Academic literature on the topic 'Photographie – Sociologie'
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Journal articles on the topic "Photographie – Sociologie"
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Cardi, François. "Une démarche inductive en sociologie visuelle : le commentaire analytique." Approches inductives 2, no. 2 (August 6, 2015): 67–94. http://dx.doi.org/10.7202/1032607ar.
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L’article s’efforce de mettre en oeuvre la méthode inductive en sociologie visuelle, en combinant une analyse des contenus de la photographie avec le commentaire de la forme photographique. Il s’agit donc d’un travail de réflexion sur la méthodologie du commentaire analytique où l’induction se marie au travail d’analyse. Les éléments de théorie qui se dégagent peu à peu sont empruntés à des références savantes en même temps qu’à ce qui ressort comme généralités du regard sur la photographie. Trois photographies, oeuvres de l’auteur de l’article, servent de support et d’exemples à la démarche et à la méthodologie.
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Becker, Howard S. "Sociologie visuelle, photographie documentaire et photojournalisme." Communications 71, no. 1 (2001): 333–51. http://dx.doi.org/10.3406/comm.2001.2091.
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Guigneraye, Christine Louveau de la. "François Cardi, Photographie et sciences sociales. Essai de sociologie visuelle,." La Nouvelle Revue du Travail, no. 22 (April 28, 2023): 207–94. http://dx.doi.org/10.4000/nrt.14026.
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Noordenbos, Corinne, Bart Sorgedrager, Ineke Teijmant, and Roos Gerritsma. "La sociologie comme véhicule : une nouvelle méthode d'apprentissage dans l'éducation de la photographie documentaire." Sociétés 95, no. 1 (2007): 41. http://dx.doi.org/10.3917/soc.095.0041.
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Juan, Salvador. "François CARDI, Photographie et sciences sociales. Essai de sociologie visuelle, Paris, L’Harmattan, 2021, 244 p." L'Homme & la Société N° 216, no. 1 (November 29, 2022): 249–51. http://dx.doi.org/10.3917/lhs.216.0249.
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Robbins, Derek. "Gazing at the Colonial Gaze: Photographic Observation and Observations on Photography Based on a Comparison between Aspects of the Work of Pierre Bourdieu and Jean-Claude Passeron." Sociological Review 57, no. 3 (August 2009): 428–47. http://dx.doi.org/10.1111/j.1467-954x.2009.01848.x.
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The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages – the gallery display of Bourdieu's photos in the present – might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Haddour, Azzedine. "Bread and Wine: Bourdieu's Photography of Colonial Algeria." Sociological Review 57, no. 3 (August 2009): 385–405. http://dx.doi.org/10.1111/j.1467-954x.2009.01846.x.
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The photography of Bourdieu, whilst documenting aspects of his sociological work in Algeria, problematizes the relationship between its photographic referents and their history. To grasp this relationship, I will decode the historical signification of three photographs taken by Bourdieu in the mid-1950s when Tillion published L'Algérie en 1957 and Sartre ‘Le colonialisme est un système’ situating Bourdieu's photographic and sociological work in relation to both Tillion and Sartre. Although the influence of Tillion on Bourdieu is discernable, especially in Sociologie de l'Algérie, their political positions are at variance. Bourdieu's snapshots provide us with a perspective on how to interpret the causes of the vagrancy and famine in colonial times. Despite his avowed hostility to Sartre, Bourdieu concurs with the latter's critique of colonialism. His three photographs together project a political affinity with both Sartre and Barthes. The impoverishment of native Algerian society was not due to the fact that it failed to catch the train of progress, as Tillion intimates; rather it resulted from its systematic despoilment by colonial France.
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Brown, Terry M. "Transcending the colonial gaze: Empathy, agency and community in the South Pacific photography of John Watt Beattie1." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.
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For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a variety of publications, with or without attribution. I shall examine some of these photographs in the context of the ethos of the Melanesian Mission, British colonialism in the Solomon Islands, and Beattie’s previous photographic experience. I shall argue that Beattie first exhibited a colonial gaze of objectifying his dehumanized exotic subjects (e.g. as ‘savages’ and ‘cannibals’) but with increased familiarity with them, became empathetic and admiring. In this change of attitude, I argue that he effectively transcended his colonial gaze to produce photographs of great empathy, beauty and longevity. At the same time, he became more critical of the colonial enterprise in the Pacific, whether government, commercial or church.
