LEADER 03206 am 2200601 n 450 001 9910495726303321 005 20240104030512.0 010 $a2-7574-2009-7 024 7 $a10.4000/books.septentrion.17133 035 $a(CKB)4100000000883788 035 $a(FrMaCLE)OB-septentrion-17133 035 $a(PPN)221485074 035 $a(EXLCZ)994100000000883788 100 $a20171108j|||||||| ||| 0 101 0 $afre 135 $auu||||||m|||| 200 00$aRegarder des films en Afriques$fPatricia Caillé, Claude Forest 210 $aVilleneuve d'Ascq$cPresses universitaires du Septentrion$d2017 215 $a1 online resource (352 p.) 311 $a2-7574-1724-X 330 $aLe cinéma en Afriques se trouve devant une situation inédite. La disparition des salles de cinéma sur ce continent coïncide avec une production de films accrue, y compris de ces pays, et une diffusion considérablement développée pour une grande partie des populations urbaines. Mais où et comment sont-ils vus ? De quels films s?agit-il ? Sommes-nous toujours dans le cinéma ? Un ensemble de travaux tente de répondre à ces questions, posant un jalon dans une réflexion sur les rapports que des publics entretiennent aujourd?hui avec des films en Afriques. Ces recherches de rendent compte de la façon dont les mutations technologiques affectent le rapport aux films dans des régions caractérisées jusqu?à très récemment par la rareté dans des économies du cinéma et de l?audiovisuel largement dominées par les pays occidentaux. Sont livrés également les premiers résultats d?une enquête comparative inédite menée en Tunisie, au Togo et au Tchad sur la façon dont les spectateurs voient aujourd?hui des films. While cinemas have been closing across the African continent, film production has boomed and access to film has considerably increased for urban dwellers. How do people watch films today? Which films do they watch? Does this still count as cinema? The essays in this volume explore spectatorship in Africa. 606 $aFilm Radio Television 606 $aspectateurs 606 $acinéma 606 $aaudiovisuel 606 $afilm 615 4$aFilm Radio Television 615 4$aspectateurs 615 4$acinéma 615 4$aaudiovisuel 615 4$afilm 700 $aBelkaied-Guiga$b Lamia$01454239 701 $aBlanchon$b Karine$01454240 701 $aBouchard$b Vincent$01240796 701 $aCaillé$b Patricia$01454241 701 $aForest$b Claude$01233426 701 $aFouhba$b Honoré$01454242 701 $aFounou$b Juliette Akouvi$01454243 701 $aFronty$b François$01454244 701 $aGoerg$b Odile$01236309 701 $aJedlowski$b Alessandro$0719548 701 $aKomi$b Ati$01454245 701 $aMingant$b Nolwenn$01241135 701 $aNdiltah$b Patrick$01078219 701 $aOuoro$b Justin$01454246 701 $aPrévoteau$b Karine$01454247 701 $aSail$b Nour-Eddine$01454248 701 $aSerceau$b Michel$0778386 801 0$bFR-FrMaCLE 906 $aBOOK 912 $a9910495726303321 996 $aRegarder des films en Afriques$93656858 997 $aUNINA LEADER 04439nim 2200469Ka 450 001 9910156407003321 005 20241205100023.4 010 $a9781524735111 010 $a1524735116 035 $a(CKB)3710000000986562 035 $a(VLeBooks)9781524735111 035 $a(ODN)ODN0002854629 035 $a(EXLCZ)993710000000986562 100 $a20170206d2017 uy 0 101 0 $aeng 135 $auruna---||||| 181 $cspw$2rdacontent 182 $cs$2rdamedia 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aHit makers $eThe science of popularity in an age of distraction. /$fDerek Thompson 205 $aUnabridged edition. 210 $aNew York $cPenguin Audio$d2017 215 $a1 online resource (9 audio files) $cdigital 300 $aUnabridged. 