Addressing a perceived absence of critical attention to changes in the war film brought about by the advent of the digital, this thesis aims to construct an original study of contemporary (post-2001) US war cinema by exploring the shifting relationship between embodiment, subjectivity and digital (military-technological) mediation. In order to update the critical framework necessary for comprehending how the war film is altered by the remediation of digitised military interfaces, I draw on a highly diverse set of approaches ranging from journalistic accounts of the wars in Iraq (2003-11) and Afghanistan (2001-present), studies of military technologies from Paul Virilio to Derek Gregory and Pasi Väliaho, as well as film/media studies work on ethics and spectatorship. The corpus is similarly diverse, encompassing mainstream genre films such as Zero Dark Thirty (2012), documentaries, and gallery installations by Omer Fast and Harun Farocki, thus offering a comprehensive and inclusive portrait of contemporary cinematic trends. The thesis begins by identifying the genre's post-Vietnam turn to embodied, subjective experience and explores the continuation of this tendency through films such as The Hurt Locker (2008) and its complicity with phenomena such as journalistic embedding. Subsequently, I trace how drones and simulations radically alter conventional cinematic constructions of subjective perceptual experience through readings of Omer Fast's Five Thousand Feet is the Best (2011) and Harun Farocki's Serious Games (2009-10), noting in particular the emergence of the virtualised yet embodied 'presence' of the drone operator and the conditioning of trans-subjective, cybernetic networks via CG simulations. Finally, I turn to the remediation of various digital interfaces in films such as Redacted (2007), comparing the emergent models of military subjectivity discussed in the previous chapters with the spectatorial positions evoked by this hypermediated aesthetic.

Aujourd’hui, en tournant la page du chapitre sombre de la guerre civile au Liban qui a frappé le pays pendant quinze ans, et après toutes ces années de guerre, de mort et de destruction que le pays a vécu malgré ses conflits, le germe du confessionnalisme demeure présent dans sa mosaïque constitutionnelle. Une question se pose : une culture de l’après-guerre est-elle possible ? La guerre a laissé des traces profondes certes, mais la société civile se mobilise et c’est particulièrement dans le domaine artistique où elle trouve une issue. Par ailleurs, la diversité de la population libanaise, composée de différents groupes ethniques et religieux, a contribué au métissage culturel d’un pays en perpétuelle ébullition artistique. À l’heure actuelle où Internet et réseaux sociaux, applications du Web 2.0 et dispositifs numériques envahissent notre quotidien, et à l’avènement des TIC qui ont permis le développement d’une économie totalement nouvelle à savoir numérique, appelée aussi économie d’Internet, les producteurs et les consommateurs ont modifié leur comportement. Il est important de questionner le rôle et l’impact des nouvelles technologies d’information et de communication dans la culture virtuelle au Liban, en nous appuyant sur les pratiques d’artistes contemporains « engagés » et leur présence « en ligne ». Quels messages utilisent-ils pour promouvoir leurs idées et leur art ? Dans cette optique, nous recensons les principaux acteurs de la médiation numérique afin de faire émerger les pratiques culturelles les plus pertinentes des différentes institutions au Liban. Tels sont les enjeux auxquels, entre autres, nous nous intéressons dans notre réflexion. / Today, turning the dark page of lebanese civil war chapter that hit the country for fifteen years, and after all these years of war, death and destruction that the country has lived despite its conflicts, the germ of sectarianism remains present in its constitutional mosaic. Where is the question that arises : will there be a postwar period for culture ? The war left deep traces of course, but civil society is mobilising and it is particularly in the arts where it finds the outcome. Moreover, diversity of the Lebanese population, composed of different ethnic and religious groups, has contributed to the cultural melting pot of a country in its perpetual artistic boil. Currently, social medias and Internet network, Web 2.0 applications and digital devices invade our daily life, and the advent of ICTs which have enabled the development of a completely new economy that is one of the digital economy, called Internet economy also, producers and consumers have changed their behavior. It is important to question the role and impact of new ICT technologies of virtual culture in Lebanon, relying on contemporary artists practices who are "committed" with their "online" status. What messages do they use to promote their ideas and art ? In this context, we identify the key players of the digital mediation to bring out the most relevant cultural practices of different institutions in Lebanon. Such are the challenges, among others, in which we are interested in our thinking.