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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.
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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.
Dissertations / Theses on the topic "Photographie – Sociologie"
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Aufort, Adrien. "Homo photographicus : sociogenèse du métier de photographe en France." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL023.
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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 photographieThis 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
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Blanchard, Benoît. "Photographie contemporaine, institutionnalisation et marché de l'art (1995-2005)." Paris 8, 2012. http://www.theses.fr/2012PA083821.
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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 contemporanéitéPhotography, 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
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Marcoz, Céline. "La déconstruction des apparences : les représentations du corps dans la photographie contemporaine." Grenoble, 2010. http://www.theses.fr/2010GRENH002.
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Les représentations du corps dans la photographie contemporaine sont, ici, le prétexte à interroger la place du corps et de l’individu dans une contemporanéité et un contexte social et économique souvent incertains et mouvants. Le travail des artistes, s’il ne nous donne pas de réponses arrêtées et définitives, crée un espace propice à la réflexion en nous confrontant à nos propres incohérences, confusions et craintes. Leurs œuvres nous offrent ainsi une perception inédite et originale où l’imaginaire occupe une place prépondérante.
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Dornier-Agbodjan, Sarah. "Histoire de liens, histoire de biens : la photographie de famille : mémoire et transmission." Besançon, 2003. http://www.theses.fr/2003BESA1001.
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Liée au vécu du groupe familial, la photographie de famille est un "lieu de mémoire" par excellence. Tranche d'espace-temps fixée pour toujours, elle provoque sans cesse le langage pour lui donner tout son sens. Histoire de vie plurielle, mettant en évidence divers rôles sociaux, divers réseaux sociaux, la photographie de famille traduit une ré-appropriation de la vie sociale et apparaît comme un atout méthodologique privilégié pour le recueil de récits de vie. Au sein de la famille, le lien qui unit le connaisseur à ses photographies, trahit le lien qui l'unit à ce qui est photographié, c'est-à-dire au monde dans lequel il vit. Considérée comme un substitut du réel, la photographie de famille est dotée d'une valeur essentiellement symbolique, et se présente comme un objet d'appropriation plus que de transmission. Entre passé et présent , entre individuel et collectif, entre vivants et morts, la photographie de famille constitue ainsi, un patrimoine aussi bien familial que social.
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Conord, Sylvaine. "Fonctions et usages de la photographie en anthropologie des cafés bellevillois (Paris XXe) à l'île de Djerba (Tunisie) : échanges entre des juives d'origine tunisienne et une anthropologue-photographe." Paris 10, 2001. http://www.theses.fr/2001PA100169.
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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 réflexionThe 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
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Joo, Hyoung-Il. "Les problèmes rencontrés dans la perception de l'image et de la réalité sociale." Paris 5, 1998. http://www.theses.fr/1999PA05H006.
