The study aims to analyze how user-generated content contributes to the representation ofcompanies in the context of digital trends. Digital marketing has become a norm forbusinesses in all fields and is a constantly changing phenomenon. Due to the overwhelminguse of influencer-marketing, trust in influencers has decreased. This has contributed to agrowing demand for authentic and relatable material on social platforms. Because of this,user-generated content is on the rise, especially on platforms like TikTok, which has becomean arena for digital marketing. This study examines how the brand Normal is portrayedthrough user-generated content through the TikTok-trend “Run, don’t walk to”. Normal is acompany that has become successful through user-generated content and electronic Word ofMouth (eWOM) on Tiktok, especially via the TikTok-trend “Run, don’t walk to”.We have used a qualitative multimodal analysis to study how the company Normal isportrayed in the trend “Run, don’t walk to”. The analysis examines several semioticresources: linguistic, auditory, visual and gestural and the interaction of the semioticresources. To understand the trend, the way users participate and interact is also studied. Wediscovered that Normal is portrayed in a positive way through user-generated content onTikTok. This is due to users' ambitious and authentic videos that load the brand withfavorable value and attributes. Users participate and interact primarily through archivingpurposes that include liking and archiving. Users' participation in the trend manifests itself ina similar way across all videos. The result is consistent with Dallas Smythe's theory ofaudience commodity, as users do not perceive the production of videos as a burden eventhough they contribute to the free marketing of the brand Normal. Users' participation in thetrend and the calls for consumption can be seen as a transaction and payment for an entry intothe consumer society.

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En s’emparant de la question ornementale, le cinéma s’inscrit dans une réflexion reliant les territoires balkaniques de l’art, au-delà de l’opposition entre les beaux-arts, les arts décoratifs et le design. La pensée de l’ornement au cinéma ne relève pas de l’évidence, tant il est vrai que l’histoire de la notion est marquée par sa relégation au seuil de la création artistique. Pourtant, il semble bien que l’ornement soit présent partout où il faut combler du vide, décorer un objet, embellir le corps. À quoi tient l’attrait de l’ornement au cinéma ? Quelles sont les relations qu’entretient le cinéma avec la pensée ornementale des images ? Contre le préjugé qui frappe l’ornement d’insignifiance, il semble nécessaire d’éclairer ses implications morales, sociales et politiques. À travers un corpus circonstancié qui se déploie à l’entour du cinéma, de l’histoire de l’art et de la culture visuelle, ce travail de recherche entend cartographier les enjeux critiques, formels et perceptifs du régime visuel de l’ornement. Penser l’ornement aujourd’hui, c’est opérer un basculement dans l’ordre des valeurs dont il se fait l’héritier. Il s’agit non seulement de faire retour sur son histoire et son élaboration conceptuelle, mais également d’emmener l’ornement vers un au-delà du discours de la subsidiarité pour établir une pensée dynamique de l’ornemental au cinéma. À travers différentes propositions théoriques, se formulent autant de constellations articulant les enjeux esthétiques, historiques et politiques de l’ornement : le régime de la dépense et le corps féminin en exercice, le processus de réification de « l’ornement de la masse » dans la modernité, le discours sur la couleur ornementale et la hantise cosmétique, les formes naturelles et abstraites, le paradigme du tapis et la texture des images, les états altérés de la perception. Les questions ornementales adressées au cinéma s’intègrent dans une pensée rénovée du style – point vif de la tension qui anime l’art et la vie – en tant que procédure de qualification des formes. / As it seized the ornamental issue, cinema has become part of a reflection process relating the scattered territories of arts, beyond the opposition between fine arts, decorative arts and design. Thinking the ornament in cinema is far from obvious, since this notion, throughout its evolution, has always been marginalized at the threshold of artistic creation. Yet, it does seem that the ornament is present wherever a void needs to be filled, an object to be adorned or a body to be embellished. What makes the ornament appealing in cinema? What relationships does the cinema hold with the ornamental visual thinking? To counter prejudices confining the ornament within insignificance, it appears necessary to clarify its moral, social and political implications. Through a detailed corpus spreading around cinema, history of art and visual culture, this research paper aims at mapping the critical, formal and perceptual issues of the visual regime of the ornament. Thinking the ornament today means swaying the order of the values it has inherited. It is not only about looking back on its history and its conceptual elaboration, but also about bringing the ornament beyond the subsidiary speech to establish a dynamic thinking of the ornamental in cinema. By way of different theoretical suggestions, many constellations are being elaborated. They connect the aesthetic, historical and political stakes of the ornament: the regime of consumption and the gestures of the feminine body, the process of reifying the “mass ornament” into modernity, the speech on decorative colour and the cosmetic obsessive fear, the natural and abstract forms, the carpet paradigm and the texture of images, the altered states of the perception of ornaments. The ornamental issues, which are addressed to the cinema, blend into a renovated thinking on style – central in the tension that stirs arts and life – as a process of qualifying forms.