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Exploitation Et Valorisation Du Patrimoine Audiovisuel Français Diplôme de conservateur de bibliothèque 11 0 r 2 Exploitation et valorisation du / janvie patrimoine audiovisuel français d’étude e r L’exemple des adaptations télévisées Mémoi de Balzac conservées par l’INA Isabelle Mette Sous la direction d’Evelyne Cohen Professeure d'Histoire et Anthropologie culturelles (20e siècle) à l'Enssib. Directrice du centre de recherche Gabriel Naudé. METTE Isabelle | Diplôme de conservateur de bibliothèque | Mémoire d’étude | janvier 2011 - 2 - Remerciements Mes remerciements vont à Madame Cohen qui a dirigé mon mémoire avec attention et disponibilité. Je remercie également Madame Barbier-Bouvet, responsable du centre de consultation de l’Inathèque, pour le temps qu’elle a bien voulu consacrer à répondre à mes questions. Enfin ma gratitude va à Monsieur Toublanc, responsable documentaire à l’INA Lyon, pour ses corrections et ses conseils. METTE Isabelle | Diplôme de conservateur de bibliothèque | Mémoire d’étude | janvier 2011 - 3 - Résumé : L’INA a pour vocation de conserver les archives audiovisuelles françaises; l’extension du dépôt légal aux documents de radio-télévision a permis la création d’un nouveau département, l’Inathèque ; le développement de ce centre de consultation à destination des chercheurs a permis à l’INA de diffuser et de valoriser encore davantage ses collections. L’exemple d’un corpus d’adaptations télévisées de romans de Balzac permet d’illustrer les savoirs qu’il est possible de construire grâce aux ressources et aux outils développés par l’Inathèque. Descripteurs : Archives audiovisuelles Adaptations cinématographiques et audiovisuelles Télévision Audiovisuel Numérisation Patrimoine culturel Catalogage Indexation Balzac, Honoré de Abstract : The National Institute for Audio and TV Files is the place where french audio and TV programs are being stored. Its collections have been even more widely spread and promoted owing to a research center meant for professors, the Inatheque, created after the extension of the registration copyright to audio and TV files. For instance, the whole set of TV programs based on Balzac’s novels enables us to figure out what can be done thanks to the resources and tools engineered by the Inatheque. Keywords : Broadcasting archives Screen adaptation Radio, TV broadcasting Digitized images Cultural inheritance Cataloguing of pictures Indexing Balzac, Honoré de Droits d’auteurs Cette création est mise à disposition selon le Contrat : Paternité-Pas d'Utilisation Commerciale-Pas de Modification 2.0 France disponible en ligne http://creativecommons.org/licenses/by-nc-nd/2.0/fr/ ou par courrier postal à Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. METTE Isabelle | Diplôme de conservateur de bibliothèque | Mémoire d’étude | janvier 2011 - 4 – Sommaire SIGLES ET ABREVIATIONS .................................................................................... 8 INTRODUCTION........................................................................................................ 9 PREMIERE PARTIE ................................................................................................ 11 L’INA ET LES MEDIAS AUDIOVISUELS EN FRANCE ...................................... 11 1. Le développement de la télévision francaise..................................................... 11 1.1. Les débuts...................................................................................................... 11 1.2. La diffusion du petit écran............................................................................. 11 1.3. L’ouverture à la libre concurrence ................................................................ 12 1.4. La révolution du numérique........................................................................... 13 1.5. Perspectives .................................................................................................. 13 2. L’institut national de l’audiovisuel : son histoire et ses missions .................... 15 2.1. Les ancêtres de l’INA .................................................................................... 15 2.2. Le nouvel Institut national de l’audiovisuel ................................................... 16 2.3. L’entrée dans le marché libre ........................................................................ 16 2.4. L’INA de 1994 à nos jours : de nouvelles orientations................................... 17 2.5. L’INA depuis 2010 et son nouveau président Mathieu Gallet......................... 19 3. L’INA dans l’univers des archives audiovisuelles............................................ 20 3.1. Définition ...................................................................................................... 20 3.2. Typologie....................................................................................................... 21 3.3. Institutions détentrices................................................................................... 21 A. Les institutions détentrices du dépôt légal....................................................22 Le CNC.........................................................................................................22 L’INA ...........................................................................................................22 La BnF..........................................................................................................24 B. Les autres institutions patrimoniales.............................................................25 Les services d’archives .................................................................................25 L’ECPAD .....................................................................................................25 La Cinémathèque française ...........................................................................25 Le Forum des images ....................................................................................26 La BPI...........................................................................................................27 C. Les archives audiovisuelles de l’enseignement supérieur..............................27 D. Les organismes privés..................................................................................28 Conclusion ............................................................................................................. 28 DEUXIEME PARTIE ................................................................................................ 31 LA POLITIQUE DOCUMENTAIRE DE L’INA...................................................... 31 1. La politique documentaire de l’INA avant et après 1995 : ce que le numérique a changé ................................................................................................................. 31 1.1. Rédaction des notices, catalogage et indexation ............................................ 31 1.2. Sélection et hiérarchisation des émissions ..................................................... 33 2. homogénéiser les modes de traitement documentaire : un travail en cours.... 35 2.1. La rétroconversion ........................................................................................ 35 2.2. La reprise d’antériorité ................................................................................. 36 2.3. L’harmonisation des données récoltées auprès des différentes chaînes.......... 36 METTE Isabelle | Diplôme de conservateur de bibliothèque | Mémoire d’étude | janvier 2011 - 5 – 2.4. Le dépôt légal du web : de nouveaux documents à identifier.......................... 36 3. diffusion et valorisation des fonds .................................................................... 37 3.1. Les modes d’accès par profil : une contrainte juridique ................................ 37 3.2. Inamédiapro .................................................................................................. 38 3.3. L’Inathèque ................................................................................................... 40 A. L’offre documentaire ...................................................................................40 B. La recherche des documents sur Hyperbase..................................................40 C. L’environnement numérique de travail .........................................................44 Médiacorpus .................................................................................................45 Médiascope...................................................................................................45 L’export de données......................................................................................46 3.4. ina.fr ............................................................................................................. 46 A. Accès et contenus.........................................................................................47 B. Outils de recherche et de navigation.............................................................47 C. Éditorialisation des documents .....................................................................49 D. Plaire et faire participer................................................................................51 E. La dictature de l’actualité : un paradoxe pour les archives ? .........................52 Conclusion ............................................................................................................. 53 TROISIEME PARTIE............................................................................................... 55 L’EXEMPLE
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