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Le présent travail a pour but de réfléchir sur le rapport que l'on entretient avec le monde réel à travers les images. Il s'agit donc d'éclaircir la position épistémologique d'un sujet social face à la structure ontologique de diverses images. Le terme + image ; désigne une représentation à la fois mentale et matérielle. L'image-tableau (image matérielle) est en quelque sorte une matérialisation de l'image-souvenir (image mentale). Ce qui nous intéresse ici, c'est quel genre de rapport l'image-tableau, appelée désormais image, dont l'existence est contrainte par l'aspect technique de sa matérialité, entretient avec l'image-souvenir dont la nature est à la fois individuelle et sociale. On interroge successivement les structures ontologiques de diverses images : image-souvenir, image-miroir et image-tableau dont font partie images conventionnelles, images optiques et images numériques. La question de la technique, immanente a la nature de l'image, est également abordée en rapport avec les notions telles qu'habitude et mémoire. Ayant défini l'image comme objet-media entre le sujet regardant et l'objet regarde, on examine le statut de l'image en tant que signe dans la communication sociale. Dans cette réflexion sémiotique menée avec les concepts peirciens tels qu'icone, indice, symbole ou interprétant, on arrive à définir l'image comme signe de réception. L'accent est ainsi mis sur le problème de la réception de l'image plutôt que sur celui de l'émission. La réflexion sur le problème fondamental de la communication sociale entre l'émetteur et le récepteur nous mène a la découverte de la notion d'horizon d'attente qui est également en rapport très étroit avec la notion de mémoire sociale. On découvre finalement que la nature même de l'image réside dans les interactions permanentes entre matériel et mental, entre objectif et subjectif, entre réel et irréel, entre actuel et virtuel, entre technique et horizon d'attente, entre habitude et mémoire, etc. Comme le monde qui est en Etame changement, l'image change dans les interactions permanentesThe general purpose of this thesis is to explore one's relationship with the real world captured through images. It's a matter of clarifying the complicated relationship between the epistemological position of a social subject and the ontological structures of diverse images. The term + image ; refers to a representation which is both mental and material. The picture-image (material image) is, in a sense, a materialization of the memory-image (mental image). What interests us here is what kind of relationship the picture-image, henceforth called image, whose existence is limited by the technical constraint of its materiality, has with the memory-image whose nature is both individual and social. Successively i examine the ontological structures of diverse images, such as memory-image, mirror-image and picture-image to which belong the conventional images, the optical images and the computer graphic images. The question of the technology which is immanent in the nature of the image is also researched in dealing with the concepts like habit and memory. Having defined the image as a medium-object between the subject and the regarded object, i examine the status of the image as a sign in social communication. With the semiotic reflection applying peirce's concepts like icon, index, symbol or interpretant, image can be defined as a sign of reception. The emphasis is thus placed on the matter of the reception of image rather than on that of the transmission of image. The reflection on a fundamental problem of social communication between a transmitter and a receiver permits us to discover the notion of horizon of expectations which has a close relationship with the notion of social memory. I discover, finally, that the very nature of the image is in the continuous interactions between the material and the mental, between the objective and the subjective, between the real and the unreal, between the actual and the virtual, between the technology and the expectation horizon, and between habit and memory. Like the world which is in eternal change, the image changes through continuous interactions
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Ulanovsky, Lucia. "Entre l'appareil et les rotatives : photoreporters, usages des photos et organes de presse (1969-1984)." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0628.
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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.
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León-Quijano, Camilo. "Fabriquer la communauté imagée : une ethnographie visuelle à Sarcelles." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0103.
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Cette thèse étudie la vie sociale des images à Sarcelles, ville située dans la banlieue nord de Paris. Elle porte sur les matériaux et les interactions photographiques qui définissent socialement cet espace. En partant d’une ethnographie visuelle menée entre 2015 et 2018, elle explore les pratiques imagées, ces activités qui encadrent la fabrication, le partage et l’accomplissement social des images. Le projet général de cette recherche est l’étude de ce que j’ai nommé une communauté imagée. Cette notion permet d’analyser l’écologie des pratiques visuelles à partir d’une démarche à la fois pragmatique et phénoménologique. Si la plupart des ethnographies emploient la photographie comme un moyen pour décrire ou illustrer des phénomènes sociaux, cette thèse propose un revirement méthodologique et épistémologique : c’est en photographiant qu’il est possible d’étudier les pratiques visuelles dans l’environnement social où elles se produisent. Dans cet esprit, il est question ici de proposer une ethnographie des images et par les images, c’est-à-dire une photo-ethnographie critique, réflexive et participative pour interroger la dimension sensible des expériences sociales. Au croisement de la sociologie, de l’anthropologie, des études urbaines et des études visuelles, cette recherche contribue au développement de l’ethnographie visuelle. Sur la base d’une phénoménologie des expériences visuelles, elle explore les multiples configurations des affects urbains en suivant une démarche non indicielle. Elle accorde ainsi une attention particulière aux processus de fabrication, d’échange, de publicisation et d’accomplissement des images sur le terrain. Cette thèse s’articule autour de cinq chapitres. Le premier étudie l’économie des images au niveau municipal. Il fait un état de l’art des productions photographiques sur Sarcelles et examine les stratégies institutionnelles et artistiques déployées dans la définition des récits portant sur cet espace. Le deuxième analyse l’écologie des échanges visuels au niveau local à partir des formes de résistance imagée des citoyen-ne-s sur les médias et les réseaux sociaux. Le troisième explore le rapport entre expérience spatiale et photographie sur la base d’une activité immersive, sensorielle et non indicielle. Le quatrième chapitre sonde la façon dont l’espace urbain est vu et vécu par les habitant-e-s à partir de méthodes participatives. Ces pratiques collaboratives permettent d’interroger les représentations de l’expérience en ville en problématisant la place de l’enquêteur et de l’enquêté-e sous un prisme intersectionnel. Enfin, le cinquième chapitre décrit les différents degrés de publicisation des récits photo-ethnographiques en explicitant l’accomplissement de ces derniers à l’intérieur et à l’extérieur de la ville, notamment dans le milieu photojournalistique. Il s’agit donc ici d’enquêter sur les modalités de réception ainsi que sur la définition publique et médiatique de la communauté imagée. En somme, cette thèse contribue au développement de l’anthropologie et de la sociologie visuelle en proposant une approche à la fois phénoménologique, pragmatique et critique fondée sur l’engagement photographique de l’ethnographe sur le terrainThe present dissertation explores the social life of pictures at Sarcelles, a city to the north of Paris. This research focuses on the materials and photographic interactions that socially define this place. Based on a visual ethnography conducted between 2015 and 2018, this research explores the “imaged practices” (pratiques imagées), those activities that define and frame the creation, publicization, and performance of visual materials. The main objective of this dissertation is to study what I have called an imaged community (communauté imagée). This concept is a means to study the visual ecology of imaged practices both from a pragmatic and phenomenological point of view. While most researches in the field use photography as a means to describe or illustrate social phenomena, the present one advocates for a critical, reflexive, and participatory photographic ethnography based on sensorial and participatory activities. Combining fruitfully sociology, anthropology, urban studies, and visual studies, this investigation contributes to the methodological and theoretical development of visual ethnography. Relying on non-indexical photographic practices, the present dissertation details the multiple definition of visual experiences in urban settings. It delves into the dynamics of creation, exchange, publicization, and accomplishment of visual materials in the field. This manuscript is structured into five chapters. The first one presents the visual economy of photographic materials on an urban scale. It reveals the existing photographic materials on Sarcelles and examines the institutional and artistic strategies locally deployed since years which have functioned at defining the imaged community. The second one analyzes the ecology of visual interactions on a local scale based on a series of civic resistances which took place in the digital spaces. The third one explores the relationship between spatial experience and photography based on immersive, sensory, and non-representational visual practices. The fourth chapter explores how urban space is seen and experienced by the inhabitants of Sarcelles through visual participatory methods. This last chapter raises theoretical and methodological awareness on power relationships in the field and reflexively reconsiders the photographic activity putting at the front line the relations between race, class, and gender. Finally, the fifth chapter describes the different degrees of publicization of the photo-ethnographic accounts by analyzing how these last ones accomplish by thoroughly explaining how these productions are made and published. In particular, I explore the social construction of Sarcelles in photojournalism based on the visual and media definition of the imaged community in this professional environment. In sum, this dissertation contributes to the development of visual anthropology and visual sociology. Based on the photographic engagement in the field, it advocates for a phenomenological, pragmatic, and critical approach of visual ethnography
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Grossi, Valentina. "L'image négociée. Une sociologie des professions du photojournalisme à l'ère numérique." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH136.
