By Jeanne Marchalot, Innovation Department, France Télévisions.

[Shishirgano9]

In Petites proses , Michel Tournier states: "a book always has two authors: the one who wrote it and the one who reads it." According to the writer, the reader is a co-creator and therefore participates in the co-construction of the story. The reader's active and potentially multiple reading makes him essential to the very existence of the story. Michel Tournier places the reader at the very center of the creative process in an active and essential role. The writer and his reader become a duo necessary to the very existence of the story.

The question of narration and storytelling is still an essential fusion database question in the 21st century because human beings always need a narrator to tell them stories. Simply what changes and goes in the direction of Michel Tournier's words is his role: from passive, he wishes to become today an actor in the story. This raises the principle of co-construction in all forms of narration, and in particular filmic (in the generic sense of the term).

At the same time as cinema and television appeared and evolved, reflection on these media raised the question of language and, in fact, that of the participation of the viewer. The spectator in the dark room is in a state of hypnosis; the viewer in his living room watches a television set (remote viewing), as if television were "illustrated radio" to use Orson Welles' words. If cinema and television engender a certain passivity of the television/viewer, where is the co-construction of the audio-visual narrative now located?