuit, [1964], 1968, p. 88
II. Broadcasting years 1930-60:
Doc No. 5: [The information in France in 1935. ]
"What can be observed in 1935, is the dismay of the press, and newspapers from noon to appear increasingly early, the evening papers that come out to noon. Competition extravagant multiplies the pages and assign to each new prestige to the death of the illustration, which gradually reduces to a text already inadequate for several reasons. They are full of portraits of statesmen, especially as they travel constantly and is free to enter them in the same week in all stations of Europe. Documented studies are less popular and serene in major newspapers as murder, disaster, scandal which remain the best place. The image, so pervasive, decreases gradually in the reader all power of reflection. One may wonder if most des journaux qui ont encouragé la radiodiffusion ne le paieront pas de leur existence. En attendant, on les verra plus illustrés encore et s’abandonnant davantage au hasard, ce maître de l’heure, car c’est toujours lui, en fin de compte, qui préside aux mises en page, fût-ce aux dépens des idées des commanditaires.
Le journal parlé remplacera cette presse. On doit du moins se poser la question. Seuls subsisteraient les journaux de commentaire, de critique sérieuse et de documentation, qui seront toujours indispensables aux élites. Il est possible que la grande presse, pour avoir refusé sa mission qui était l’éducation National or have ignored or punished, as it is true that always takes revenge in mind when he was betrayed. Liberalism does not license, baseness, error, confusion. "Freedom," said Clemenceau, is the right to do his duty. " It is quite certain that the press has not always benefited from the extraordinary freedom that the French Revolution had given him, facilitating the attainment of all humans, to help all readers to become men in nurturing harmony their bodies and minds. It does not say that the broadcaster does not facilitate Nor curiosities noble citizens and will continue to despise them. That it is perhaps more difficult for the leadership of a national position to misuse its airwaves as a newspaper editor to pervert its leaf, because its action is more extensive , and it forces him to trust in man but the newspaper has lost.
With the modern newspaper radio, the merger of state and journalism is done or about to be. There will be no fight, no haggling, no compromise on either side. Journalist become official in a healthy but cautious conformism. Statesmen, to educate the masses, find an organization willing to greater things.
Maurice Martin du Gard French Encyclopedia. Dir Lucien Febvre .
Volume X The modern state. 1935
* Roger Martin du Gard is a writer (1881-1958). In the inter-war years he published a great novel in 9 volumes Les Thibault (1922-1940 ) in which he analyzes thoroughly French society on the eve of 1914. Among other writings he published in 1933 Vieille France, satirical.
Doc. No. 6 Recommendations to announcers on major U.S. stations (1960)
presenters and programmers were continually told to respect the following rules on the main American stations in the years 1955-65
"- Talking to quickly create enthusiasm
- Absolutely no downtime
- Never use the word "record". Use "Music" Song "or" piece "
- Never comment negatively on a piece
- Talking about IPOs or music discs, but never on songs
- Advertise, Advertise Advertise ;: Information to come, the weather ahead, the next contest, the new dic jockeys, etc..
- Fix in advance and observe the number of times the speaker will give an hour, the weather will call for letters of auditors or appoint leaders. Watch the clock.
