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            <title xml:lang="en">The collective singular. Authors through their networks</title>
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            <idno type="halRefHtml">&lt;i&gt;Sociologie de l'art&lt;/i&gt;, 2015, Sociologie de l’art et analyse des réseaux sociaux, 25-26, pp.63. &lt;a target="_blank" href="https://dx.doi.org/10.3917/soart.025.0063"&gt;&amp;#x27E8;10.3917/soart.025.0063&amp;#x27E9;&lt;/a&gt;</idno>
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            <idno type="stamp" n="UNIV-AVIGNON">Université d'Avignon</idno>
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                <title xml:lang="en">The collective singular. Authors through their networks</title>
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                <title level="j">Sociologie de l'art</title>
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                <term xml:lang="en">French cinema</term>
                <term xml:lang="en">networks analysis</term>
                <term xml:lang="en">dyads</term>
                <term xml:lang="en">apparatus</term>
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                <term xml:lang="fr">dyades</term>
                <term xml:lang="fr">réseaux</term>
                <term xml:lang="fr">Cinéma français</term>
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                <term xml:lang="fr">familles</term>
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              <p>In this article, we cross the inputs of the sociology of art and networks based on French cinema. This study is mainly the result of two surveys conducted between 2004 and 2006 for the first one, 2008 and 2012 for the second one concerning a population of « talents » (directors, actors, technicians and heads of post) and intermediates (producers, distributors, critics, operators). Beyond an individualizing speech (the « politique des auteurs » of the French « new wave »), French cinema can account chains of embeddedness, from tighter (dyads) to larger ones (« family »). This relational frame represents the structure of creative work and project economy, which are indeterminate, precarious and uncertain</p>
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              <p>Cet article vise à croiser les apports de la sociologie de l’art et de l’analyse de réseaux à partir du cas du cinéma français. Il est principalement le résultat de deux enquêtes respectivement menée entre 2004 et 2006, puis 2008 et 2012 auprès d’une population de « talents » (réalisateurs, acteurs, chefs de poste et techniciens) et d’intermédiaires (producteurs, distributeurs, critiques, exploitants). Au-delà d’un discours fortement individualisant (la « politique des auteurs »), le cinéma français permet de rendre compte de chaînes de réseaux imbriqués, allant du plus resserré (dyades) au plus étendu (« famille »). Cette trame relationnelle constitue une structure du travail créateur et des économies par projet, indéterminées, précaires et incertaines.</p>
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