La question de la préservation et de la pérennisation du patrimoine documentaire des archives et des bibliothèques a toujours été au centre des préoccupations et des débats des professionnels en information-documention et intéresse maintenant de plus en plus les usagers. Ceci est lié à l’importance que nos sociétés attachent à l’histoire et à la mémoire. Ce retour vers le passé n’est souvent possible que si la preuve qui l’incarne (en l’occurrence les archives) est bien conservée et valorisée. La numérisation a ouvert de nouvelles perspectives pour la sauvegarde du patrimoine, surtout dans le contexte des pays du Sud où les conditions de conservation font défaut en raison d’un climat tropical défavorable et de moyens infrastructurels et matériels qui manquent souvent. Les solutions offertes par la numérisation pour la sauvegarde, la pérennisation et l’accès au patrimoine documentaire sont certes satisfaisantes, mais ne donnent pas toutes les garanties surtout quand il s’agit des documents historiques fragiles et précieux comme les fonds d’archives de l’esclavage et de la colonisation. [etc.] / The question of preservation and perennisation of documentary heritage of archives libraries has always been the mains worries and debates of professionals of information-documentation and now more than ever interests users. This is in line with the importance societies give to History and Memory. This return to the past is only possible if the relevant prove (mainly archives) is well kept and given value. Digitalization opened new ways to save the heritage, especially in the context of Southern countries where the conditions of conservation are challenging due to unfavorable tropical climate and due to the fact that infrastructure and material means are often lacking. The solutions offered by digitalization for the saving, perennisation and the access to documentary heritage are somewhat satisfactory, but they do not give all guaranties especially for the fragile and precious historical documents like the master copies of archives on slavery and colonization. [etc.]

Made available in DSpace on 2015-03-05T17:53:48Z (GMT). No. of bitstreams: 0 Previous issue date: 28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa se propôs a descrever e interpretar a ambiência midiático-comunicacional dos telecentros de acesso público e gratuito e as vivências midiáticas digitais de internautas participantes das experiências de inclusão digital dos projetos Faróis do Saber, da Prefeitura Municipal de Curitiba, e Paranavegar, do Governo Estadual do Paraná. A ambiência midiático-comunicacional e as vivências midiáticas digitais foram caracterizadas a partir das significações produzidas pelos internautas na vivência cotidiana das condições materiais e simbólicas que constituíam os espaços de telecentros. Definimos como recorte empírico duas experiências de inclusão digital, uma municipal e outra estadual, por ambas serem definidas como projetos de inclusão digital de iniciativa pública, no panorama latino-americano da Sociedade da Informação. O primeiro movimento foi a caracterização da ambiência midiático-comunicacional a partir das relações construídas entre as espacialidades pessoais, física e digital nos telecentros obs / This investigation seted out to describe and to interpret the mediatic-communicational ambiency of the telecenters of public and gratuitous access and the digital mediatics experiences of the participant internauts in experiences of digital inclusion of the Faróis do Saber Project, of the Municipal Government of Curitiba, and Paranavegar Project, of the Government of the Province of Parana. The mediatic-communicational ambience and the digital mediatic experiences were characterized from the meanings produced by the internauts in their daily experience of the material and symbolic conditions that constituted the spaces of telecenters. We define as empirical clipping two experiences of digital inclusion, one municipal theatre and another state one, for both to be definite as projects of digital inclusion of public initiative, in the Latin American panorama of the Society of the Information. The first movement was the one to characterize the mediatic-communicational ambience from the relations constructed betwe

