Dear Djelloul Beghoura,

Scrutinizing the horizon, getting out of the shackles, proposing other images on the screen, others will speak to the entire French community, so that it recognizes itself, is represented and is increasingly open to its multiple identities: These are all requirements that have always been yours. You are not only a witness but above all an actor
of the revolution of world perceptions in the French audiovisual industry for more than thirty years.

Through your commitment and your broadcasts, you have privileged television with knowledge and dialogue about the ignorance or even ignorance of others, within a France rich in its pluralism, open to the world and its own diversity.Thanks to you, Our little skylights are more like who we are and who we are around. Like Nadia Samir, who passed away last year and whose memory I salute, or Rachid Arhab, you are among the great personalities who paved the way for diversity in the French audiovisual industry and helped it evolve.

A youth spent in Algeria, in Teffreg, studies done in Ben Aknoun then in Constantine, before joining the other bank of the Mediterranean, to follow your higher education there, in Paris, make you a child of both shores and of two cultures.

The films of Chaplin, and the theatre of Molière, more particularly The Imaginary Sick that you see in 1965 played by the troupe of the TNP of Strasbourg, will have definitely pushed you towards culture.

First vocation: theatre and cinema. You founded the troupe of «L'Action théâtrale arabe» which, from 1974 to 1977, plays a committed repertoire for immigrant workers in a Brechtian approach. It was also during this period that Ahmed Essyad’s Le Collier des ruses, inspired by Badi al Zaman al Hamadani, created by your troupe, received great recognition at the 1977 Festival d'Avignon. In the cinema, you play, among others, in Ali in the land of mirages or in Mr Fabre’s Mill by Ahmed Rachedi. We know you are a talented actor, and you overcome your shyness both on the stage and on the small screen, with the brilliance that we know you.

In the late 1970s, your second vocation was revealed: you entered the world of television. You participate then you present the show Mosaics on FR3: for ten years, it will have been a mirror of the evolution of the audiovisual landscape - because this popular variety show was undeniably one of the first expressions of diversity and the reflection of immigration in France. In 1996 you directed Cris de femmes, on the struggle of Algerians against fundamentalism; at the same time you host on France 2, the program Connaître l'Islam. With also The Night of Ramadan, or more recently, in 2005 Living Islam that rehabilitates the image of an Islam scorned by the events of September 11, you have translated the visceral attachment you have to your origins by fighting against cultural sectarianism of all kinds, and by favouring intelligent information over short cuts.

The representation of diversity in both programmes and audiovisual professions: this commitment, as you know, is very dear to me, and the public service must be able to give itself the means to progress in this direction in an exemplary way – and this is the whole meaning of the latest report of the Committee on Diversity at France Télévisions, which Hervé Bourges recently gave me. But these commitments only make sense if they can rely, over time, on the conviction and talents of great professionals.

For all these reasons, dear Djelloul Beghoura, I am very pleased, on behalf of the French Republic, to present to you the insignia of Chevalier of the Order of Arts and Letters.

Dear François-Charles Bideaux,

In April 1952, René Char received a letter from one of his friends, who had just attended with him the football match between the French team and the Swedish team at the Parc des Princes: “it’s absolutely wonderful… Between the sky and the earth, on the red or blue grass, a ton of muscles hovers in full forgetfulness of itself but with all the presence that that
requires in all improbability…”. There will follow 24 canvases devoted to the theme of football; the painter is Nicolas de Staël. One of our greatest artists will also have been struck by this unique show, where collective emotion comes from the elusive.

Film the sporting event live, capture a great show, know how to please both the neophyte and the specialist, enter the game by rhythmizing it with shots sequence, zooms, slowdowns, retransmitting emotion and tension, What is played between the players on the pitch is your specialty, dear François-Charles Bideaux.

Trained at IDHEC, you begin your career as an independent documentary filmmaker, then in charge of directing and producing sports programs at TF1. Starting in 1997, another major channel joined you: Canal+, in the same position, where you are now director of sports production.

