Academic literature on the topic 'Photographes – Sociologie'

Cette thèse se propose d'étudier le métier de photographe par le prisme de la sociologie et de l'histoire.Un portrait actuel (2018-2023) des professionnels est dressé par l'analyse de 30 entretiens et de 258 réponses à un questionnaire diffusé en ligne. L'éducation, la sociabilité, la technique, les préférences esthétiques ainsi que les habitudes culturelles sont précisément décrites. À la manière d'une expérience de réplicabilité, certains résultats de cette double enquête renforcent les conclusions de travaux antérieurs, notamment dans les déterminants socio-démographiques de l'entrée dans la profession. D'autres sont plus originaux, tels que la mise en lumière de l'influence de l'ancienneté sur les revenus, ou encore celle de l'implantation géographique sur l'obtention d'un prix. La réussite professionnelle est également traitée. Le succès est compris comme l'adéquation entre un « dispositif élargi », articulation entre l'Homme et la machine, et les représentations sociales. Ces dernières sont le fruit d'un travail des photographes, tant sur les images photographiques qu'ils produisent que sur l'image de soi qu'ils cultivent. Une correspondance historique (1910-1952) a également pu être établie grâce à l'analyse de 778 numéros de la revue Le Photographe. Des balbutiements corporatifs jusqu'aux acquis juridiques, politiques et institutionnels, la profession est tributaire d'une riche histoire. Entendu comme entreprise individuelle et collective, le métier de photographe semble continuellement en crise. Il exige des professionnels non seulement une négociation permanente avec les ruptures technologiques mais aussi avec les autres usagers de la photographie<br>This doctorate thesis aims to study the profession of photographer through the lens of sociology and history.A current portrait (2018-2023) of the professionals is drawn up by analyzing 30 interviews and 258 responses to an online questionnaire. Education, sociability, technique, aesthetic preferences and cultural habits are described in detail. In the manner of a replicability experiment, some of the results of this double survey reinforce the conclusions of previous work, particularly with regard to the socio-demographic determinants of entry into the profession. Others are more original, such as the influence of seniority on income, or the influence of geographical location on winning a prize. Professional success is also addressed and understood as the match between an ‘extended setup', a link between man and machine, and social representations. The latter are the fruit of the photographers' work, both on the photographic images they produce and on the self-image they cultivate. A historical correspondence (1910-1952) was also established by analyzing 778 issues of the magazine Le Photographe. From its beginnings as a corporate body to its legal, political and institutional achievements, the profession has a rich history. Understood as an individual and collective enterprise, the profession of photographer is seemingly in a constant state of crisis. It requires not only a constant negotiation with technological changes as they arise, but also with other users of the photographic medium

Entre l’appareil et les rotatives. . . Est une étude qui se propose situer au photoreporter et à la photographie de presse dans un espace où se révèlent des tensions entre les tâches des photoreporters, les opérations éditoriales appliquées aux images publiées et les automatismes et les croyances qui dominaient au sein de la culture de presse d’une époque. La recherche poursuit cette trame dans le cadre de l’histoire sociale et politique de la période 1969-1984 en Argentine ; soit un moment où le métier du photoreporter et la photographie de presse étaient déjà largement présents dans les organes de presse. C’est une période d’une grande diversification par rapport aux usages de l’image dans la presse, de fermetures et interventions des médias, de censure, de conditions imposées et auto-imposées dans les politiques de l’image de presse, de routines et défis professionnels quant aux photoreporters. On met l’accent sur les rapports de production, les laboratoires, les circuits de l’image, les témoignages des photoreporters. On s’interroge sur le rapport texte et image, les manipulations graphiques et éditoriales. On s’intéresse aux contradictions, aux zones grises, aux parties peu visibles de ces phénomènes. Et dans cette démarche qui observe, reconstruit et analyse les politiques éditoriales de l’image et les services photographiques, chapitre par chapitre on remet en question une discussion sur la place du photoreporter au sein des organes de presse et au sein de la société argentine, et sur les effets déployés en quête de véracité photographique dans les dispositifs médiatiques.

