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ArgumentaireSi l&#8217;int&#233;r&#234;t scientifique pour l&#8217;animation et les dessins anim&#233;s reste encore marginal en comparaison des recherches sur d&#8217;autres m&#233;dias et industries culturelles, celui-ci s&#8217;est toutefois consid&#233;rablement affirm&#233; depuis son &#233;mergence dans les ann&#233;es 1980 (Crafton, 1982&#160;; Pilling, 1997&#160;; Lamarre, 2008&#160;; Wells, 2012). Port&#233; par le d&#233;veloppement des animation studies dans le contexte anglo-saxon, avec notamment l&#8217;impulsion de la Society for Animation Studies (SAS), cr&#233;&#233;e en 1987, le mouvement s&#8217;&#233;tend aujourd&#8217;hui &#224; d&#8217;autres aires linguistiques dont la France. Cela ne veut pas dire pour autant qu&#8217;il faille se r&#233;jouir de l&#8217;&#233;tat actuel du champ de recherche, toujours relativement morcel&#233; et marqu&#233; par certains tropismes. Ainsi, souvent tributaires de projets ou d&#8217;&#233;v&#233;nements ad hoc, les travaux sur l&#8217;animation &#8211; entendue ici dans toute la diversit&#233; de ses formats et de ses techniques&#160;&#8211;&#160;ont &#233;t&#233; men&#233;s au sein d&#8217;espaces disciplinaires vari&#233;s (&#233;tudes cin&#233;matographiques et audiovisuelles, sciences de l&#8217;information et de la communication, histoire, sociologie, etc.), et dans une certaine ignorance les uns des autres (Pilling, 1997&#160;; Denis, 2011). Surtout, les questions d&#8217;esth&#233;tique et de contenus (et dans une certaine mesure de r&#233;ception) ont jusqu&#8217;&#224; pr&#233;sent largement pr&#233;domin&#233;, faisant passer les conditions concr&#232;tes de la fabrication des &#339;uvres anim&#233;es pour un enjeu secondaire, voire absent.Il est vrai que divers making-of (via des ouvrages, des documentaires et autres bonus DVD) se proposent r&#233;guli&#232;rement de lever le voile sur les coulisses de l&#8217;animation, mais l&#8217;on comprend ais&#233;ment les limites de ces discours pro domo. Quelques travaux historiques et g&#233;n&#233;ralistes (Furniss, 2016), sur les studios majeurs tels Disney ou Pixar (Wasko, 2001) ou encore sur les cha&#238;nes t&#233;l&#233;visions d&#233;di&#233;es au dessin anim&#233; (Hendershot, 2004) ont quant &#224; eux d&#233;j&#224; fourni des premi&#232;res pistes d&#8217;analyse. Cependant, les sciences sociales sont encore loin d&#8217;avoir trait&#233; de fa&#231;on syst&#233;matique les processus de conception et de production des &#339;uvres anim&#233;es, ainsi que le fonctionnement socio&#233;conomique du secteur&#160;: les recherches sont rares, et pas seulement parce qu&#8217;il s&#8217;agit d&#8217;explorer la production d&#8217;un contenu m&#233;diatique. L&#8217;animation semble en effet toujours p&#226;tir de diff&#233;rentes formes d&#8217;ill&#233;gitimit&#233;, redoublant par-l&#224; certains angles morts acad&#233;miques&#160;: d&#233;pr&#233;ciation vis-&#224;-vis cin&#233;ma en prise de vue r&#233;elle, liens forts avec une t&#233;l&#233;vision elle-m&#234;me sous-&#233;tudi&#233;e, r&#233;duction souvent naturalis&#233;e aux &#171;&#160;produits pour enfants&#160;&#187;, etc. Dans ce contexte, l&#8217;enqu&#234;te ethnographique de Ian Condry sur l&#8217;anime japonais et ses studios (Condry, 2013) ou le travail de Dana Lemish sur le genre dans les dessins anim&#233;s, r&#233;alis&#233;e &#224; partir d&#8217;entretiens aupr&#232;s de producteurs d&#8217;animation du monde entier, font figure d&#8217;exception (Lemish, 2010). Plus r&#233;cemment, la journ&#233;e d&#8217;&#233;tude &#171;&#160;La fabrique de l&#8217;animation&#160;&#160;&#187;, organis&#233;e en juin 2017, qui cherchait &#224; mettre en visibilit&#233; de ce type de recherche et &#224; d&#233;velopper le dialogue entre chercheurs, a moins &#233;t&#233; un aboutissement qu&#8217;une premi&#232;re &#233;tape. Cet &#233;tat de la