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Beaucoup d’observateurs s’accordent à dire que les professions du photojournalisme sont entrées ces dernières décennies dans une crise profonde, due à la concurrence accrue avec les banques d’images et avec les amateurs. On constate cependant que de nombreuses structures continuent à prendre en charge la fabrication des images d’actualité de manière spécialisée, tout en défendant l’importance de mettre en œuvre, face à ces objets, une attitude qualifiée de « professionnelle ». Comment certains acteurs peuvent-ils revendiquer avec succès la « licence » de produire ces artefacts et la possibilité de définir de manière autonome leur propre « mandat », à l’heure où le monopole sur ce type de production semble avoir perdu son évidence ?La réponse à cette question est cherchée à travers une double enquête, historique puis ethnographique. La seconde a été menée dans trois rédactions françaises : le service photo d’une agence de presse mondiale, la rédaction print d’un quotidien national et la rédaction web d’un news magazine. L’enquête a conduit à mettre en lumière que la forte division du travail dans les entreprises de presse n’est pas antinomique avec l’exercice, de la part des acteurs, d’une autonomie professionnelle, entendue comme la capacité à mettre en œuvre des arbitrages complexes tout en menant une réflexion sur les finalités mêmes de leur activité. La virtuosité des professionnels du photojournalisme consiste à faire tenir ensemble des contraintes hétérogènes, irréductibles à la seule logique du profit. Ces dernières se renforcent et se réactualisent à partir des interactions entre les acteurs qui composent les différents segments professionnels et lors des contacts de ces mêmes acteurs avec des groupes extérieurs aux entreprises de presse (ie. les sources et le public).L’autonomie est donc le résultat d’une organisation du travail sui generis qui permet aux professionnels de développer une morale spécifique articulée à celle de groupements voisins ainsi que l’« intelligence » de leur activité. Mais des tendances à la « déprofessionnalisation » sont également repérables : l’autonomie des acteurs peut être mise à mal à l’intérieur de dispositifs de production qui tendent à individualiser le travail et, en même temps, à réduire la multidimensionnalité de l’évaluation.Cette thèse entend ainsi contribuer aux réflexions actuelles sur l’impact des technologies numériques et des nouvelles formes d’organisation du travail sur l’autonomie professionnelleMany observers argue that the professions revolving around photojournalism are facing a deep crisis in recent decades due to increased competition with image banks and amateurs. However, several organizations continue to handle the production of photojournalistic images in a specialized manner, championing the importance of maintaining what they refer to as a “professional” attitude towards these objects. How can some actors successfully claim the “license” to produce these artifacts and the possibility of autonomously defining their own “mandate”, while their monopoly over this activity is no longer taken for granted? A two-pronged inquiry, both historical and ethnographic, will provide an answer to this question. The ethnographic part of this research was carried out on three French editorial boards: the photo service of an international news agency, the editorial staff of the print edition of a national newspaper, and the web editorial team of a news magazine. This investigation showed that the strong division of labor in media companies is not at odds with the exercise of professional autonomy, understood as the ability, for actors, to implement complex assessments while reflecting on the very aims of their activity. The virtuosity of photojournalism professionals consists in bringing together heterogeneous constraints, which are not reducible to the simple logic of profit. These constraints are reinforced and updated through interactions between actors who compose the different professional segments and through the contacts they maintain with external groups (i.e. the sources and the public). Autonomy is therefore the result of a sui generis work organization that allows professionals to develop a specific morality in connection with that of neighboring groups as well as the “intelligence” of their activity. However, tendencies towards “deprofessionalization” are also noticeable: the actors’ autonomy is undermined when production systems tend to individualize work and, at the same time, to abolish complex judgment. This thesis thus aims to contribute to current discussions on the impact of digital technologies and new forms of work organization on professional autonomy
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Jomni, Nadia. "La photographie de la révolution tunisienne sur Facebook : entre rupture et continuité." Electronic Thesis or Diss., Université de Lorraine, 2022. https://docnum.univ-lorraine.fr/ulprive/DDOC_T_2022_0310_JOMNI.pdf.