Cette thèse a pour objet d’identifier les degrés d’implication de l’État en faveur de l’éducation critique et politique au numérique. Elle analyse les dispositifs publics liés à la diffusion des usages du numérique et les caractéristiques des acteurs professionnels et bénévoles chargés de leur mise en œuvre : leurs appellations, leurs lieux d’exercices, leurs qualifications et les représentations de leurs missions prioritaires. Les questions de recherche sont : En quoi l’enchevêtrement de dispositifs d’action et de formation constitue-t-il une aide ou un empêchement au travail des acteurs pour former la population à une compréhension critique et politique du développement du numérique ? Ces acteurs développent-ils des stratégies d’adoption ou de contournement de ces dispositifs pour assurer leurs actions de formation et d’éducation ? Le corpus est composé de 5 sources complémentaires : les textes réglementaires au niveau français et européen ; 699 offres d’emploi et les référentiels de compétences des formations ; une enquête par questionnaire auprès d’un échantillon de 140 médiateurs numériques ; 10 entretiens d’experts sur la médiation numérique ; 2 monographies issues de 2 périodes d’observation participante au sein de deux entités d’animation de réseaux d’Espaces Publics Numériques. La thèse montre que l’éducation critique et politique est minoritaire, supplantée par l’initiation aux « bonnes pratiques » des usages de l’Internet, fondée sur la prise en main des outils. L’enchevêtrement par le haut des dispositifs conduit à un empêchement de la formation de la population aux enjeux de la société numérique : il produit une double contrainte indépassable entre la recherche de performances comportementales pour répondre aux exigences économiques et la recherche de recul critique en faveur de l’intérêt sociétal du numérique. Seuls les cas de subversion et l’engagement militant notamment sur les logiciels libres, le développement durable, l’anti GAFAM,… résistent à cette injonction de développement normatif. La thèse fait apparaître quatre grandes phases de cette évolution, en lien avec les modes de diffusion des innovations informatiques dans la population française : de 1967 à 1984, le temps de la genèse des méthodes pour la massification des usages de l’informatique : l’éducation scientifique et technique et les clubs informatiques. de 1985 à 1999, le temps des méthodologies de l’appropriation des outils et des usages : l’éducation nationale et le Minitel. de 2000 à 2011, le temps de l’accès public à l’Internet : emplois jeunes et Espaces Publics Numériques. de 2012 à 2016, le temps de la réduction de la fracture culturelle au numérique : les emplois d’avenir numériques, les fablabs et les tiers lieux. Après les tâtonnements des débuts (phase 1), le système d’initiation aux usages du numérique engendre la disqualification des animateurs des clubs informatiques (phase 2) ; il empêche l’offre des systèmes préexistants de l’éducation nationale et de l’éducation populaire (phase 3) ; il provoque l’autocensure des animateurs territoriaux, peu encouragés à une pensée réflexive sur la société numérique (phases 3 et 4). Toutefois, il produit une éducation critique en résistance à travers certaines figures de l’animateur multimédia en emploi jeune (phase 3), et de l’animateur « hackers » ou « systémiste » (phase 4), plus militant et entrepreneur inspiré par les modèles du libre qui détournent les dispositifs en maniant avec agilité les innovations sociales et numériques. Il en résulte que l’éducation critique au numérique reste un point aveugle de la réglementation (aucun texte n’encourage à y réfléchir), sans qualifications ou flux financiers pour la soutenir. Le risque demeure que le numérique soit un nouvel instrument au service de la reproduction et de la distinction sociale. / This thesis aims to identify the degree of state involvement in critical and political digital literacy. It analyzes the public mechanisms linked to the dissemination of digital uses and the characteristics of the professional and volunteer actors responsible for their implementation: their titles, their places of practice, their qualifications and the representations of their priority missions. The research questions are: • How does the interweaving of action and training “devices” (dispositifs) help or hinder the work of actors to train people in a critical and political understanding of digital development?• Do these actors develop strategies to adopt or circumvent these devices to ensure their training and education activities? The corpus is composed of 5 complementary sources: regulatory texts at French and European level; 699 job vacancies and training skills benchmarks; a questionnaire survey of a sample of 140 digital mediators; 10 interviews of experts in digital mediation; 2 monographs from 2 periods of participant observation in 2 networks of digital public spaces. The thesis shows that critical and political digital literacy education is not prevalent, supplanted by the introduction of "good practices" concerning the uses of the Internet, based on the handling of tools. The top-down entanglement of the devices leads to an impediment of the training of the population to the stakes of the digital society: it produces an impenetrable double bind between the search for behavioural performances to answer the economic exigencies and the search for a critical stance in favour of the societal interest of the digital. Only some cases of subversion and militant commitment of individuals in particular those supporting free software, sustainable development and anti GAFAM policies, show a degree of resistance to this injunction of normative development. The thesis shows four major phases of this evolution, in connection with the diffusion modes of computer innovations among the French population: 1. from 1967 to 1984, the time of the genesis of the methods for the massification of the uses of informatics: the scientific and technical education and the computer clubs. 