litt&#233;rature, o&#249; l&#8217;on voit qu&#8217;il reste beaucoup &#224; faire, pourra d&#8217;ailleurs sembler assez paradoxal dans des pays o&#249;, &#224; l&#8217;image de la France, l&#8217;industrie de l&#8217;animation est en relative bonne sant&#233; et o&#249; les formations en animation sont internationalement reconnues (M&#233;rijeau &#38; Roffat, 2015).Ce dossier voudrait par cons&#233;quent apporter &#224; son tour une pierre &#224; la compr&#233;hension des processus de mise en production de l&#8217;animation, en rassemblant des recherches engag&#233;es dans une telle perspective. Quels sont les travaux en cours abordant la situation des professionnels de l&#8217;animation, si nombreux et vari&#233;s, ainsi que leurs conditions de travail&#160;? Comment rendre compte de l&#8217;organisation d&#8217;un secteur dont les projets, souvent tr&#232;s longs &#224; mettre en &#339;uvre, n&#233;cessitent des &#171;&#160;cha&#238;nes de coop&#233;ration&#160;&#187; (Becker, 1982) particuli&#232;rement &#233;tendues et complexes&#160;? Sans ignorer l&#8217;apport des travaux d&#233;j&#224; r&#233;alis&#233;s &#224; propos d&#8217;autres domaines connexes, l&#8217;enjeu sera d&#232;s lors de r&#233;fl&#233;chir aux approches th&#233;oriques et empiriques possibles pour appr&#233;hender la &#171;&#160;conception&#160;&#187; de l&#8217;animation au sens large, depuis les premiers moments de sa cr&#233;ation jusqu&#8217;&#224; sa r&#233;alisation et sa diffusion, afin de cerner leurs sp&#233;cificit&#233;s et discuter sa propre nature d&#8217;industrie culturelle.Pour commencer &#224; r&#233;pondre ces questionnements, contributeurs et contributrices pourront par exemple s&#8217;inscrire au sein des trois axes de recherche suivants&#160;:L&#8217;animation et ses modes de collaborationDans le sillage des travaux sur les industries culturelles (Hesmondhalgh, 2012&#160;; Johnson et al., 2014) et le nouvel essor des production studies (Mayer &#38; al., 2009&#160;; Arsenault et Perren, 2016), il est essentiel de r&#233;fl&#233;chir aux fa&#231;ons d&#8217;&#233;tudier le travail des professionnels de l&#8217;animation au plus pr&#232;s de leurs pratiques. Ainsi, comment suivre et documenter les multiples &#233;tapes de production de l&#8217;animation, o&#249; se croisent des professions artistiques vari&#233;es (auteurs, dessinateurs, r&#233;alisateurs, storyboarders, animateurs, doubleurs, etc.), dont certaines, sp&#233;cifiques au domaine, sont particuli&#232;rement mal connues&#160;? Pour appr&#233;hender les modes de collaboration entre tous ces acteurs (Holian, 2015), les recherches sur d&#8217;autres cr&#233;ations &#233;minemment collectives comme le cin&#233;ma (Rot &#38; de Verdalle, 2013) ou celles sur les interm&#233;diaires de la culture (Maguire &#38; Matthews, 2014&#160;; Jeanpierre &#38; Roueff, 2014) pourront s&#8217;av&#233;rer utiles. Les tensions qui traversent le secteur, qu&#8217;elles touchent &#224; des enjeux de genre, de g&#233;n&#233;rations, d&#8217;&#233;coles, etc., ou bien lorsqu&#8217;elles s&#8217;expriment jusque dans les techniques utilis&#233;es&#160;&#8211;&#160;autour d&#8217;oppositions comme artisanat vs. industrialisation, analogique vs. num&#233;rique (Noesser, 2016), etc.&#160;&#8211;, pourront aussi &#234;tre au c&#339;ur des contributions.Le secteur de l&#8217;animation&#160;: organisation, distribution et financementsLa mise en production des longs m&#233;trages et des s&#233;ries d&#8217;animation d&#233;pend en grande partie de modes de financement et des mod&#232;les &#233;conomiques dont il semble important de saisir la sp&#233;cificit&#233; (Creton, 2014). Les recherches qui tentent de mieux conna&#238;tre le &#171;&#160;petit&#160;&#187; milieu de producteurs engag&#233;s dans l&#8217;animation et leurs &#233;ventuelles sp&#233;cificit&#233;s par rapport au reste de la profession (Creton et&#160;al., 2011) pourraient &#233;clairer ces questions. De la m&#234;me fa&#231;on, seront bienvenues les contributions s&#8217;int&#233;ressant aux dispositifs institutionnels et financiers li&#233;s &#224; l&#8217;animation, eux qui ont permis &#224; l&#8217;animation fran&#231;aise et plus g&#233;n&#233;ralement europ&#233;enne d&#8217;exister &#224; c&#244;t&#233; des produits anglo-saxons et japonais, ce qui n&#8217;a pas toujours &#233;t&#233; le cas (Mousseau, 1982). La diffusion appara&#238;t &#233;galement comme un enjeu central, des festivals aux distributeurs en passant par les diffuseurs proprement dits, notamment les cha&#238;nes de t&#233;l&#233;vision, au regard de leur implication d&#233;cisive dans le processus de production (Stabile &#38; Harrison, 2003&#160;; Jost &#38; Chambat-Houillon, 2003). Enfin les contraintes morales et r&#233;glementaires qui s&#8217;appliquent &#224; ces contenus audiovisuels pourront &#233;galement &#234;tre interrog&#233;es, avec en particulier le r&#244;le de certaines institutions, associations ou dispositifs ad hoc&#160;: le Conseil Sup&#233;rieur de l&#8217;Audiovisuel en France, les Parents-Teachers Associations au Japon, ou les d&#233;partements &#171;&#160;Standards and Practices&#160;&#187; des cha&#238;nes de t&#233;l&#233;vision am&#233;ricaines (Cohen, 2004) n&#8217;en sont que quelques exemples.Animation et circulations m&#233;diatiquesDans la perspective d&#8217;une &#233;tude plus int&#233;gr&#233;e des industries culturelles et de leurs fronti&#232;res (Bouquillion et&#160;al., 2013), seront mis en avant les travaux qui s&#8217;int&#233;ressent &#224; l&#8217;&#233;laboration des ph&#233;nom&#232;nes de circulation m&#233;diatique, en l&#8217;occurrence lorsque l&#8217;animation y joue un r&#244;le central, ce qui est souvent le cas. Comment, par exemple, se transforme le travail de fabrication de l&#8217;animation lorsqu&#8217;il s&#8217;inscrit dans des d&#233;marches de licensing (Johnson, 2013) ou des strat&#233;gies cross- ou transm&#233;dia (Kinder, 1991&#160;; Steinberg, 2012)&#160;? Quels sont surtout les &#171;&#160;nouveaux&#160;&#187; supports sur lesquels se d&#233;clinent aujourd&#8217;hui l&#8217;animation (jeux vid&#233;o, web, applications, etc.) et quelles en sont les implications pour les professionnels&#160;? Ces aspects conduiront &#224; r&#233;interroger les interactions entre industries culturelles, ainsi que le travail de construction des mondes fictionnels contemporains (Broug&#232;re, 2008&#160;; Condry, 2013&#160;; Besson, 2015).CoordinationS&#233;bastien Fran&#231;ois et Marie Pruvost-Delaspre&#160;Articles attendus pour le 15 juillet 2019(parution du num&#233;ro : fin 2019/d&#233;but 2020)Modalit&#233;s de soumissionLes articles de 40&#160;000 signes maximum (espaces compris) sont à adresser aux coordinateurs du dossier&#160;: sebastien.francois@rocketmail.com et marie.pruvost-delaspre@univ-paris8.fr.Les textes seront &#233;valu&#233;s en double aveugle par un comit&#233; scientifique.Les consignes de r&#233;daction sont disponibles à l&#8217;adresse&#160;: https://journals.openedition.org/rfsic/401CalendrierDate de rendu des articles&#160;: 15 juillet&#160; 2019Num&#233;ro&#160;18, à para&#238;tre en d&#233;cembre&#160;2019/d&#233;but 2020BibliographieBECKER Howard, 1982, Les Mondes de l&#8217;art, Paris, Flammarion, 379&#160;p.BESSON Anne, 2015, Constellations : Des mondes fictionnels dans l&#8217;imaginaire contemporain, Paris, CNRS, 560&#160;p.BOUQUILLION Philippe, MIEGE Bernard &#38; MOEGLIN Pierre, 2013, L&#8217;Industrialisation des biens symboliques : Les industries cr&#233;atives en regard des industries culturelles, Grenoble, PUG, 252&#160;p.CRAFTON Donald, Before Mickey&#160;: The Animated Film, 1898-1928, Boston, MIT Press, 1982.CRETON Laurent, 2014, &#201;conomie du cin&#233;ma, Paris, Armand Colin, 295&#160;p.CRETON Laurent, DEHEE Yannick, LAYERLE S&#233;bastien &#38; MOINE Caroline, 2011, Les