Literatura académica sobre el tema "Images de guerre"
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Artículos de revistas sobre el tema "Images de guerre":
Veyrat-Masson, Isabelle. "Images de guerre et guerre des images". Hermès N° 13-14, n.º 1 (1994): 115. http://dx.doi.org/10.4267/2042/15519.
Plumyène, Jean. "La guerre en images". Commentaire Numéro36, n.º 4 (1986): 791. http://dx.doi.org/10.3917/comm.036.0791.
Ambroise-Rendu, Anna-Claude y Isabelle Veyrat-Masson. "Entretien avec Marc Ferro : guerre et images de guerre". Le Temps des médias 4, n.º 1 (2005): 239. http://dx.doi.org/10.3917/tdm.004.0239.
Terrenoire, Marie‐Odile. "Guerre d'Afghanistan—Images de femmes". Central Asian Survey 6, n.º 3 (enero de 1987): 77–102. http://dx.doi.org/10.1080/02634938708400594.
Sicard, Monique. "Images de guerre : l'impossible ailleurs". Communication et langages 131, n.º 1 (2002): 23–36. http://dx.doi.org/10.3406/colan.2002.3120.
Chominot, Marie. "Guerre des images, guerre sans image. Pratiques et usages de la photographie pendant la guerre d’indépendance algérienne (1954-1962)". Insaniyat / إنسانيات, n.º 39-40 (30 de junio de 2008): 175–95. http://dx.doi.org/10.4000/insaniyat.2058.
Guillot, Hélène. "Images Interdites de la Grande Guerre". Revue Historique des Armées 286, n.º 1 (1 de enero de 2017): 134–35. http://dx.doi.org/10.3917/rha.286.0134.
Philippe, Dominique. "Guerre et images de guerre dans la chronique bretonne au XIVe siècle". Annales de Bretagne et des pays de l’Ouest 105, n.º 1 (1998): 35–51. http://dx.doi.org/10.3406/abpo.1998.3971.
Caltot, Pierre-Alain. "Corps nobles, corps ignobles : décapitation et démembrement comme images de la guerre civile dans la poésie latine". Dialogues d'histoire ancienne S 28, Supplément28 (24 de mayo de 2024): 267–85. http://dx.doi.org/10.3917/dha.hs28.0267.
Hallin, Dan. "Images de guerre à la télévision américaine". Hermès N° 13-14, n.º 1 (1994): 121. http://dx.doi.org/10.4267/2042/15520.
Tesis sobre el tema "Images de guerre":
Brouillet, Guilhem. "La guerre au "20 heures" : images de guerre / images de la guerre dans le journal télévisé (1954-1999)". Montpellier 3, 2009. http://www.theses.fr/2009MON30040.
This work is at the junction of the military history and of the media studies. It focuses on the visual representations of the wars in the Euro-Mediterranean area, on the French TV evening news, on the public broadcasting system since it was created. We wanted to show that the nature of the images presented depends mainly on the image that the newscasters want to give of a war. In other words our hypothesis is that the presentation of the war in images is driven by an ethnocentric vision, particularly regarding the violence of such wars. Beyond this idea, by centering our reflection on the question of Power and television in France, already largely studied by Jerome BOURDON (1994), we wanted to establish that the war is a “sensitive” field which consequently pushes the leading line of the TV news close to that of the government, whatever the time. The analysis was carried out through three case studies: the Algerian war for Independence (1954-1962), the Gulf war (1991) and the disintegration of Yugoslavia (1991-1995; 1999). The analysis of the reports selected in the databases of the National institute for audiovisual (INA) validate our hypothesis, particularly regarding the special treatment of the French Army in operation. Moreover, further comparative analyses of other conflicts highlighted the existence of a rupture in the information, in the same way that the comparison with the foreign TV news, particularly in the US, allowed us to record a French specificity in the way “of showing the war”, but also a similarity: war remains a “sensitive” matter. The media coverage of a war thus remains a strategic element which feeds the discussion on the limits of democracy
Chominot, Marie. "Guerre des images, guerre sans image ? : pratiques et usages de la photographie pendant la guerre d'indépendance algérienne : 1954-1962". Paris 8, 2008. http://www.theses.fr/2008PA082937.