2. from 1985 to 1999, the time of the methodologies for the appropriation of the tools and the uses: the national education and the Minitel. 3. From 2000 to 2011, the time of public access to the Internet: youth jobs and Public Digital Spaces. 4. from 2012 to 2016, the time of reduction of the cultural and digital divide: digital jobs of the future, fablabs and third places. After initial trial and error (phase 1), the initiation system for digital uses leads to the disqualification of computer club leaders (phase 2); it prevents the supply of pre-existing systems of national education and popular education (phase 3); it provokes the self-censorship of local animators, who are not encouraged to think reflexively about the digital society (phases 3 and 4). However, it produces a critical education in resistance through certain figures, such as the multimedia animators for youth employment (phase 3), and the "hacker" or "systemist" animators (phase 4), who are more activist and entrepreneurial, as they are inspired by the free models that hijack devices with agile handling of social and digital innovations. As a result, critical and political digital literacy remains a blind spot of regulation (no text encourages or discourages it), without qualifications or financial flows to support it. The risk remains that the digital transition could be a new instrument at the service of social reproduction and cultural distinction.

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This research study looks at digital academic space, which is defined here as web-based digitally mediated artifacts produced by universities and their members. Open source software projects and the Open Access movement play large roles within digital academic space, not only because of their strong historical academic roots, but also because these projects are growing in prevalence in many universities. Framed by theories from the field of higher education and media studies, this research study is an analysis of the dynamics and effects of one open source software project that produces Open Access electronic journals. The software system, called the Open Journal Systems (OJS), originally developed by an education professor from a Canadian university, has been adopted by thousands of universities world- wide to publish electronic peer reviewed academic journals. OJS users distributed at universities throughout the world have contributed software code back to the system, by for example, creating translation modules enabling users to publish journals in a range of languages thus adding an interesting global dimension to the project. Based on interviews with the OJS software developers, administrators, and users, as well as a range of material culled from online, this situational analysis of the OJS sketches out the conditions, dynamics, discourses and professional identities that form the basis of an emerging phenomenon within universities that is named here the digitally mediated open research project (DMORP

This research study looks at digital academic space, which is defined here as web-based digitally mediated artifacts produced by universities and their members. Open source software projects and the Open Access movement play large roles within digital academic space, not only because of their strong historical academic roots, but also because these projects are growing in prevalence in many universities. Framed by theories from the field of higher education and media studies, this research study is an analysis of the dynamics and effects of one open source software project that produces Open Access electronic journals. The software system, called the Open Journal Systems (OJS), originally developed by an education professor from a Canadian university, has been adopted by thousands of universities world- wide to publish electronic peer reviewed academic journals. OJS users distributed at universities throughout the world have contributed software code back to the system, by for example, creating translation modules enabling users to publish journals in a range of languages thus adding an interesting global dimension to the project. Based on interviews with the OJS software developers, administrators, and users, as well as a range of material culled from online, this situational analysis of the OJS sketches out the conditions, dynamics, discourses and professional identities that form the basis of an emerging phenomenon within universities that is named here the digitally mediated open research project (DMORP