Producteurs : Enjeux cr&#233;atifs, enjeux financiers, Paris, Nouveau Monde &#201;ditions, 392&#160;p.COHEN Karl, 2004, Forbidden Animation. Censored Cartoons and Blacklisted Animators in America, Jefferson, McFarland, 230&#160;p.CONDRY Ian, 2013, The Soul of Anime&#160;: Collaborative Creativity and Japan&#8217;s Media Success Story, Durham, Duke University Press, 241&#160;p.DENIS S&#233;bastien, 2017, Le Cin&#233;ma d&#8217;animation, Paris, A. Colin (3&#232;me &#233;d.), 320&#160;p.FURNISS, Maureen, 2016, A New History of Animation, New York, Thames &#38; Hudson, 464&#160;p.HENDERSHOT Heather (dir.), 2004, Nickelodeon Nation. The History, Politics, and Economics of America&#8217;s Only TV Channel for Kids, New York, New York University Press, 304&#160;p.HESMONDHALGH David, 2012, The Cultural Industries, Londres, SAGE Publications Ltd, 480&#160;p.HOLIAN Heather, 2013, &#171;&#160;Art, Animation and the Collaborative Process&#160;&#187;, Animation Studies Journal, volume 8, disponible sur https://journal.animationstudies.org/heather-holian-art-animation-and-the-collaborative-process/, consult&#233; le 11&#160;janvier 2019.JEANPIERRE Laurent &#38; ROUEFF Olivier, 2014, La Culture et ses interm&#233;diaires, Paris, Archives contemporaines, 267&#160;p.JOHNSON Derek, 2013, Media Franchising&#160;: Creative License and Collaboration in the Culture Industries, New York, New York University Press, 300&#160;p.JOHNSON Derek, KOMPARE Derek &#38; SANTO Avi, 2014, Making Media Work&#160;: Cultures of Management in the Entertainment Industries, New York, New York University Press, 336&#160;p.JOST Fran&#231;ois &#38; CHAMBAT-HOUILLON Marie-France, 2003, &#171;&#160;Parents-enfants : regards crois&#233;s sur les dessins anim&#233;s&#160;&#187;, Informations sociales, 111. 62-71.LAMARRE Thomas, 2008, &#171;&#160;Animation Studies&#160;&#187;, The Semiotic Review of Books, 17&#160;:3. 1‑5LEMISH Dafna, 2010, Screening Gender on Children&#8217;s Television&#160;: The Views of Producers around the World, Londres/New York, Routledge, 240&#160;p.MAGUIRE Jennifer Smith &#38; MATTHEWS Julian, 2014, The Cultural Intermediaries Reader, Londres/New York, SAGE Publications Ltd, 256&#160;p.DOI : 10.4135/9781473912281MAYER Vicky, BANKS Miranda &#38; CALDWELL John Thornton (dir.), 2009, Production Studies&#160;: Cultural Studies of Media Industries, New York, Routledge, 255&#160;p.MERIJEAU Lucie &#38; ROFFAT S&#233;bastien (2015), &#171;&#160;L&#8217;animation &#224; l&#8217;universit&#233; fran&#231;aise, un enseignement en qu&#234;te d&#8217;identification&#160;&#187;, Mise au point. Cahiers de l&#8217;association fran&#231;aise des enseignants et chercheurs en cin&#233;ma et audiovisuel, no 7, disponible sur https://journals.openedition.org/map/1972, consult&#233; le 11&#160;janvier 2019.MOUSSEAU Jacques, 1982, &#171;&#160;Plaidoyer pour une industrie fran&#231;aise du dessin anim&#233;&#160;&#187;, Communication et langages, 52&#160;: 1. 82‑89.DOI : 10.3406/colan.1982.1466NOESSER C&#233;cile, 2016, La R&#233;sistible ascension du cin&#233;ma d&#8217;animation&#160;: socio-gen&#232;se d&#8217;un cin&#233;ma-bis en France (1950-2010), Paris, L&#8217;Harmattan, 308&#160;p.PILLING Jayne (dir.), 1997, A Reader In Animation Studies, Londres, John Libbey Publishing, 283&#160;p.ROT Gwena&#235;le &#38; DE VERDALLE Laure (dir.), 2013, Le Cin&#233;ma : travail et organisation, Paris, La Dispute, 236&#160;p.STABILE Carol &#38; HARRISON Mark (dir.), 2003, Prime Time Animation&#160;: Television Animation and American Culture, Londres/New York, Routledge, 254&#160;p.STEINBERG Marc, 2012, Anime&#8217;s Media Mix&#160;: Franchising Toys and Characters in Japan, Minneapolis, University of Minnesota Press, 314&#160;p.WASKO Janet, 2001, Understanding Disney&#160;: The Manufacture of Fantasy, Cambridge, Polity, 261&#160;p.WELLS Paul, 2012, &#171;&#160;Animation and the Animated Film&#160;&#187;, Oxford Bibliographies, disponible sur http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0076.xml, consult&#233; le 11 janvier 2019.