An analysis of the social research done to date using photographs shows that photography, although used both in anthropology and sociology for data collection, as visual evidence and illustration, in photoelicitation or in time-studies, has not been fully exploited as an aid to see further and deeper in the social arena. Most social researchers still perceive photography as being simultaneously too complicated as a research aid and too creative and therefore unscientific to use as a research method. This project is exploratory and argumentative and not directed towards the formulation of a model. I propose that the camera is the proper tool to obtain more precise, detailed, and complete date, to uncover and clarify meaning, to investigate and clarify the research question, and to help in the presentation of the results of social investigation. Therefore the camera should become more accepted as a tool for the modern social researcher notwithstanding its creative component and even because of it. Indeed, as any individual in a culture oversaturated with images, although trained to observe precisely and record objectively, the social scientist has learned to see only a few v things while editing and blocking out the rest. The camera, because of its ability to record the world with richness of detail, is the proper tool to obtain a more precise and more complete visual documentation, which is essential for an accurate reconstruction of meaning. Lastly, I propose that the sociologist-anthropologist who accepts the challenge of integrating photography in his work should become also a skilled photographer, cultivating with practice the ability to intuitively perceive potential opportunities that may escape direct observation and developing a visual and emotional acuity that bridges the gap between intuition and the physical limitations of human perception. This new skill seems to be the result of an inner propensity to visual investigation combined with photographic practice and systematic studying of the history of photography and represents a jump of sophistication in the use of photography in more creative ways in social research, both conceptually and technically. In looking at the body of work produced in visual social research as well as in photographic social analysis, it seems that the most successful and compelling outcomes have been produced by authors who explored the unique opportunities of in depth analysis offered by the synergy of images and text to conduct a social, autoethnographic or psychological discourse. This appears to me a most promising area of development for the immediate future of visual social research.

This thesis examines the relationship between photography and sociology as offering complementary ways of understanding ourselves and the world we live in. Drawing from the work of Pierre Bourdieu and Raymond Williams, I examine the idea of a ‘field’ of photography within the field of cultural production more generally. The practises of documentary photography, photojournalism and fine art photography are explored with specific reference to images of war. In this arena, the politics, aesthetics and ethics of representing the body in pain are addressed.

Ever since the camera was invented people have been using it as a tool to reflect and record the world around them. Photographic images have great potential to investigate different social practices and phenomena in the world. Photography, in its own right, is an extremely large area of study. Despite its relatively short history, photography has undergone a broad and complex evolution since it was invented in 1840. This paper does not aim to cover the comprehensive history of the development of photography in its many facets, it aims however to concentrate on a specific area of what has come to be termed visual sociology and the potential of the still photographic image as a primary tool within the field. Visual sociology is a marginal, experimental area of sociology, it is a field which has not been given due consideration by many sociologists due to its unscientific nature and one which remains unfamiliar to many social documentary photographers. This paper traces the history of visual sociology and explores its roots and links with social documentary photography. It explores the established methods of visual data collection that are utilised within the field of visual sociology. It also explores a further sub-discipline, urban sociology and the role of the image in investigation of urban phenomena. The resulting practical component of this research is an extensive urban photographic investigation shot over the period of one month in the city of Tokyo. The resulting series of images exist as a type of photographic visual map of ‘city creatures’ ubiquitous in the urban environment. The series aims to constitute as a visual, cultural survey about an aspect of social life within the Japanese urban context.

L'objet de ce travail consiste à étudier les multiples fonctions de la photographie dans des échanges interculturels et à reconnaître le support photographique comme un instrument de recherche à part entière dans l'observation de réalités sociales et culturelles. La photographie, considérée à la fois comme pratique, usage, et objet, occupe dans cette recherche une place déterminante dans les rapports que le chercheur-photographe entretient avec son terrain de recherche (ici l'étude de femmes juives d'origine tunisienne fréquentant les cafés de Belleville). Investie du rôle central de photographe, l'auteur a pu suivre ces femmes juives originaires de Tunisie dans leurs divers déplacements (fêtes, pèlerinages, loisirs) de Paris à Djerba. L'ensemble des matériaux visuels et oraux recueillis offre une variété d'angles de vues à propos de la vie sociale d'une population, qui, appartenant à un milieu social défavorisé et pour la plupart originaire du quartier Hafsia de Tunis, reste profondément attachée à ses origines culturelles et religieuses. La photographie est apparue, au fil des recherches comme un outil d'investigation et de communication aux multiples facettes : moyen de valorisation personnelle, outil de recherche sur l'auto-mise-en-scène et les représentations sociales, support de discours, objet d'échange matériel et symbolique, don et contre-don, support de la mémoire et du souvenir. Objet construit, l'image photographique constitue un mode de représentation spécifique ; elle est le résultat d'une interaction complexe entre photographe et sujet photographié. Ultérieurement intervient le "lecteur" de l'image et son propre mode de perception. Ce travail tente de développer une approche de ces croisements de regards : les thématiques 'développées autour de la fonction médiatrice de l'image fixe s sont au centre de la réflexion<br>The purpose of this research is to study the various functions of photography in intercultural exchanges between a french anthropologist and Jewish women of Tunisia, regular customers of Belleville cafés in Paris XXe. Photography, considered at the same time a practice, a custom, a material and symbolic exchange artcle, a mean of personal enhancement, occupies here a central and determining place in the relations that the anthropologist maintains with her field. A photography is, in itself, a specific representation : it is a result of the interaction between the photograph and the photographed subject. The "reader" of the picture has also his own subjective system of perception. On account of her photographic practices, the photographer practices, the photographer finds herself invested, by the Jewish women of Tunisia, with diverse and varied roles which allow her to understand better certain aspects of the social relation characteristic of this population : self mise en scène, the "evil eye", the rivalries, "good deals", women sociability, the religious ceremonies, pilgrimages of Lag ba­O mer in Israël and in Tunisia, etc. These different regards help to understand the mediatory function of photography in a field in anthropology

