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M\u00e9thodologie du Barom\u00e8tre PUB [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb min_height=\u00a0\u00bb420px\u00a0\u00bb custom_margin=\u00a0\u00bb||-80px|||\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb0px|auto||auto||\u00a0\u00bb custom_padding=\u00a0\u00bb60px||0px|||\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb header_font=\u00a0\u00bbLato|900|||||||\u00a0\u00bb header_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb header_font_size=\u00a0\u00bb60px\u00a0\u00bb header_line_height=\u00a0\u00bb1.2em\u00a0\u00bb header_2_font=\u00a0\u00bb|700|||||||\u00a0\u00bb header_2_text_color=\u00a0\u00bb#ffffff\u00a0\u00bb header_2_font_size=\u00a0\u00bb22px\u00a0\u00bb header_2_line_height=\u00a0\u00bb1.6em\u00a0\u00bb custom_margin=\u00a0\u00bb||20px|||\u00a0\u00bb]<\/p>\n [\/et_pb_text][et_pb_divider color=\u00a0\u00bb#1a1844″ divider_weight=\u00a0\u00bb3px\u00a0\u00bb _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb width=\u00a0\u00bb20%\u00a0\u00bb module_alignment=\u00a0\u00bbleft\u00a0\u00bb][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb-1px|||||\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_padding=\u00a0\u00bb5px|||||\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.5.6″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb]<\/p>\n Ce Barom\u00e8tre vise \u00e0 analyser la repr\u00e9sentation des genres au sein de la communication commerciale radiophonique.<\/p>\n La notion de genre<\/em> d\u00e9signe\u00a0: les r\u00f4les, les comportements, les activit\u00e9s et les attributions socialement construits, qu\u2019une soci\u00e9t\u00e9 donn\u00e9e consid\u00e8re comme appropri\u00e9s pour les femmes et les hommes. Il s\u2019agit de la d\u00e9finition \u00e9nonc\u00e9e dans la Convention du Conseil de l’Europe sur la pr\u00e9vention et la lutte contre la violence \u00e0 l’\u00e9gard des femmes et la violence domestique<\/em>, dite Convention d’Istanbul[1]<\/span><\/a>.<\/p>\n Nous proposons d\u2019\u00e9tudier la repr\u00e9sentation de ces constructions sociales dans la communication commerciale en nous posant la question de savoir si un r\u00f4le social est \u00ab assign\u00e9 \u00bb[2]<\/span><\/a> aux personnages de la communication commerciale en fonction de leur sexe. D\u00e8s lors, existe-t-il des st\u00e9r\u00e9otypes de genre\u00a0?<\/p>\n L\u2019unit\u00e9 d\u2019encodage est l\u2019intervenant.e. S\u2019agissant de la communication commerciale en radio, l\u2019intervenant.e est d\u00e9fini\u00b7e comme la personne qui prend la parole \u00e0 l\u2019int\u00e9rieur ou non d\u2019une di\u00e9g\u00e8se[3]<\/span><\/a> (personnages et narrateurs.trices<\/strong>), ainsi que les interpr\u00e8tes d\u2019\u00e9pisodes musicaux<\/strong> (\u00e0 l\u2019exclusion de la musique utilis\u00e9e comme fond sonore) et de slogans<\/strong>.<\/p>\n L\u2019indexation des intervenant.e.s se r\u00e9alise en fonction de l\u2019appr\u00e9ciation du sens commun. C\u2019est-\u00e0-dire que pour chacun des individus index\u00e9s, il faut se poser la question\u00a0: comment cet individu est-il per\u00e7u par l\u2019auditeur.trice\u00a0? Dans le Barom\u00e8tre, on ne cherche pas \u00e0 savoir qui est intrins\u00e8quement la personne, mais comment elle est per\u00e7ue par le public.<\/p>\n <\/strong><\/span><\/p>\n – Publicit\u00e9s et parrainages<\/strong><\/span><\/p>\n Bien que le d\u00e9cret coordonn\u00e9 sur les services de m\u00e9dias audiovisuels recense huit formes de communication commerciale, nous \u00e9tudions exclusivement deux formats, la publicit\u00e9 et les parrainages. Ce sont les formats les plus fr\u00e9quents au sein de la communication commerciale des services radiophoniques.<\/p>\n – Dix services radiophoniques<\/strong><\/span><\/p>\n L\u2019\u00e9tude porte sur dix cha\u00eenes\/services\u00a0: les radios de service public et les radios priv\u00e9es en r\u00e9seau \u00e0 couverture communautaire et urbaine. Seuls les services radiophoniques diffus\u00e9s en FM sont int\u00e9gr\u00e9s \u00e0 l\u2019analyse. Il s\u2019agit des services suivants : Classic 21, La Premi\u00e8re, Musiq3, Pure FM, VivaCit\u00e9 Bruxelles (RTBF), ainsi que Bel RTL, Fun Radio, Nostalgie, NRJ, Radio Contact (radios en r\u00e9seaux).<\/p>\n – Quatre dates<\/strong><\/span><\/p>\n L\u2019encodage porte sur 4 dates\u00a0et 2 \u00ab\u00a0temporalit\u00e9s\u00a0\u00bb\u00a0:<\/p>\n – Heures de grande audience<\/strong><\/span><\/p>\n Nous nous sommes focalis\u00e9.e.s sur la communication commerciale diffus\u00e9e aux heures de grande audience, soit de 6h00 \u00e0 10h00 en semaine (les matinales) et de 10h00 \u00e0 14h00 le week-end.<\/p>\n – Volume de communications commerciales et d\u2019intervenant.e.s encod\u00e9.e.s\u00a0<\/strong><\/span><\/p>\n Au total, 2555 spots publicitaires ont \u00e9t\u00e9 \u00e9cout\u00e9s. 514 communications commerciales (hors rediffusions) ont \u00e9t\u00e9 encod\u00e9es. Cela repr\u00e9sente un total de 1009 intervenant.e.s<\/strong>.<\/p>\n Chaque intervenant.e a \u00e9t\u00e9 \u00e9tudi\u00e9.e selon plusieurs composants\u00a0:<\/p>\n Enfin, on a proc\u00e9d\u00e9 \u00e0 une relecture de l\u2019ensemble afin de d\u00e9terminer la pr\u00e9sence de st\u00e9r\u00e9otypes de genre, voire de renversement ou de d\u00e9construction de st\u00e9r\u00e9otypes.<\/p>\n <\/p>\n <\/span>[1]<\/a> F\u00e9d\u00e9ration Wallonie-Bruxelles, Direction de l\u2019Egalit\u00e9 des chances, Le lexique\u00a0: http:\/\/www.egalite.cfwb.be\/index.php?id=lexique<\/a>.<\/span><\/p>\n <\/span><\/a>[2]<\/a> Damian-Gaillard et al., L\u2019assignation de genre dans les m\u00e9dias. Attentes, perturbations, reconfigurations<\/em>, Rennes\u00a0: Presses universitaires de Rennes, 2014, p. 13.<\/span><\/p>\n
<\/strong><\/p>\nM\u00e9thodologie et terrain de l’\u00e9tude<\/span><\/h2>\n
Une m\u00eame question de recherche \u2026 mais une m\u00e9thodologie repens\u00e9e<\/strong>
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Objectifs et question de recherche\u00a0:<\/strong><\/span><\/h2>\n
Unit\u00e9 d’encodage:<\/strong><\/span><\/h2>\n
\u00a0Echantillon:<\/strong><\/span><\/h2>\n
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Grille d’analyse:<\/strong><\/span><\/h2>\n
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