&#160;Even though academic interest for the animated medium remains on the fringe of media studies, it seems to have gained much importance during in the last few decades (Crafton, 1982; Pilling, 1997; Lamarre, 2008; Wells, 2012). Following the impetus of the thriving &#8220;animation studies&#8221; in the English-speaking context and the pioneering work of the Society for Animation Studies (SAS) founded in 1987, scientific research on animation has started to spread across different linguistic areas and countries. Nevertheless, animation as a field of research still appears in a state of dispersal and fragmentation, marked by recurrent tropisms. Indeed, due to their dependence to related scientific projects or events, the works conducted on animation and its multiple formats and techniques have been developed within different disciplinary fields, such as film and media studies, communication studies, history or sociology, but in a certain state of unawareness of one another (Pilling, 1998; Denis, 2011). They also have been mainly focused on aesthetics and contents &#8211;and to some extent on reception&#8211;, putting aside the practical conditions of the making of animation.A growing number of books, documentaries or DVD-bonuses may have already offered some insights into what happens &#8220;behind-the-scene&#8221;, as did so &#8211;more seriously&#8211; some general historical and theoretical works on animation (Furniss, 2016), studies devoted to major studios like Disney or Pixar (Wasko, 2001), or others focused on specialized television channels (Hendershot, 2004). Nevertheless, the design and production process of animated programs have rarely been systematically tackled by social sciences, and socio-economical approaches of the animation market appears almost non-existent. Those blind spots left by academia are related the periodic illegitimacy of animation, which is clearly linked to its reduction both to television programs and children products. In this context, ethnographical studies like Ian Condry&#8217;s work on anime studios (Condry, 2013) or Dana Lemish&#8217;s on gender in animated cartoons (Lemish, 2010), can be considered as pioneering. More recently, the one-day symposium &#8220;La fabrique de l&#8217;animation&#8221; (&#8220;The making of animation&#8221;), organized in June 2017 in Paris, which sought to raise visibility on this type of research and to develop dialogue between researchers, has rather been a first step than culmination. From the perspective of countries, like France, where animation remains, despite everything, a flourishing industry, with animation schools and young professionals with international appeal (M&#233;rijeau &#38; Roffat, 2015), this state of the art seems nothing but paradoxical.This special issue consequently aims at highlighting the processes through which animation projects are designed and put into production, by bringing together contributions and researchers that engage with such questions. Thus, an essential task is still to better document the working conditions of animation professionals, whose occupations and situations are so diverse. But how can we report the organization of such production systems, in which many projects stop at their early stages while the lucky ones take years to be completed? How to describe and classify the multiple and complex &#8220;chains of cooperation&#8221; (Becker, 1982) of each one? Benefitting from the input of previous works previously undertaken in diverse academic fields, the purpose of this issue is indeed to discuss the potential approaches (theoretical and empirical) that could be useful to comprehend the production of animation, taken in its broadest sense, i.e. from the first steps of the creation to the practical manufacturing and broadcasting