330 $a?Enthralling - full of 'aha' moments about why some ideas soar and others never get off the ground. This book picks up where The Tipping Point left off ." ? Adam Grant Nothing ?goes viral.? If you think a popular movie, song, or app came out of nowhere to become a word-of-mouth success in today?s crowded media environment, you?re missing the real story. Each blockbuster has a secret history?of power, influence, dark broadcasters, and passionate cults that turn some new products into cultural phenomena. Even the most brilliant ideas wither in obscurity if they fail to connect with the right network, and the consumers that matter most aren't the early adopters, but rather their friends, followers, and imitators ? the audience of your audience. In his groundbreaking investigation, Atlantic senior editor Derek Thompson uncovers the hidden psychology of why we like what we like and reveals the economics of cultural markets that invisibly shape our lives. Shattering the sentimental myths of hit-making that dominate pop culture and business, Thompson shows quality is insufficient for success, nobody has "good taste," and some of the most popular products in history were one bad break away from utter failure. It may be a new world, but there are some enduring truths to what audiences and consumers want. People love a familiar surprise: a product that is bold, yet sneakily recognizable. Every business, every artist, every person looking to promote themselves and their work wants to know what makes some works so successful while others disappear. Hit Makers is a magical mystery tour through the last century of pop culture blockbusters and the most valuable currency of the twenty-first century?people?s attention. From the dawn of impressionist art to the future of Facebook, from small Etsy designers to the origin of Star Wars, Derek Thompson leaves no pet rock unturned to tell the fascinating story of how culture happens and why things become popular.   In Hit Makers , Derek Thompson investigates: * What Taylor Swift, the printing press, and the laugh track have in common * The secret link between ESPN's sticky programming and the The Weeknd's catchy choruses * How advertising critics predicted Donald Trump * The 5th grader who accidentally launched "Rock Around the Clock," the biggest hit in rock and roll history * How Barack Obama and his speechwriters think of themselves as songwriters * How Disney conquered the world?but the future of hits belongs to savvy amateurs and individuals * The French collector who accidentally created the Impressionist canon * Quantitative evidence that the biggest music hits aren?t always the best * Why almost all Hollywood blockbusters are sequels, reboots, and adaptations * Why one year?1991?is responsible for the way pop music sounds today * Why another year ?1932?created the business model of film * How data scientists proved that ?going viral? is a myth * How 19th century immigration patterns explain the most heard song in the Western Hemisphere 606 $aNonfiction$2OverDrive 606 $aBusiness$2OverDrive 606 $aEconomics$2OverDrive 606 $aSociology$2OverDrive 615 17$aNonfiction. 615 7$aBusiness. 615 7$aEconomics. 615 7$aSociology. 686 $aBUS070110$aSOC022000$aSOC052000$2bisacsh 700 $aThompson$b Derek$0275947 701 $aThompson$b Derek$0275947 701 $aThompson$b Derek$0275947 906 $aAUDIO 912 $a9910156407003321 996 $aHit makers$94299105 997 $aUNINA LEADER 00964nam0 22002531i 450 001 UON00316101 005 20231205104118.604 100 $a20081007d1972 |0itac50 ba 101 $arus 102 $aSU 105 $a|||| 1|||| 200 1 $aIz istorii bor'by za edinyj front rabocego klassa$fIskander Nurtasovic Undasynov 210 $aMoskva$cIzdatel'stvo "Znanie"$d1972 215 $a61 p.$d21 cm. 606 $aClasse operaia$3UONC046356$2FI 620 $aRU$dMoskva$3UONL003152 700 1$aUNDASYNOV$bIskander Nurtasovic$3UONV180504$0698095 712 $aZnanie$3UONV254782$4650 801 $aIT$bSOL$c20250530$gRICA 899 $aSIBA - SISTEMA BIBLIOTECARIO DI ATENEO$2UONSI 912 $aUON00316101 950 $aSIBA - SISTEMA BIBLIOTECARIO DI ATENEO$dSI NAPOLITANO 0892 $eSI SC 44203 5 0892 996 $aIz istorii bor'by za edinyj front rabocego klassa$91373472 997 $aUNIOR