{"id":252,"date":"2023-06-27T10:08:47","date_gmt":"2023-06-27T08:08:47","guid":{"rendered":"https:\/\/2r3f.fr\/?page_id=252"},"modified":"2023-06-28T17:01:09","modified_gmt":"2023-06-28T15:01:09","slug":"publication-dolivier-thevenin","status":"publish","type":"page","link":"https:\/\/2r3f.fr\/index.php\/publication-dolivier-thevenin\/","title":{"rendered":"Publications d&rsquo;Olivier Thevenin"},"content":{"rendered":"\n<p>Th\u00e9venin , Olivier&nbsp;; Kitsopanidou, Kira (2022). \u00ab&nbsp;La place du pitch en festival dans le parcours de production de la s\u00e9rie No man\u2019s land : La cr\u00e9ation s\u00e9rielle en question(s)&nbsp;\u00bb. In&nbsp;: Bonhomme, B\u00e9r\u00e9nice ; Laurichesse, H\u00e9l\u00e8ne (dir.), <em>Pitchs, Workshops, Networks: Les enjeux des march\u00e9s de projets audiovisuels<\/em>, pp.37-49.<\/p>\n\n\n\n<p>Th\u00e9venin, Olivier (2009). <em>Sociologie d\u2019une institution cin\u00e9matographique: La S.R.F. et La Quinzaine des R\u00e9alisateurs.<\/em> Paris&nbsp;: L\u2019Harmattan 192 p. 978-2296094574.<\/p>\n\n\n\n<p>Th\u00e9venin, Olivier (2011).&nbsp;\u00bb La S.R.F. et la Quinzaine des R\u00e9alisateurs : un regard sociologique&nbsp;\u00bb. In&nbsp;: Beylot, Pierre&nbsp;; Le Corff, Isabelle&nbsp;; Marie, Michel (dir.), <em>Les images en question<\/em>, Presses Universitaires de Bordeaux, pp.177\u2014186.<\/p>\n\n\n\n<p>Th\u00e9venin, Olivier (2018). \u00ab&nbsp;Festival de s\u00e9ries et horizon temporel des spectateurs&nbsp;\u00bb. In&nbsp;: Belfakih, Abdelbaki ; P\u00e9quignot Bruno (dir<em>.), Professionnalisation des m\u00e9tiers des arts, de la culture et des m\u00e9dias<\/em>, L\u2019Harmattan, pp.145-160, Questions contemporaines.<\/p>\n\n\n\n<p>Th\u00e9venin, Olivier (2020). \u00ab&nbsp;Figure(s) du public des s\u00e9ries en Festival&nbsp;\u00bb. In&nbsp;: Boully, Fabien (dir.), <em>Troubles en s\u00e9rie. Les s\u00e9ries t\u00e9l\u00e9 en qu\u00eate de singularit\u00e9<\/em>, Presses Universitaires de Paris Nanterre, pp.215-225.<\/p>\n\n\n\n<p>Th\u00e9venin, Olivier (2021). \u00ab Le Festival de Cannes et la mont\u00e9e du cinema d\u2019auteur \u00e0 l\u2019\u00e8re de la mondialisation \u00bb. In : <em>Society &amp; Leisure<\/em>, vol. 44, n\u00b01: Film festivals: Metamorphosis of a Research Object and Field, pp. 37 \u2013 46.<\/p>\n\n\n\n<p>Th\u00e9venin, Olivier ; Moeschler, Olivier (2021). \u00ab Introduction \u2013 Les films de festival : m\u00e9taorphose d\u2019un objet et d\u2019un champ d\u2019\u00e9tudes \u00bb. In : <em>Society &amp; Leisure<\/em>, vol. 44, n\u00b01: Film festivals: Metamorphosis of a Research Object and Field, pp. 1 \u2013 9.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Th\u00e9venin , Olivier&nbsp;; Kitsopanidou, Kira (2022). \u00ab&nbsp;La place du pitch en festival dans le parcours de production de la s\u00e9rie No man\u2019s land : La cr\u00e9ation s\u00e9rielle en question(s)&nbsp;\u00bb. In&nbsp;: [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-252","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Publications d&#039;Olivier Thevenin - R\u00e9seau de Recherche Fran\u00e7ais sur les Festivals de Film<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/2r3f.fr\/index.php\/publication-dolivier-thevenin\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Publications d&#039;Olivier Thevenin - R\u00e9seau de Recherche Fran\u00e7ais sur les Festivals de Film\" \/>\n<meta property=\"og:description\" content=\"Th\u00e9venin , Olivier&nbsp;; Kitsopanidou, Kira (2022). \u00ab&nbsp;La place du pitch en festival dans le parcours de production de la s\u00e9rie No man\u2019s land : La cr\u00e9ation s\u00e9rielle en question(s)&nbsp;\u00bb. 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