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Les réseaux sociaux, principaux outils de diffusion de l'information pendant la révolution tunisienne de 2011, se sont transformés par la suite en espaces médiatiques d'exposition et de reportage photographiques du quotidien : des villages isolés aux images de la misère et des inégalités sociales, en passant par les scènes de la vie ordinaire… A travers le prisme des médias numériques, une nouvelle représentation de la Tunisie a vu le jour.Ainsi une nouvelle information participative et alternative tunisienne est née, fruit d'une intérité provoquée par les réseaux sociaux, donnant naissance, à son tour, à une mutation des codes stylistiques, techniques, de la pratique photographique mais surtout des mutations discursives et fonctionnelles.Ainsi une nouvelle forme d'information, participative et alternative, est née, fruit d'une intérité provoquée par les réseaux sociaux. Les dispositifs socionumériques, dans ce contexte de crise, ont donné lieu à une mutation des codes stylistiques de la pratique photographique, en même temps qu'ils ont renouvelé les raisons d'être et les sujets majeurs de la photographie en Tunisie.Cette recherche éclaire cette transformation à travers une approche ethnographique et netnographique fondée sur l'examen d'un riche corpus de photographies, de leur circulation, ainsi que sur l'étude et l'analyse des interactions entre les membres du réseau social Facebook, dont nous faisons partieIt is quite conspicuous that during the Tunisian Revolution, which initiated in 2011, the main information dissemination tools all along that era were definitely social media. Indeed, the latter, thereafter, had been considered as a platform where media coverage and photographic reports were mainstream.Actually, they were literally emulating the social inequalities through the exhibition of the prevailing circumstances during that time; by depicting the isolated and wretched towns, as well as, by echoing the daily life scenes of the citizens.Yet, a brand-new portrayal of the country emerged, perceived through the lenses of the Digital Media.Thus, an alternate and participatory way to channel messages took place in Tunisia, resulting from the interaction prompted by social media, giving sequentially rise to an alteration in the stylistic and technical codes, in the practice of photography but above all in igniting an inverted evolution regarding a much more practical and discursive means of communication.Thus, an alternate and participatory way to channel messages took place in Tunisia, resulting from the interaction prompted by social media. Hence, not only did the social and digital devices in this environment of crisis lead to the alteration of the stylistic codes in the photographic practice, but also refresh its core business along with remodeling the major areas of concern in the field of photography carried out in Tunisia.Accordingly, this thesis sheds light on this conversion using an ethnographic and netnographic approach based on reviewing numerous photos, how they were spread along with including the study and analysis of the synergy and intercommunication of all the Facebook network members, which we belong to
Books on the topic "Photographie – Sociologie"
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Garrigues, Emmanuel. L' écriture photographique: Essai de sociologie visuelle. Paris, France: Harmattan, 2000.
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contributor, Arrif Abdelmajid, and Tozy Mohamed contributor, eds. Paul Pascon, un été dans le Haouz de Marrakech. Casablanca: Éditions La croisée des chemins, 2017.
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Paz, Alfredo De. La fotografia come simbolo del mondo: Storia, sociologia, estetica. Bologna: CLUEB, 1993.
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Banks, Marcus. Visual methods in social research. London: SAGE, 2001.
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Martins, José de Souza. Sociologia da fotografia e da imagem. São Paulo, SP: Editora Contexto, 2008.
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Martins, José de Souza. Sociologia da fotografia e da imagem. São Paulo, SP: Editora Contexto, 2008.
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Prosthetic culture: Photography, memory and identity. London: Routledge, 1998.
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Paul, Sweetman, ed. Picturing the social landscape: Visual methods in the sociological imagination. New York, NY: Routledge, 2004.
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Gariglio, Luigi. Uno sguardo obiettivo?: Fotografie e immagini fisse in campo sociologico. Roma: Aracne, 2010.
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Uno sguardo obiettivo?: Fotografie e immagini fisse in campo sociologico. Roma: Aracne, 2010.
Find full textBook chapters on the topic "Photographie – Sociologie"
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Harper, Douglas. "Documentary photography and visual sociology." In Visual Sociology, 8–49. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003251835-2.
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Sebag, Joyce, and Jean-Pierre Durand. "From Ethnologist Photography to Filmic Sociology." In Filmic Sociology, 31–82. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_3.
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Möller, Frank. "Visual Peace: Towards a Sociology of Visual Knowledge." In Peace Photography, 59–85. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-03222-7_3.
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Bartollas, Clemens, and Dragan Milovanovic. "Auto-ethnography, Visual Sociology, Photography and Quantum Connections: 1990s to Present." In Richard Quinney, 127–58. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02296-9_7.
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Conord, Sylvaine. "Entre sociologie et photographie. Sur les pas des enquêtés." In Carrières, 253–70. Presses universitaires de Paris Nanterre, 2019. http://dx.doi.org/10.4000/books.pupo.31391.
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Matthews, Scott L. "What a Place This South Is." In Capturing the South, 68–111. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646459.003.0003.
