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lments pour une analyse des missions TV

ATTENTION ! Ces lments ne prtendent pas constituer une grille d'analyse exhaustive. Ce
document est prvu comme un outil pdagogique souple que l'enseignant-e utilisera sa guise. On
pourra s'aider occasionnellement de ces notions pour faire relever aux lves tel ou tel lment dont
la perception apparat dterminante dans la formation du sens. On pourra aussi les utiliser de manire
plus systmatique pour amener le classe mieux cerner les caractristiques de chacun des chapitres
abords (langage parl, langage TV, contenu, rception).
On renoncera toutefois demander aux lves de remplir ces feuilles seuls et par crit. Ce
serait long, fastidieux et contre-productif !
1.

LANGAGE PARL
Vocabulaire (facile, difficile, connu, inconnu, technique, spcialis)
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Ton (informatif, dramatique, enjou, familier)
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Dbit (rapide, lent, soutenu, haletant)
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Rythme de la parole (uniforme, syncop, vari, adapt ou non au sujet)
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Silences, respirations (prsents / absents)
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Diction (claire, peu claire)


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Style(s) (parl, rcit, crit, jou, thtral, potique)
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Niveau(x) de langue
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2.

LANGAGE TV
Fonction des intervenants
Prsentateur-trice l'cran (journaliste ? animateur-trice ?)
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Narrateur-trice (hors champ)
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Invit-e
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Comdien-ne
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Forme des interventions parles


Interview
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Table ronde
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Dialogue
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Monologue
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Commentaire (off, locuteur-trice dans limage)
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Nature de la bande son


Genre de musique (classique, ethnique, folklorique, pop-rock, lectronique)
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Bruitage (produit artificiellement)


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"Sons" (documents bruts)
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Fond sonore, illustration sonore (crant une atmosphre)
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Plans sonores
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Jingles
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Chansons (franaises, anglaises, autres)
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lments de montage
Montage (serr, lent, chronologique, non chronologique, parallle, coupes visibles /
imperceptibles)
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Gnrique (plac au dbut / la fin ; lisible / pas lisible , collaborateurs-trices mentionns )
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Sous-titres
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Autres textes ou motifs apparaissant l'cran (titres, incrustations, images dans
l'image)
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Modalits du tournage
Plateau / Studio
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Extrieurs
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Dcors
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clairage
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Prise de son (modalits apparentes)
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Acteurs-trices
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Accessoires
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Mode de diffusion
Direct / Faux direct / Diffr
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Production de l'image (analyse d'une squence)


Nature des images (fixes, mobiles, live, d'animation, de synthse, archives)
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Mouvements de camra (zoom avant/arrire, panoramique latral/vertical/oblique, travelling
avant/arrire/latral/vertical)
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Fondus (au noir, au blanc, l'ouverture, enchan)
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Double exposition (surimpression)
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Plans (d'ensemble, demi-ensemble, moyen, amricain, rapproch, gros plan, trs gros
plan)
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Angles (normal, plonge, contre-plonge)
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Effets spciaux, trucages
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3.

CONTENU DE L'MISSION
Sujet (thme) principal
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Sujet(s) (thme/s) secondaire(s)
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Aspects du/des sujet(s) traits et non traits


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Dure de chaque sujet et de ses diffrentes parties
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Place respective de chacun des sujets dans l'mission
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Place de l'mission dans la grille de diffusion
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Genre de l'mission (journal tlvis, reportage, interview, magazine d'information,
mission culturelle, dbat, talk show, tl-ralit, retransmission sportive, concert
film, etc)
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Point(s) de vue (avis, opinions, ides, thories, exprims - verbalement ou non
reflts ou adopts dans ou par l'mission)
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Emetteur-trice du message prsent-e l'cran ?
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Contenu non verbal (mimiques, gestes, habillement, usage de l'espace )
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Intervenants (mtier, fonction, ge, provenance sociale, raison de leur prsence dans
l'mission)
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4. RCEPTION
Pr-requis, connaissances pralables sur le sujet
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Apport(s) de l'mission (cognitif(s); motif(s); de sensibilisation; d'illustration; de rfrence;


de synthse; de tmoignage; de rflexion; de divertissement;)
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Vcus motionnels suscits chez le rcepteur par tel ou tel aspect de l'mission
(contenu ou langage) (sentiments, motions, sensations, souvenirs, peurs, dsirs,
fantasmes)
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Influence des conditions de rception (priv/public, qualit technique, tat psychique du
rcepteur, lments parasites) sur le sens du contenu
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Unit "Mdias" de la CIIP, 2006, d'aprs le document "Pdagogie Magellan" (1994)