Le présent travail se consacre à une étude génétique de l’œuvre de Jean Eustache (1938-1981), saisie dans ses accomplissements comme dans ses projets et esquisses inachevés. En se fondant sur des archives jusqu’alors inexploitées (Cinémathèque française, Inathèque, IMEC et collections personnelles), en recueillant des témoignages inédits (producteurs, chefs opérateurs, assistants, acteurs, collaborateurs, amis et famille du cinéaste), en analysant aussi bien des scénarios, notes d’intention ou dossiers de production que les films eux-mêmes, notre recherche restitue l’ensemble du parcours créatif de Jean Eustache, dans ses tours et détours. Analyse de création, la méthode consiste à retracer de la façon la plus documentée possible la démarche qui a permis l’éclosion d’une œuvre. Comment s’articulent constance de l’entreprise autobiographique et diversité des conditions de production ? Qui amène le cinéaste à réaliser le manifeste inédit Numéro zéro (1971) ? Comment La Maman et la putain (1973) et Mes petites amoureuses (1974) sont-ils presque simultanément élaborés ? Comment l’idée des essais expérimentaux, Une sale histoire (1977) ou Les Photos d’Alix (1980), est-elle née ? Comment créer de façon aussi personnelle dans le cadre du cinéma d’auteur et dans celui de la Télévision publique ? Telles sont quelques-unes des questions factuelles auxquelles ce Doctorat répond, qui permettent d’éclairer les choix esthétiques propres à Jean Eustache. / The dissertation conducts a genetic study of Jean Eustache’s work (1938-1981) as seen through his completed films as well as unfinished projects and drafts. In being based on archives, so far undeveloped (Cinémathèque française, Inathèque, IMEC and personal collections), carrying out interviews with his former producers, directors of photography, assistants, actors, collaborators, friends, or family, and in analyzing not only his movies but also his film scripts, director’s memos or production files, the dissertation reconstructs Eustache’s whole creative journey with its twists and turns. As analysis of creation, the method seeks to trace in the most documented manner possible the process that gave rise to Eustache’s œuvre. How are connected his everlasting autobiographical undertaking and the various conditions of productions? What has leaded him to produce the filmic manifesto Number Zero (1971)? How are The Mother and the Whore (1973) and My Little Loves (1974) produced almost simultaneously? How was born the idea for experimental film essays such as A Dirty Story (1977) or Alix’s Photos (1980)? How one can create originally within both the author cinema and Public Television? This doctoral study replies to these factual questions, which enable to clarify Jean Eustache’s aesthetic and cinematic specific choices.

本論文旨在分析在我國公視建構過程中(1990~2013年)的報紙相關評論與報導。從1915年開始，台灣就有許多透過媒體改革來爭取發言權的運動。然而，直到1990年，公民社會才出現了以產權為目標的媒改運動，亦即1990年代起的公視運動。因此，我們認為公視運動可被視為公民爭取「公共領域」的重要歷程，值得進行深入分析。 其次，本文主張公視這種「公共領域」的建構過程，應以公共對話為基礎。經文獻檢閱，我們認為公媒體與公共領域有以下關聯。以制度面而言，Habermas的晚近公共領域概念強調國家必須透過立法過程來保障溝通行動，這正和公媒體的制度契合。以公共論述判準而言，Habermas的「合理政治意志形成過程」與「理性溝通」則可用來檢視，關於公視制度的討論是否符合公共性。 此外，本文選報紙評論進行分析，不是為了比較各報論述的差異，而是報紙長時間地記載各報社、社運團體成員、學者專家與社會大眾對公視議題的論述，這可讓我們檢視及反思不同階段公視運動的論述目標與特徵。另一方面，我們也檢閱了公視相關的立法院、監察院公報等資料，藉此釐清政府、媒體與公民社會三者的關係。 本研究有以下三點發現。第一，政府政策意圖是引導公視論述的關鍵因素。只有當政府對公視採取較正面態度，公民社會才有機會對公視進行深度的討論。第二，公視議題的主要論述者是報社人員與學院知識份子，其中學知對於公視向來採取支持立場。相對而言，只有在公視處於不利局面時，各報才會較積極地對公視表達支持。第三，當報社與學知對公視議題進行討論，報社較支持「商業化」與「數位化」，學知則較重視「公共理念」。 / This paper aims to analyze newspaper commentary and reports published during the Taiwan Public Television Movement between 1990 and 2013. Since 1915, Taiwan has had a lot of media reform movements that fought for freedom of speech. But there were no media reform movements with the aim of dealing with media ownership until the Taiwan Public Television Movement happened in 1990.We believe that the public television movement was a very important process that structured" public sphere “in Taiwan and is worth an in-depth analysis. As a public sphere, Taiwan Broadcasting System (TBS) should be constructed on the public dialogue. After reviewing the literature, we think that the public media and the public sphere have the following correlations. In terms of institutional designs, Habermas emphasized recently that the state needs to protect the communicative action through the legislative process. We think this is similar to the idea of public television. With regard to public dialogues, Habermas' concepts of “a process model of rational political will-formation” and "rational communication ideal " can be applied to analyze the discourse of Taiwan Public Television. In addition, we analyzed newspaper commentaries, not to compare the differences of representation between newspapers, but to document different kinds of discussions of public television by media, social movement organizations, scholars and the public over a long period of time. Whereby, we can examine and reflect on the discourse goals and characteristics of the Taiwan Public Television movement in different stages. We also reviewed the official gazettes of the Legislative Yuan and the Control Yuan in order to clarify the relationship between the government, the media and civil society. In this paper, we provide readers with three findings. First, the intent of government policy was a key factor in leading the discourse of public television. Only when the government adopted more positive attitudes towards the TBS did civil society have chances for more in-depth discussions. Second, the discussions of TBS were mainly made by newspaper staffs and college intellectuals. Furthermore, college intellectuals had always taken a stand that supported public television. In contrast, only when TBS was in an unfavorable situation did newspaper staffs become more active in offering support. Third, whenever newspaper staffs and college intellectuals participated in the public discussion, the former tended to support the "commercialized" and "digitized" TBS, but the latter were inclined to favor “the ideal of public sphere” of TBS.