moments. The collection&#8217;s goal is therefore to question the specificity of animation and its qualification as a cultural industry.So as to initiate the discussions at stake, we invite contributors to address the following (but not exhaustive) research directions:Animation and its modes of cooperationFollowing decisive works on cultural industries (Hesmondhalgh, 2012; Johnson &#38; al., 2014) and the recent rise of production studies (Mayer &#38; al., 2009; Arsenault &#38; Perren, 2016), the work of animation professionals and their daily practices should appear as a central issue. Indeed, how can research follow up and document the multiple stages of the animation production? How to analyze the diversity of artistic professions (authors, animators, filmmakers, story-boarders, voice actors&#8230;) as well as their skills and crafts, while some of them remain particularly understudied? Existing research on the collective nature of creation in the cinema industry (Caldwell, 2008; Rot &#38; de Verdalle, 2013) or on the role of cultural intermediaries (Maguire &#38; Matthews, 2014; Jeanpierre &#38; Roueff, 2014) should be helpful to understand how those professionals cooperate (Holian, 2015). In particular, articles addressing the question of the existing tensions within the animation industry &#8211;regarding gender, generations, schools of thought, etc.&#8211; or technical antagonisms &#8211;craftsmanship vs. industry, analogic vs. digital technology (Noesser, 2016)&#8211; are expected.The animation industry: organizing, financing and broadcastingThe production of animated series and feature films deeply relies on specific financing and economic models (Creton, 2014) which comprehension requires to conduct studies among animation producers. Analyzing the specificity of animation production, in comparison to the situation in the film or in other cultural industries, might also shed some light on this subject. Thereby, papers dealing with the institutional and political contexts, as well as the financing of animation projects, will be highly appreciated: for instance, such works could explain why the French and European animation have continued to develop despite the powerful Japanese anime and American cartoons (Mousseau, 1982), but any other international perspective will be considered. Moreover, it is essential to scientifically include animation broadcasting, be it the film circulation through festivals, the work done by cinema distributors, and of course the role played by television channels which are indispensable in the financing and production processes (Stabile &#38; Harrison, 2003; Jost &#38; Chambat-Houillon, 2003), since they have their own problematics. Finally, the moral and regulation constraints which apply to audiovisual material may be also examined. The institutions (e.g. the Conseil Sup&#233;rieur de l&#8217;Audiovisuel in France), associations (e.g. the &#8220;Parents-Teachers Associations&#8221; in Japan) or other entities (e.g. the &#8220;Standards and Practices&#8221; departments in American television channels; see Cohen, 2004), which directly affect professionals&#8217; working conditions and attitudes could inspire very interesting studies.Animation and media circulationsLooking more broadly into cultural industries and their boundaries (Bouquillon &#38; al., 2013), article proposals focusing on the circulation of animated contents are expected. Animation often plays a central part in contemporary media circulations and one can wonder to what extent the industry has (or had) to adapt its production routines due to licensing or cross/transmedia strategies (Johnson, 2013; Kinder, 1991; Steinberg, 2012). How then has been animation associated to other &#8220;new&#8221; media (video games, Internet, apps) and what are the implications for animation professionals? Interrogating such aspects of animation circulation should contribute to the understanding