For more than 20 years, you have been one of those who have participated in legitimizing, by the quality of your achievements, in the daily life of the French, the match night as a show in its own right. Through sports recording, there is a certain way to tell the sport, to tell a story, to immerse oneself in the intentions of the players. This talent, you
have also developed it for Formula 1, for these great events that are the Grand Prix: with you the circuits tell a story. You have created with Canal+ a style that makes reference today: very elaborate cuttings, multiplication of viewpoints, diving into the interior of the sport, closer to the game, players and
teams. In the 1950s and 1960s, only three cameras brought back the magic of live matches: today you work with no less than 25 cameras, your eyes glued to a multiplicity of control screens, and you orchestrate everything with teams accordingly.

«The dramaturgy of the match goes hand in hand with a dramaturgy of the characters, we write live characters: there is the one who suffers, there is the handsome one, it is a real cast of actors». These words by film historian Charles Tesson highlight a recent evolution of an art where the director never directs his actors – it is up to him to find on the spot the narrative threads on which he can make the spectators vibrate.

You were the big eye of the 1998 Football World Cup and the 2010 World Cup final. Events of this magnitude require “homogeneity, neutrality and universality” from the director, to please audiences around the world and not to harm any team.

So much for the round ball; now it’s time for the cars. You are the great organizer of the Monaco Formula 1 Grand Prix – for which you have also been awarded a prize by the Sportel for the best slow motion. You are an innovator in terms of visual emotions: the introduction of cameras inside the cars has made it possible to
to bring to life the speed, the tremors, the dangers, the cold sweat of the drivers, the adrenaline to the viewers. Films such as Drive by the Danish Nicolas Winding Refn reflect the dialogue that has intensified in recent years between cinema and sports: you are precisely an agent of this porosity between these two worlds,
and for Canal+, you set the bar very high in terms of quality of achievement.

By offering French viewers the beauty of gesture and daring in the coverage of these events that bring together millions of amateurs and demanding sports specialists, you contribute to the excellence of French television.

Dear François-Charles Bideaux, on behalf of the French Republic, we make you a Knight of the Order of Arts and Letters.

Dear Frédéric Dorieux,

One of France’s greatest chief operators, Henri Alekan, director of photography for Wim Wenders' La Belle et la Bête de Cocteau or Les Ailes du désir, wrote in the introduction to his book Des lumières et des ombres: "to enlighten" in photography, in cinema, on television or in theatre is to give physically to see, "to illuminate" or, better still, to "illuminate"; it is to give to think, to meditate, to reflect; it is also to move."

Lighting of a television set, illumination of a face, dramaturgy of a scene, framing a dialogue: in your father’s footsteps, you are part of the magicians of photography.
Recognized during your entry into the profession as the youngest director of photography in France, you will very quickly devote yourself to the light of all the major television events, which gather in front of the post of millions of French - including Sidaction, Les Victoires de la musique, La Nuit des Molières, as well as the interventions of
the state, or coverage of major international events, in the Middle East, Africa, Eastern Europe.

You have also offered your skills to a multitude of “prime-time” programs, synthesizing the spirit with a swirling dynamic of bridge-shaped lights or “hoops”, sometimes playing on tangy and greedy colours: I’m thinking in particular of your work for La Nouvelle Star, Le Grand Journal or L'Effet Papillon de Canal+, Ca va s'Cauet on TF1, La fête de la chanson française, Sing Off 100% vocal on France2 or X Factor on M6, and soon
for the show The Voice, the most beautiful voice.

In this patient team-work that constitutes the behind-the-scenes of the television industry, the director of photography must show exceptional listening skills. You know how to make yourself, to use your own words, the “first violin” of directors, with whom you know how to share the complicity and instinct that make the programs successful.