Univ., Diss.--Hamburg, 2007.

Ce travail s’intéresse à la mission culturelle de France Télévisions à partir de la problématique suivante : La culture à la télévision de service public a-t-elle une qualité particulière ? Si oui, quels en sont les principes régulateurs et comment se manifeste sa cohérence ? À partir d’une définition restrictive de la notion de culture qui inclut à la fois les grandes disciplines artistiques et les productions des industries culturelles, le lecteur suit un parcours chronologique à travers trois mouvements : une analyse de rapports institutionnels publiés entre 1993 et 2008 ; une étude de figures d’artistes tels que visibles dans trois émissions de plateau (On n’est pas couché, Ce soir (ou jamais !) et Des mots de minuit) entre 2010 et 2011 ; des formes numériques d’écriture et de diffusion de la culture expérimentées entre 2011 et 2017. Nous appuyant sur une histoire de la télévision publique, nous nous inscrivons principalement dans une perspective sémiologique. Toutefois, nous empruntons quelques outils à l’analyse de discours, à l’approche par les modèles socio-économiques des industries culturelles, et proposons une conduite d’entretien graphique. L’hétérogénéité des objets concrets et des méthodologies que nous mobilisons nous conduisent à conclure que la culture de la télévision de service public se nourrit à la fois d’une conception majoritairement institutionnellement consacrée, d’une attention portée aux productions des industries culturelles et aux « médiacultures » et tend à s’élargir davantage au travers d’expériences numériques. C’est d’une conjugaison de cet ensemble d’éléments sur un mode propre que procède la culture de la télévision de service public.Descripteurs : télévision publique ; France Télévisions ; culture et arts ; industries culturelles ; rapport institutionnel ; programmes télévisuels ; nouvelles écritures audiovisuelles ; geste graphique / The dissertation focuses on the France Télévisions’s cultural agenda and addresses the following question : Is there a form of culture specific to public service broadcasting ? If there is, how is it regulated and how does its coherence appear? We tackle the issue using a restricted definition of the notion of culture that includes both the great artistic disciplines and the productions of cultural industries. A chronological analysis follows three movements that place the reader/audience in various political and media territories: an inquiry into the institutional reports published between 1993 and 2007; figures and portraits of artists in three lateevening TV shows (On n’est pas couché, Ce soir (ou jamais!), and Des mots de minuit) broadcast between 2010 and 2011; and digital writings/narratives of culture between 2011 and 2017. Based on a history of public television, our perspective is mainly semiological. However, our study is inscribed in a project that includes several methodological tools while also using discourse analysis and a socioeconomic approach of the cultural industry. Finally, we have carried out graphic interviews. The heterogeneous nature of the artefacts and methods we summon lead us to conclude that public television culture is conveyed thanks to an understanding of culture close to the "established culture", the productions of cultural industries and "mediacultures", although it tends to expand in relation to digital experiences. Lastly, the combination of a number of factors produces a synoptic vision of the different conceptions of public television culture. Keywords : Public television ; France Télévisions ; culture and arts ; cultural industry products ; institutional reports ; talk-shows ; new audio-visual writing ; graphic gesture.