of the interactions between cultural industries, as well as the building of contemporary fictional worlds (Broug&#232;re, 2008; Condry, 2013; Besson, 2015).Special Issue EditorsS&#233;bastien Fran&#231;ois and Marie Pruvost-DelaspreSubmission InformationSubmitted papers, of a maximum of 40,000&#160;characters including spaces, should be sent before July 15th 2019 to the coordinators: sebastien.francois@rocketmail.com and marie.pruvost-delaspre@univ-paris8.frThey will then be peer-reviewed in a double-blind process by the scientific committee. Instructions on format and citations may be found at: https://journals.openedition.org/rfsic/401The issue #18 is expected to be published by the end of 2019/first trimester of 2020.ReferencesBECKER Howard, 1982, Art Worlds, Berkeley, University of California Press, 379 p.BESSON Anne, 2015, Constellations : Des mondes fictionnels dans l&#8217;imaginaire contemporain, Paris, CNRS, 560 p.BOUQUILLION Philippe, MIEGE Bernard &#38; MOEGLIN Pierre, 2013, L&#8217;Industrialisation des biens symboliques : Les industries cr&#233;atives en regard des industries culturelles, Grenoble, PUG, 252 p.CRAFTON Donald, Before Mickey: The Animated Film, 1898-1928, Boston, MIT Press, 1982.CRETON Laurent, 2014, &#201;conomie du cin&#233;ma, Paris, Armand Colin, 295 p.CRETON Laurent, DEHEE Yannick, LAYERLE S&#233;bastien &#38; MOINE Caroline, 2011, Les Producteurs : Enjeux cr&#233;atifs, enjeux financiers, Paris, Nouveau Monde &#201;ditions, 392 p.COHEN Karl, 2004, Forbidden Animation. Censored Cartoons and Blacklisted Animators in America, Jefferson, McFarland, 230 p.CONDRY Ian, 2013, The Soul of Anime: Collaborative Creativity and Japan&#8217;s Media Success Story, Durham, Duke University Press, 241 p.DENIS S&#233;bastien, 2017, Le Cin&#233;ma d&#8217;animation, Paris, A. Colin (3&#232;me &#233;d.), 320 p.FURNISS, Maureen, 2016, A New History of Animation, New York, Thames &#38; Hudson, 464 p.HENDERSHOT Heather (ed.), 2004, Nickelodeon Nation. The History, Politics, and Economics of America&#8217;s Only TV Channel for Kids, New York, New York University Press, 304 p.HESMONDHALGH David, 2012, The Cultural Industries, Londres, SAGE Publications Ltd, 480 p.HOLIAN Heather, 2013, &#171;&#160;Art, Animation and the Collaborative Process&#160;&#187;, Animation Studies Journal, volume 8, available at https://journal.animationstudies.org/heather-holian-art-animation-and-the-collaborative-process/, consulted on January, 11th 2019.JEANPIERRE Laurent &#38; ROUEFF Olivier, 2014, La Culture et ses interm&#233;diaires, Paris, Archives contemporaines, 267 p.JOHNSON Derek, 2013, Media Franchising: Creative License and Collaboration in the Culture Industries, New York, New York University Press, 300 p.JOHNSON Derek, KOMPARE Derek &#38; SANTO Avi, 2014, Making Media Work: Cultures of Management in the Entertainment Industries, New York, New York University Press, 336 p.JOST Fran&#231;ois &#38; CHAMBAT-HOUILLON Marie-France, 2003, &#171;&#160;Parents-enfants : regards crois&#233;s sur les dessins anim&#233;s&#160;&#187;, Informations sociales, 111. 62-71.LAMARRE Thomas, 2008, &#171;&#160;Animation Studies&#160;&#187;, The Semiotic Review of Books, 17:3. 1‑5LEMISH Dafna, 2010, Screening Gender on Children&#8217;s Television: The Views of Producers around the World, Londres/New York, Routledge, 240 p.MAGUIRE Jennifer Smith &#38; MATTHEWS Julian, 2014, The Cultural Intermediaries Reader, Londres/New York, SAGE Publications Ltd, 256 p.DOI : 10.4135/9781473912281MAYER Vicky, BANKS Miranda &#38; CALDWELL John Thornton (ed.), 2009, Production Studies: Cultural Studies of Media Industries, New York, Routledge, 255 p.MERIJEAU Lucie &#38; ROFFAT S&#233;bastien (2015), &#171;&#160;L&#8217;animation &#224; l&#8217;universit&#233; fran&#231;aise, un enseignement en qu&#234;te d&#8217;identification&#160;&#187;, Mise au point. 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