... "
Philip K. Eberly, Music in the Air: America's Changing Tastes in Popular Music , 1982, pp. 202-6
III. Hollywood. Birth of a cultural industry
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IV. ° "Going to the cinema, a cultural practice (1900-1950) Europe EU
Doc. No. 7. General statistics on U.S. theaters
| Years | Total cinemas Thousands | weekly attendance Million Lbs | Fare | Box Office Million $ |
| 1923 | 15 | 43 | - | 336 |
| 1931 | 22 | 70 | | 719 |
| 1933 | 18,6 | 50 | 0,23 | 482 |
| 1937 | 10,2 | 60 | 0,23 | 676 |
| 1939 | 17,6 | 60 | 0,23 | 659 |
| 1942 | 20,3 | 77 | 0,27 | 1022 |
| 1943 | 20,3 | 84 | 0,29 | 1275 |
| 1946 | 19 | 82 | 0,40 | 1692 |
| 1953 | 18,5 | 42 | 0,58 | 1187 |
| 1963 | 14,9 | 22 | 0,82 | 904 |
| 1973 | 14,7 | 17 | 1.77 | 1524 |
| 1986 | 19.6 | 19 | 3.67 | 4252 * (1987) |
Evolution of the age of the audience (as% of total)
| Age | 1970 | 1985 | 1990 |
| 12-15 | 16 | 14 | 11 |
| 16-20 | 27 | 21 | 20 |
| 21-24 | 16 | 18 | 11 |
| 25-29 | 13 | 14 | 14 |
| 30-39 | 12 | 18 | 20 |
| 40 and over | 16 | 15 | 26 |
Bordat Francis (eds), Michel Etcheverry, hundred years to go to the movies. The cinema show in the United States, 1896-1995 , PUR, 1995 177
V. Film Societies and Festivals: cinema as culture cultivated (1920-1980)
Doc. No. 8 Chahut surreal at the screening of the film by Germaine Dulac The shell and the clergyman the studio Ursuline (February 1928)
" Last Thursday, the studio Ursuline gave the dress rehearsal of his new show. It projected a film of the same Dulac, the shell and the clergyman, the work of hallucination is the story of a nightmare. The audience watched with interest the curious production, when in the room they heard a voice ask: "Who did this film?" What
another voice replied: "c is Ms. Germaine Dulac "
- First Voice - What Ms. Dulac?
- Second Voice - is a cow.
Before the coarseness of the term, Armand Tallier, the affable director of Ursuline runs, makes reference to the light and the two ... They were disruptive Antonin Artaud, a surreal, slightly mad and a bit manic, author of the scenario film and thus manifested his displeasure against Ms. Dulac, accusing him of misrepresenting his "idea" (a crazy idea). And him with another well-known Surrealist, it seems, sometimes has the talent! Summoned by
Tallier of excuse, they found no answer to the word of Cambronne and other garbage, and were soon assisted in this task by some other surrealists, who had heckled the same day to the Tribune Free. But the film personalities present are left to do and Tallier in mind, "emptied with fists and feet band Artaud Company and which, in rage, broke the ice hall, uttering little cries bizarre : "Gulu Gulu ... ..."
Le Charivari, 18 February 1928
VI. TV in the USA: the model of mass media (1950-1990)
Doc No. 9 Calculations hearing
" To measure customer and thus justify its advertising rates, the TV uses the rating or audience ratings (percentage of households with de TV qui a suivi une émission ) surtout pour la soirée. Et elle utilise le share ou part d’audience (pourcentage des foyers regardant la TV qui a suivi une émission) surtout pour la journée. Le premier intéresse surtout les programmateurs ; le second surtout les annonceurs.
En 1994, un point de rating représentait 954 000 foyers (chacun comptant en moyenne 2,58 personnes). Une cinquantaine de firmes calculent les indices locaux et nationaux. Pour la TV et le câble, Nielsen fait autorité : ses ordinateurs relèvent les compteurs intégrés aux téléviseurs de 4000 foyers, des peoplemeters censés fournir la composition démographique de l’audience. En outre, on place des registres à remplir. Pour calculer l’audience de chaque station, des sondages ( sweeps ) sont faits pendant un mois quatre fois dans l’année.