Your taste for light is also a strong inspiration that comes from your taste for the Italian Renaissance, for pointillists too, and for all the possibilities also that Black & White can offer. “We shed light like we paint a picture,” you say.

Your passion for light now leads you to participate in architectural projects, such as the future museum of modern art in Casablanca, or the new stadium of Colombes where thirty technicians work under your command.

Through your professionalism and discretion, you make a major contribution to the quality of the television programs for which you work, and by now multiplying the fields of application of
your talent.

Dear Frédéric Dorieux, on behalf of the French Republic, we make you a Knight of the Order of Arts and Letters.

Dear Didier Froehly,

Faced with the incredible list of your achievements for the small screen, it seems that no television show or major media event of the last twenty years has escaped you. Song, politics, sport, family show, big debate or report, you have contributed to the history of the French audiovisual industry at a frantic pace.

In your childhood, you remember the hours of study of the clarinet, the drum and the bugle, the smell of the rosin for the archer of your violin, the «Petit Paganini» in which you exercised, the band of Mirecourt and the workshops of luthiers in the Vosges. This taste for music has never left you.

But this is the military example of your parachutist uncles that you will follow. Self-taught, you learn to jump very early, and at only 16 years old, you make your first jumps during military parachutist preparations, before becoming an assistant instructor. You must wait patiently for the 17 years and 6 months required to finally serve the external operations, as a volunteer with the Marine Tank Infantry Regiment. It is for this young career that you will be decorated many times, and you are still today a citizen reserve commander with the military governor of Paris.

In 1982, the self-taught with all the talents that you are decides to participate in the adventure of FM radio. You follow a training of sound taker that will allow you to cover the Paris-Dakar rally of 1986, and you leave in 1987 in New Caledonia to create a new network of radios.
Back in metropolitan France, you turn to the image professions, and you complete your training as a cameraman and editor, which will allow you to work as a cameraman for Canal+.

Since 1989, you have become an enthusiastic and rigorous producer, chained together the most diverse programs by their content and their audience, all destined for undeniable success - whether in family and variety programs, like Ca cartoon, How much it costs, Hello it’s us, Union Libre or Fort Boyard; in the song, where you
have directed in particular Star Seeds or the New Star; in major sporting events since you covered the 2010 Fifa, the 1998 Football World Cup for Canal +, and numbers of sports programs for the channels Canal + and Eurosport, but also the Olympic Games in Barcelona and Atlanta; without forgetting the political debates
and daily information formats such as the Grand Journal de Canal +, Mots croisés d'Arlette Chabot, Zone Interdite par Bernard de la Villardière.

In this capacity, you are actively involved in the profound transformations of political communication, such as for Jacques Chirac’s election campaign in 2002, or for the staging at the Porte de Versailles of the campaign entry of Nicolas Sarkozy, then candidate in 2007. “[In this period], you say, we have seen the arrival of artistic advisers, dress specialists, stylists, make-up artists, all trades that have long existed in advertising and entertainment programs, but not in politics.” With the example of the entry into the campaign of Nicolas Sarkozy in 2007, you build by your experience a new «standard» in the direction and direction
of political events.

Moreover, you do not hesitate to engage in new forms of television experimentation to highlight diversity. In this regard, you are conducting a large number of "concerts for tolerance", "concerts for diversity" in partnership with France Ô, but also the Grand Ramdam, the concert-festival of diversity organized at the Parc de la Villette, to which I am very attached, and that showcases all the music from the Arab world and the Maghreb, around raï, rap or R&B, bringing together some 20,000 spectators. It is a sign of my dedication to a cause that I fully share with you.

Your impressive contribution to the most varied and certainly the most appreciated television programs of the French public make you one of the most dynamic and appreciated personalities of the
French audiovisual landscape.

Dear Didier Froehly, on behalf of the French Republic, we make you a Knight of the Order of Arts and Letters.

