Le live et après. Sociologie d’une filière de la production audiovisuelle de concerts de musiques actuelles en France

Abstract

This article focuses on the recording and filming of popular music concerts in France, showing the specificity of these activities in terms of cultural industry. The text first emphasizes the way in which filming has developed at the intersection of relatively distant sectors whose collaboration is not always obvious or easy: live music promotion, audiovisual production and digital distribution. In a second step, this contribution explains how an economy of live music video could emerge thanks to the intervention of public institutions. The National Centre for Cinema (CNC) appears to be a French particularity whose role is not limited to helping projects through financial support. It also has a regulatory role that seeks, in the continuity of a cultural policy “à la française”, to take into account the heritage and creative dimensions of concert films.

Keywords

• live music
• production of culture
• neo-institutionalist sociology
• cultural intermediaries
• economic sector
• cultural distribution platforms