Quoique contestés, les indices exercent une dictature sur la programmation : pour un network en effet un point de différence dans le rating annuel de la soirée représentait près de 100 millions de dollars de revenus en plus ou en moins. Fin 1994, les taux moyens de soirée étaient 10,9 pour CBS, 10,5 pour ABC, 9,5 pour NBC, 8 pour Fox. Il est intéressant de les comparer à certains des ain cable networks: USA, 2.4, TBS, 2.0, ESPN, 1.3. "
Quoique contestés, les indices exercent une dictature sur la programmation : pour un network en effet un point de différence dans le rating annuel de la soirée représentait près de 100 millions de dollars de revenus en plus ou en moins. Fin 1994, les taux moyens de soirée étaient 10,9 pour CBS, 10,5 pour ABC, 9,5 pour NBC, 8 pour Fox. Il est intéressant de les comparer à certains des ain cable networks: USA, 2.4, TBS, 2.0, ESPN, 1.3. "
Claude-Jean Bertrand, Media U.S. , what have I, 1995 70
VII. Television as a public service
Doc. No. 10 surveys of viewers to the RTF (1960 )
"It began in 1954 polls on television, three types of surveys were conducted concurrently: household surveys, questionnaires and telephone surveys to be returned (at a time when France was severely under-equipped telephone lines) [...] The telephone surveys were past two weeks a month (except Sundays and lack of money to do so during the whole month); ten operators were calling each evening a dozen owners of television and the proportion of responses was to about 65%. [...]
The questionnaire sent out every month with a reply paid thousands of viewers turned into a minute-"My screen and I" sent every fortnight to several thousand viewers. The number of responses obtained by this means advantageously replaced the previous system "
polls on TV asking" Do you love me? "And not" Are you listening? , "as it is today Investigations for a hearing in France. Pollsters say so openly that it is not their subject: "Some polls strictly commercial purposes, practiced especially in the USA and only based on immediate reactions of the viewer - he lights his post, he never turned off as minutes ... - unpleasantly reminiscent of the physiological experiments performed in laboratories on dogs, you do not ask the opinion of the animal but is controlled reactions. Our surveys involve the discernment of the French and not physical reactions that allow instant not to eliminate misunderstandings and does not outline auncune indication of the direction in which to act to gain the confidence and esteem "()"
Cecile Méadel, "This great unknown both studied, the viewer," in Coll. The great adventure of the small screen .. French TV 1935-1975 , CID / MHC / INA, 1997, pp. 239-240
VIII private Italian television, seduction and controversies
Doc. No. 11 : Pier Paolo Pasolini, Against the standardization of taste
I. "Terror among intellectuals ... (handwritten notes, May 1966)
Pasolini, sick, look at a television show where guests are friends of his, committed writers
" I I was a viewer at the time and I looked into his eyes. Yes, they knew they were miserable. Maybe a little less Carlo Bo - because he found himself saying things so obvious and fair to him he had sold nothing. But the others? Were not there, hand in the bag? He could decently be told that there, in that place, they had enjoyed full freedom of speech? And I especially want to point out is that they had tacitly agreed to keep quiet. They censor themselves. And they knew very well where they had to stop. They knew very well what were the things they should not say, as children watched their father. "
in Against TV and other writings on politics and society , The unwanted loners, 2003, pp.47-48.
II. "Even the title is stupid" (October 8, 1972)
Response to Inquiry variety show on Rai Uno "Canzonissima" at the beginning of the 1972-73 season
"Even the title is unbearably stupid. His idiocy is blackmail, because it implies a sort of complicity in bad taste, and because it is imposed in the name of conformity that the vast majority agrees. And what can be said of the title, we can also say the whole issue. It is an odious blackmail that lightness, superficiality, ignorance and vanity are being imposed as a condition of soul and a human condition ... binding.
When the workers of Turin and Milan will begin to fight also for a real democratization of this unit what fascist television, we can really begin to hope. But as all citizens and workers, were gathering in front of their TV to be humiliated in this way, there will be only the impotence of despair "
Ibid. P. 40
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[1] Reviews
[2] Georges Duhamel, Scenes de la vie future , Paris, 1930 p. 58.
Jean Oulif "rating télépectateurs and approach" [2] , Study Series of Radio-Television , PUF, No. 8, 1956
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