Cinéphiles, à vos claviers ! Réception, public et cinéma

Allard, Laurence

doi:10.3406/reso.2000.2198

Cited by 28 publications

(11 citation statements)

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“…It is important to notice that the second model, reception-centered review, does not correspond to the charter and to the platform’s expectations. These two models are very similar to those identified by a series of studies on the content of online amateur reviews (Allard, 2000; Legallois and Poudat, 2008; Verboord, 2014). The terminology varies from one author to the next, but they all adopt the opposition identified by Bourdieu, between aesthetic disposition and popular aesthetics (Bourdieu, [1979] 1984: 33).…”

Section: Resultssupporting

confidence: 80%

“…It is interesting to see which models of reviewing are actually chosen by the audience to write about films. In a study of interaction on a forum devoted to cinema, Allard (2000) identifies two kinds of discourses about films in the threads, one consisting in sharing feelings and opinions about films, the other focused in identifying the intrinsic properties of films. Those two discourses refer to two types of contributors: old-timers-film-lovers and novice-simple-viewers.…”

Section: Forms Of Reviewing and The Transformation Of Cultural Evaluamentioning

confidence: 99%

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Forms of contribution and contributors’ profiles: An automated textual analysis of amateur on line film critics

Beaudouin

Pasquier

2016

New Media & Society

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Based on an automated textual analysis of 40,000 film reviews posted by 18,000 French contributors on a web-based platform providing information on cinema, this article examines the relationship between the status of contributors (number of reviews posted, length of time of subscription to the site) and the type of reviews posted (choice of films, date of publication, models of argumentation, and modes of ratings). The study identifies two strongly contrasting reviewing models (film-centered and reception-centered) and shows that the regularity of practice significantly influences reviews, with regard to both form and content. The more often an author posts reviews, the closer the critique will be to the norms and formats of a professional critique. This finding challenges the idea that an online amateur critique can undermine the hierarchies of evaluation of cultural goods.

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Section: Resultssupporting

confidence: 80%

Section: Forms Of Reviewing and The Transformation Of Cultural Evaluamentioning

confidence: 99%

Forms of contribution and contributors’ profiles: An automated textual analysis of amateur on line film critics

Beaudouin

Pasquier

2016

New Media & Society

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“…Inversement, les comédies sont sur-représentées dans le second groupe (25% contre 11% dans le premier) tout comme les films d'actions (26% contre 11%). Cette opposition entre des critiques fondées sur l'analyse et des évaluations centrée sur l'effet du film est très proche de celle identifiée par Laurence Allard au sein d'un forum de cinéphiles entre ceux qui « construisent leur discours autour des qualités intrinsèques du film » et ceux qui le construisent « autour de leur rapport émotionnel ou intellectuel » (Allard, 2000). Dans le premier cas, on est bien dans la logique de l'argumentation de la note, dans le second le critique se contente de partager ses émotions et de recommander le film.…”

Section: Les Deux Modèles Critiquesunclassified

Organisation et hiérarchisation des mondes de la critique amateur cinéphile

Beaudouin¹,

Pasquier²

2014

Réseaux

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International audienceIntense amateur film critique activity can be found on the Internet. Based on a survey of the website of a large cinema portal, this study examines the main organization and hierarchy of this particular realm of participation. It first scrutinizes the gap between discourse encouraging participation – based on the promotion of amateur critique – and commercial imperatives – with a back office focused on clicks and ratings. It then analyses a sample of 40,000 reviews, including the choice of films, types of argumentation and discourse, and relations with professional critique. Finally, it models the internal hierarchies within the population of authors and shows that, with practice, a profound change takes place in their texts, which gradually move closer to the codes and rhetoric of professional critique.Les films sont l’objet d’une intense activité critique amateur sur Internet. À partir d’une enquête menée sur le site d’un grand portail Web consacré au cinéma, cette recherche examine les principes d’organisation et de hiérarchisation de ce monde particulier de la participation. Elle commence par interroger le décalage entre discours d’appel à la participation – fondé sur la valorisation de la critique amateur – et nécessités commerciales – avec un back-office centré sur les clics et les notes. Elle analyse ensuite, sur un échantillon de 40 000 critiques, le choix des films, les types d’argumentation et de discours, les relations avec la critique professionnelle. Enfin, elle modélise les hiérarchies internes au sein de la population des auteurs et montre que la progression dans la pratique entraîne un changement profond dans l’exercice critique et le rapproche progressivement des codes et des rhétoriques de la critique professionnelle

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“…2 On pensera aux travaux de Staiger (1992), Allard (2000), Esquenazi et Odin (2000), Ethis (2006), Gelly et al (2012), etc.…”

mentioning

confidence: 99%

L’influence du cadre institutionnel et des stéréotypes sonores sur le montage son d’un film de fiction

Denizart¹

2018

edc

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Cinéphiles, à vos claviers ! Réception, public et cinéma

Cited by 28 publications

References 0 publications

Forms of contribution and contributors’ profiles: An automated textual analysis of amateur on line film critics

Forms of contribution and contributors’ profiles: An automated textual analysis of amateur on line film critics

Organisation et hiérarchisation des mondes de la critique amateur cinéphile

L’influence du cadre institutionnel et des stéréotypes sonores sur le montage son d’un film de fiction

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