L’originalité de cette thèse, qui s’ancre en Sciences de l’Information et de la Communication (SIC), repose sur le croisement de plusieurs thématiques de recherche et qui pourraient sembler à priori distantes. Cette thèse se positionne sur un terrain précurseur puisque très peu d’études se sont intéressées précisément à l’influence d’une série télévisée à la fois sur l’attractivité touristique d’une région (Bryon-Portet, 2011 ; Mille, 2011 ; Mongin, 2008), et sur des facteurs sociologiques et économiques directement liés à sa diffusion télévisuelle ou cinématographiques. L’étude des effets de réception d’une série télévisée est appréhendée dans ce travail de recherche à la fois du point de vue de la sociologie de la télévision (Macé, 2001 ; 2009), de l’analyse structurelle des médias sociaux (Boyd, et Ellison, 2007 ; Cardon, 2008 ; Burke et al. 2011 ; Cavazza, 2015), de la psychologie sociale de la diaspora maghrébine (Ennaji, 2010 ; Mattelart, 2009) et du tourisme durable (Marcotte, Bourdeau, Doyon, 2006 ; Berriane et Abderghal, 2012) plaçant les acteurs locaux au cœur de l’activité touristique et culturelle dans un contexte d’empowerment (Scheyvens, 1999). Ce travail de recherche propose une approche sociale de ces différentes thématiques ayant pour vocation de nourrir la réflexion scientifique. Cette thèse a donc pour objectif d’étudier le phénomène du succès d’une série télévisée particulière ayant entraîné des comportements sociaux directement liés à cette production audiovisuelle et aux lieux de tournage transformés en destination touristique (Grenier, 2011). Ainsi, dans ce travail de recherche, les interdépendances, les comparaisons et les distinctions entre la télévision et Internet permettent d’appréhender la réception télévisuelle selon une perspective de continuum multi écrans (télévision, appareils mobiles, tablettes, ordinateurs…).Cette thèse analyse les effets de réception télévisuelle d’un feuilleton marocain Bnat Lalla Mennana. Diffusée en arabe dialectal marocain, sur la chaîne 2M (deuxième chaîne nationale marocaine) sur deux saisons, en 2012 et 2013, cette série télévisée a atteint une audience estimée à 5,8 millions de téléspectateurs en 2013. Illustrant ainsi son succès auprès des marocains et de la diaspora maghrébine à travers le monde, cette série télévisée est spécifique car son tournage a eu lieu dans une petite ville pittoresque, rurale et touristique du Nord du Maroc : Chefchaouen. Outre le lieu, la série télévisée, pourtant inspirée d’une pièce de théâtre espagnole de Garcia Lorca (La casa de Bernarda alba, 1936), reprend les us et coutumes traditionnalistes de cette région. La mise en scène folklorique des espaces réalistes de Chefchaouen contraste avec les productions audiovisuelles habituelles sur les chaînes maghrébines (lieu de tournage, dialecte, décor…). La mise en avant de la régionalisation dans un programme télévisuel de divertissement pose la question des rapports entre localismes et globalisation au prisme d’une réception transnationale. La télévision d’une part et Internet d’autre part, avec notamment les réseaux socionumériques (Stenger, Coutant et al, 2011) sont devenus des canaux multimodaux de diffusion et de réception de l’information culturelle. Marqués par l’instantanéité et la rapidité, les flux médiatiques sont désormais transnationaux (Appadurai, 2001 ; 1996). L’objet de ce travail de thèse est de caractériser l’influence des pratiques médiatiques des individus sur la perception des territoires, des imaginaires culturels et des trajectoires identitaires à travers des publics à caractéristiques variées. / At the heart of migration issues, we find concepts of trajectory and mobility in a particular relationship between globalization and localization (Appadurai 1996). These two interrelated processes lead to every movement’s form (human, material, immaterial, financial and cultural). In the 1990s, the term diaspora evolved (Mattelart, 2009) and it was based on the "cosmopolitan vision" (Beck, 2006) and the transnational process. Transnationalism is based on social exchanges across the borders that are possible thanks to Information-Communication-Technology (ICT). This paradigm of communication has allowed the beefing-up of the model of "migrant connected" (Diminescu, 2005). The identity of people from the diaspora is defined on "more than one nation-state" (Glick-Schiller et al., 1994).This thesis focuses first, on the questions of collective identity and media representations in the reception of the television. Widely, we treat sociological impacts, called in our research, externalities. The process of these symbolic representations can be compared to a mirror effect (Cefaï and Pasquier, 2003) between the televised world and reality. These informations’ flows contribute to the symbolic mediation through television and Internet. For the Maghreb Diaspora, the identity process is influenced by the host country and the origin country.Second, we treat the importance of the audiovisual productions in the identity’s construction of the Moroccan Diaspora (Malonga, 2008; Diminescu et al., 2010) and local population of the North Moroccan countryside. It highlights the role of Internet and the satellite channels or the digital broadcasting satellite (DBS) as a vehicle of the Maghreb Diasporas' culture in the world. The Social Network Systems (SNS) (Boyd and Ellison, 2007) offer large web-based services that allow individuals to share content between fans of television. The role of the diaspora in national programs (Nedelcu, 2010) is taken into consideration by the policies of origin countries, that are often developing countries. It is the case of Morocco, which integrates its diaspora population in strategic national area (Daghmi, 2011).This television reception study aims to understand the negative behavior of a specific public after the broadcast of a Moroccan television series Bnat Lalla Mennana, filmed in a rural and touristic locality in the North of Morocco, Chefchaouen. In this work, we present the results of a qualitative survey conducted toward the inhabitants of Chefchaouen.