Dear Xin-Dong Cheng,

With you, France has a window on contemporary Chinese art, and China a window on French artists. Since the mid-1990s, you have become the "Chinese Leo Castelli" - that’s how you are called, with the singular and powerful obstinacy of a great gallery owner and great promoter of contemporary creation.

During your studies in chemistry at the Zhejiang University of Technology and then at the Shanxi Institute of Sciences, you discover French philosophy and literature and you begin to be interested in art. In 1989, shortly before the events in Tiananmen Square, you take the Beijing-Paris train: on the way, you lose your luggage
Warsaw, and you find yourself in the French capital with 100 dollars in your pocket. Perhaps you will keep from this experience, the assurance that dream and utopia must be defended even in adversity. Bartender at North Foods, you will keep as a treasure of relics your conversations with the former master of the place, Peter Brook. It is also at Bouffes du Nord that you meet Catherine Thieck, director of the Galerie de France, who raises for you the curtain of the world of art.

It is the beginning of your career as an exhibition curator that has earned you worldwide fame. In the early 1990s, with the Galerie de France, under the aegis of the French Ministry of Foreign Affairs, you organized a Pierre Soulages exhibition in Beijing. It is at this time that you become aware of the vitality of the Chinese artistic avant-garde: in 1997, you organize the first International Fair of Contemporary Art in Shanghai. A year before, you
invite four major Chinese artists to exhibit their art at the Galerie de France: Fang Lijun, Gu Dexin, Zhang Peili and Zhang Xiaogang.

In the early 2000s, you created the Xin Dong Cheng Gallery for Contemporary Art, initially established in old Beijing, before settling in the very heart of the art district, underground and cultural agitator, the 798 Art District in Dashanzi, in an old factory. More than a symbol, it is a contemporary art embassy, whose success has led to the creation of two new galleries in a few years.

Apart from being one of the most important gallery owners of the new international art scene, you have multiplied the cross-exhibitions to introduce French artists to the Chinese public: the emblematic exhibition «Paris-Shanghai» at the Shanghai exhibition centre where works by Soulages, Gilles Aillaud, Niki de Saint Phalle, Olivier O. Olivier, Rebecca Horn and Christian Bonnefoi rub shoulders with those of Jiang Dahai, Sun Liang and Yan Pei-Ming. In 2001, you will present in different cities of China, in Shanghai, in Guangzhou, in Wuhan, in Hangzhou, the exhibition «Rodin’s Thinker travels in China», or in 2004, as part of the Crusader Years (2003-2004) France/China, an exhibition dedicated to Daniel Buren, who roams Chinese territory.

Your projects take place all over the world with your concept of Travelling Museum of Contemporary Art that takes the great Chinese artists to meet artists from all over the world: in Alexandria, in Athens in 2008, in Havana in 2009, or at the Second Biennale of Contemporary Art in Moscow, two years earlier, which offered a forum for dialogue, once forbidden, between Russian and Chinese artists.

In France, we owe you «Passe-Muraille: Nouvelles scènes de l'art contemporain chinois» at the Musée de Picardie in Amiens, «Sens interdit: Sensualité dans l'Art chinois contemporain» at the Centre Culturel François Mitterrand in Périgueux, or «Mao: Contemporary Views by Chinese Artists» at the JGM Gallery in Paris, among many other exhibitions
They introduce the French public to the exceptional dynamic of contemporary creation in China.

At a time when Chinese artists have taken the lead in the art auction market since 2010, at a time when the best-known artists are Zhang Daqian and Qi Baishi, you have become a key player in the new international art scene. Your many multilingual publications and monographs play a considerable role in this new mapping of art that is emerging. For our understanding of the transformation of Chinese society, its vitality, and its critical mind, your contribution is essential: it allows us to discover, in all its complexity, a new continent of creation.

Dear Xin-Dong Cheng, on behalf of the French Republic, we make you a Knight of the Order of Arts and Letters.