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This chapter examines Farm Security Administration photographer Jack Delano’s images of Greene County, Georgia during the New Deal. It highlights his collaboration with sociologist Arthur Raper who was conducting his own fieldwork in Greene County for the FSA. With Raper’s assistance, Delano created an extraordinary photographic record, making Greene the most photographed county in the most documented region during the New Deal. Nevertheless, Delano emphasized certain images of Greene County that link his work to the region’s broader documentary tradition. His photographs both exposed the poverty and environmental exploitation that were products of the region’s cotton economy and romanticized the county’s seemingly premodern folk and agrarian roots, which neutralized his work’s reformist agenda. This chapter also uncovers the resistance Raper and Delano faced to their documentary work in Greene County. Some whites feared Raper’s work with New Deal agencies might undermine white supremacy while the county’s rural black people occasionally expressed resentment at the intrusion of a government photographer, even one motivated by New Deal liberalism. These suspicions and acts of resistance led Raper and Delano to create a sanitized images of Greene County in Tenants of the Almighty, a documentary book that represented the culmination of their collaboration.
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Rowe, Jeremy. "Geo-Referencing Early Photographic Studios and Using Historic Photographs to Study Urban Processes and Environments." In Visual and Multimodal Urban Sociology, Part A, 97–121. Emerald Publishing Limited, 2023. http://dx.doi.org/10.1108/s1047-00422023000018a004.
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Fuccaro, Nelida. "The Oil Company’s Fields of Vision: Public Relations and Labour Images in The Arab World." In Life Worlds of Middle Eastern Oil, 87–119. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399506144.003.0004.
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This chapter investigates the new cultures of oil – both visual and material - that emerged in the Arab world in the 1950s and 1960s following oil nationalisation in Iran and the consolidation of Arab nationalism across the region. It concentrates on the photographic images produced by the Public Relation offices of foreign oil companies in Iraq, Kuwait, Saudi Arabia and Bahrain featuring the private and professional lives of local workers. On the one hand, these images - often published in the companies’ Arabic magazines - are analysed as the combination of the technology and human agency that crafted and circulated them to local publics. On the other hand, labour photography is scrutinised as evidence of the companies’ values and concepts of work and social relations as it served to create imaginary sociologies and geographies of petroleum production in order to entertain, instruct, and ultimately subdue the workforce. By exploring these fields of corporate vision, the chapter shows how cameras and lenses interacted not only with photographers and workers as a subject matter, but also with a new public relations world made up of oil publicists, magazine editors and writers that emerged in a turbulent age of oil decolonisation.
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Choi, Y. Susan, Heather M. Gray, and Nalini Ambady. "The Glimpsed World: Unintended Communication and Unintended Perception." In The New Unconscious, 309–33. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195149951.003.0013.
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Abstract In 1979, the sociologist Erving Goffman published Gender Advertisements, an examination of the ways in which images of men and women are used in advertisements. Goffman was particularly interested in how such images reflect underlying cultural values about relations between the sexes. He went on to draw a parallel between the still photographs of advertisements and the fleeting observations of strangers, gathered in the course of our lives, that comprise what he called “our glimpsed world.” Just as posed photographs provide insight into sociocultural values, Goffman averred, brief glimpses of others reveal a great deal about their psychological lives. In sum, Goffman suggested that observations made in passing can be used as sources of information about the internal states, social identities, and relationships of those who make up our social worlds.
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Ferrell, Jeff. "Beneath the Slab." In Drift. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520295544.003.0007.
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This chapter addresses method in a broad sense: as a way of orienting ourselves to the world around us. In this context, the chapter argues that the methods needed to make sense of a world adrift must embody uncertainty, ambiguity, and fragmentation if we are to avoid making drift into something it is not. Developing this sort of method, however, will require abandoning existing methods that are conceptualized as the solid, foundational slabs on which research is built. As fetishized exemplars of this slab-like approach, survey research and statistical analysis are particularly inappropriate for understanding a contemporary world of drift and drifters. Instead, the chapter suggests that we revisit early ethnographic research in sociology and related fields, and the long tradition of documentary photography and photodocumentary work, both of which embraced more fluid and less formalized methodological approaches.