Esta tese tem como objeto de análise o personagem Franz Biberkopf em relação com seu entorno: a cidade de Berlim. Biberkopf é o protagonista do romance Berlin Alexanderplatz (1929), de Alfred Döblin, e da adaptação homônima para a televisão alemã, escrita e dirigida por Rainer Werner Fassbinder e que foi ao ar na Alemanha pela primeira vez em 1980. Ambas as obras constituem o corpus desta pesquisa. O principal objetivo é analisar a inadequação desse personagem ao seu ambiente histórico-social. Biberkopf é um ex-presidiário que, no enredo dessas obras, tenta reencontrar seu espaço na cidade de Berlim entre os anos de 1928 e 1929 após ter cumprido quatro anos de detenção. Ele vive na cidade como um sujeito desajustado, e sua inadequação à sociedade berlinense é investigada aqui como o fenômeno da Entfremdung (alienação), com base, principalmente, na fenomenologia do Fremd, de Bernhard Waldenfels, e a crítica da alienação, de Rahel Jaeggi. A base teórica deste trabalho, portanto, é interdisciplinar, abrangendo as matrizes da literatura (teoria literária), do cinema/TV (teoria do cinema) e da filosofia. / This thesis aims at analyzing the character Franz Biberkopf regarding his surroundings: the city of Berlin. Biberkopf is the protagonist of the novel Berlin Alexanderplatz (1929), by Alfred Döblin, and the same name adaptation for the German television, written and directed by Rainer Werner Fassbinder, and which was aired in Germany for the first time in 1980. Both works are the corpus of this research. The main focus is to analyze the characters inadequacy in his social-historical environment. Biberkopf is an ex-convict who, in the plot of these works, tries to regain his space in Berlin between the years of 1928 and 1929, after four years of detention. He lives as a misfit person in the city, and his inadequacy to Berlin society 6 is investigated here as the Entfremdung (alienation) phenomenon, based mainly on phenomenology of the alien, by Bernhard Waldenfels, and on critique of alienation, by Rahel Jaeggi. Therefore, the theoretical basis of this work is interdisciplinary, covering the fields of literature (literary theory), cinema/TV (cinema theory) and philosophy.

Esta tese tem como objeto de análise o personagem Franz Biberkopf em relação com seu entorno: a cidade de Berlim. Biberkopf é o protagonista do romance Berlin Alexanderplatz (1929), de Alfred Döblin, e da adaptação homônima para a televisão alemã, escrita e dirigida por Rainer Werner Fassbinder e que foi ao ar na Alemanha pela primeira vez em 1980. Ambas as obras constituem o corpus desta pesquisa. O principal objetivo é analisar a inadequação desse personagem ao seu ambiente histórico-social. Biberkopf é um ex-presidiário que, no enredo dessas obras, tenta reencontrar seu espaço na cidade de Berlim entre os anos de 1928 e 1929 após ter cumprido quatro anos de detenção. Ele vive na cidade como um sujeito desajustado, e sua inadequação à sociedade berlinense é investigada aqui como o fenômeno da Entfremdung (alienação), com base, principalmente, na fenomenologia do Fremd, de Bernhard Waldenfels, e a crítica da alienação, de Rahel Jaeggi. A base teórica deste trabalho, portanto, é interdisciplinar, abrangendo as matrizes da literatura (teoria literária), do cinema/TV (teoria do cinema) e da filosofia. / This thesis aims at analyzing the character Franz Biberkopf regarding his surroundings: the city of Berlin. Biberkopf is the protagonist of the novel Berlin Alexanderplatz (1929), by Alfred Döblin, and the same name adaptation for the German television, written and directed by Rainer Werner Fassbinder, and which was aired in Germany for the first time in 1980. Both works are the corpus of this research. The main focus is to analyze the characters inadequacy in his social-historical environment. Biberkopf is an ex-convict who, in the plot of these works, tries to regain his space in Berlin between the years of 1928 and 1929, after four years of detention. He lives as a misfit person in the city, and his inadequacy to Berlin society 6 is investigated here as the Entfremdung (alienation) phenomenon, based mainly on phenomenology of the alien, by Bernhard Waldenfels, and on critique of alienation, by Rahel Jaeggi. Therefore, the theoretical basis of this work is interdisciplinary, covering the fields of literature (literary theory), cinema/TV (cinema theory) and philosophy.