In an age of ever-expanding digital communication platforms and the presence of news online becoming paramount, the amount of information being shared and the truth of that information is becoming more and more difficult to track. The power of these social platforms is one that all should recognize and reflect upon in terms of their use of them, and reliance on them for the information they need. This thesis seeks to explore this power and the ways in which to remedy the falsities spread on the platforms faster than ever before, through photographic journalism.

<p> The purpose of this study is to compare the spiritual benefits of practicing photography to the spiritual benefits of practicing prayer, meditation and yoga. Benefits noted were divided into the 4 dimensions of being human: physical, emotional, intellectual, and spiritual. The study considers Mexican leaders' perceptions of photography as a spiritual practice. A total of 105 Mexican leaders answered surveys. Of the 105 leaders, 14 were professors, 30 were entrepreneurs, 46 were business executives and 15 were students and homemakers (listed as "other") varying in ages from 21 to over 61. </p><p> The design of this study is descriptive, while the study was quantitative in nature. In preparation for the study, the researcher gathered qualitative information regarding the benefits observed as leaders practice photography. These descriptive answers were then used to create the quantitative surveys for the study. </p><p> The data demonstrated that photography can be considered a spiritual technique. First, the spiritual benefits shown from practicing photography mirror, to a large degree, the spiritual benefits reported for practicing prayer, meditation, and yoga. The literature also supports the reported similarities; however, participants do not consciously recognize these benefits. Second, the 4 dimensions of being human (physical, intellectual, emotional, and spiritual) are divided into 5 factors: (a) physical well-being and better decision-making, (b) optimism in life, (c) interrelation with the environment and intellectual development, (d) relaxing, and (e) spiritual growth.</p>

This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.

Photographie, contemporanéité, institutions et marché de l’art sont les éléments de départ du questionnement qui sous-tendent le travail de cette thèse. Comment et pourquoi le monde de l’art actuel continue-t-il à buter sur le médium photographique ? Tel en est le problème directeur. Nous partirons des contradictions inhérentes à ce problème pour aborder les frontières du monde de l’art contemporain institutionnalisé, leurs conditions d’existence et les rapports qu’elles mettent en place dans la société, et tout particulièrement ceux qui les lient au grand public et à la société de consommation. Quelle place pour la photographie dans ce système et dans quelle mesure le qualificatif de contemporain peut lui être attribué, telles seront les questions qui constitueront le fil conducteur de cette recherche. Celles-ci nous mèneront de la genèse du phénomène institutionnel à l’insertion du médium photographique dans le marché de l’art contemporain pour parvenir à une remise en question de la photographie au regard de sa contemporanéité<br>Photography, contemporary, institutions and the art market are the starting elements of the questioning of this thesis. How and why the contemporary art world continues to stumble on the photographic medium? Such is the main problem of this work. We will start from the contradictions inherent in this problem to question the borders of the institutionalized contemporary art world, their condition of existence and the relationships they establish in society, especially those with the public and the consumer society. What place for photography in this system and the extent to which contemporary qualifier may be attributed to photography will be the theme of this research. These lead us from the genesis of the institutional integration phenomenon of the photographic medium in contemporary art market to achieve a re-questioning of the photograph according to it contemporaneity