Conference papers on the topic "Photographie – Sociologie"
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Cocieru, Mariana. "Values of Romanian ethnological photographic art: Joseph Berman." In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.20.
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In this article, the author refers to one of the elite representatives of Romanian photographic art, Joseph Berman, a distinguished personality in the field of visual documentation, who contributed enormously to the development of ethnological field research. From a theoretical and practical perspective, a visual image immortalizes a moment in space and time, facilitating the recourse to the information it holds whenever needed. The photography can communicate to you several types of information, on the one hand, about the personality of the one who made this immortalization, revealing details about the preferences and skill of the master photographer, and on the other hand, it expresses realities, historical, social, ethnographic details of eternal temporal moments and habitats, motivating us to become critical consumers of visual images. For these reasons, the rhetoric of the image (Roland Barthes) becomes emblematic for ethnological research. Researchers in the field of Romanian ethnological photography delimit the period of flourishing (development) of visual documentation from the first half of the 20th century into two segments, the first up to Joseph Berman and the second – after him. With its affirmation in the photographic field, ethnological documentation took on color, becoming „alive”, loaded with deep meaning. The famous sociologist Dimitrie Gusti, appreciating his talent, called him: „co-author of the image of the Romanian village and peasant” and, rightly, did not accept a monographic campaign through the villages of Romania without Berman’s skill and talent, considering any other type of ethnological research compromised from the start.
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REPANOVICI, Angela, Vlad BATRANU-PINTEA, Elisa DAN, Liviu TOADER, and Adrian Paul TULIGA. "DAILY LIFE IN COMMUNISM. AN APPROACH THROUGH PERSONAL OBJECT ANALYSIS." In 10th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscss.2023/s10.44.
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The present paper wants to analyze the perception of communism. It is structured in two main parts: the theoretical preliminaries and the case study. In the first part, we will build a theoretical base about the main concepts that influenced the cultural world and daily life during the years of communist dictatorship in Romania. In the second part, we analyzed a database composed of photographs of objects chosen by the respondents as significant for the period we are talking about. We want to see what are the reasons that made the research participants opt for the respective objects and what significance they had for the history of Romanian anthropology and sociology. The research hypotheses on which this paper was built are two in number. The first of them starts with the fact that the objects had a major importance in the formation of a collective memory and identity in a turbulent period from a political, economic, and social point of view. The second one looks at the object as a method of flaunting one's status or escaping from everyday life.
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Martins, João. "Design of products to honor people post mortem." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3323.
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The cemeterial units, are places of social practices of everyday life and worship and the tomb where nostalgia can be externalized and the memory of the deceased revered. In Western societies we can find a category of artifacts meant to evoke the memory or honor the dead. In this paper we we mention three examples of products that enabled a reflection on the concepts that gave rise to their ways, and that risks to fit them into a new "material culture", in that it may have created a break with the traditional system codes and standards shared by companies, and its manifestations in relation to the physical creation of this category of products. This work offers a reflection on the Design Products.What probably makes it special is the field where it is located: the design of products in one post mortem memory. Usually made of granite rock or marble, have the form of plate or tablet, open book or rolled sheet. On one side have a photograph of the person who intend to honor and inscriptions. The thought of inherent design of this work put on one side the intricate set of emotions that this type of product can generate, and other components more affordable, and concerning the form, function and object interactions with users and with use environments. In the definition of the problem it was regarded as mandatory requirements: differentiation, added value and durability as key objectives.The first two should be manifested in the various components / product attributes. The aesthetic and material/structural durability of product necessarily imply the introduction of qualifying terms and quantitative weights, which positively influence the generation and evaluation of concepts based on the set of 10 principles for the project that originated a matrix as a tool to aid designing products. The concrete definition of a target audience was equally important. At this stage, the collaboration of other experts in the fields of psychology and sociology as disciplines with particular ability to understand individuals and social phenomena respectively was crucial. It was concluded that a product design to honor someone post mortem, should abandon the more traditional habits and customs to focus on identifying new audiences. Although at present it can be considered a niche market, it is believed that in the future may grow as well as their interest in this type of products.DOI: http://dx.doi.org/10.4995/IFDP.2016.3323