During the Algerian war of independence, a conflict which officially did not carry the status of war, the two attending camps included photography in their strategies of justification and complex communication, putting into being an actual image policy. Within the internationalization of the conflict, French communication was in a continuous logic of countering the initiatives of Algerian nationalists. However, as we draw geographically near the heart of the conflict, the balance of power reverses and we clearly see a system of information being put in place by the French army and assumed by the political power, functioning also as a hegemonic system of representation of the conflict. Photography is at the heart of a vast undertaking to master the war. Used for the war (as an auxiliary of information), it's also used for the telling of it. The army organized a form of monopoly on production and diffusion of photographic images in order to master the stories given to public opinion by the media. It tried to dry up the flow of civil photographic journalism while feeding regularly the media system of diffusion which therefore sent, willingly yet compelled, a unified vision. The workings of the French system of information reveals many flaws of which creating an 'imageless war' is not the least. The invisibility of the conflict is the consequence of a system of representation which wants to be hegemonic and which, through applying successive filters, generates a banal vision
Mauss-Copeaux, Claire. "Images et mémoires d'appelés de la guerre d'Algérie, 1955-1994". Reims, 1995. http://www.theses.fr/1995REIML003.
This dissertation in oral history is based on interviews conducted in the french Vosges area from 1990 to 1994. The 39 interviewees are former draftees who performed their military service in Algeria between 1955 and 1962. The analysis sets out to clarify how the individual memory of a historical event based on actual experience comes to express and structure itself and how it interferes with collective memory. The interviews have been confronted with documents belonging to the interviewees as well as with the archives of the shat and the local press. The method takes into account the work done on oral history particularly at the ihp based in paris, and is a combination of contents and discourse analysis. The first part is devoted to the memory-forming process. It starts with the sources used and the methodology ; then, it introduces the interviewees with their social and family background as well as their position in the military institution. The analysis of a local newpaper, la liberte de l'est, makes it possible to define the general context of the period, besides assessing the influence of the concepts imposed by the political and military powers. The second part is first a study of the relatioins between individual and collective memories, of the interactions between history and memory as well as the formation of an individual historical consciousness ; finally, it dwells on the reactions of individual memory in the face of war violence and the confusion of the boundaries between identity and alterity. The third part offers an analysis of the albums of photographs taken by the interviewees. The corpus of 2,000 photographs of the period as confronted with the interviews helps to understand the evolution of memories. An appended volume presents the transcription of six interviews, together with a selection of photographs taken by the interviewees
Daakour, Samah Nadim. "Le Liban entre paradis et enfer : images littéraires du Liban en guerre". Nantes, 2005. http://www.theses.fr/2005NANT3010.
Christophe, Anne. "La Grande Guerre dans les images de presse en France, 1919-1939 /". [S.l.] : [A. Christophe], 2006. http://catalogue.bnf.fr/ark:/12148/cb40993815v.
Roux, Nathaëlle. "Rome et l'Italie chez Lucain, images de la patrie dans la Guerre Civile". Lille 3, 2009. http://www.theses.fr/2009LIL30042.
Italy is closely related to the idea of Rome in Lucan's Bellum civile and both of them form a notion of fatherland that is peculiar to Lucan. The representation of this Roman-Italian nation is first elaborated in reference to the Augustean poets, principaly Virgil, who developed a particular poetic image of Italy. The Virgilian heritage seems to be essential concerning Lucan's conception of Rome and Italy, their origins and their destinies (in which optimism and pessimism conflict wich each other), the territorial dimension of Italy and the representation of the Roman people. The study will be illustrated by two texts : the description of the Apennines (in book 2) and Caesar's visit to the ruins of Troy (in book 9). However, Lucan uses the epic narrative to represent the decay of the Roman nation. In the account of events which took place in Italy, Lucan reorganises the data from his sources, while developing shuttering pictures, with a view to representing Italy and the Roman people torn by the civil war. In his whole text, the poet gives each of the main three Italian territory and Rome. Pompey appears as the defender of a traditional Roman Italy rooted in the past and vainly trying to survive outside Italy. Caesar is rather the unscrupulous conqueror of the Italian territory and of the Roman power, and Cato is the organiser of an ideal Romanitas
BEURIER, Joëlle. "Images, violence et masculinités : les presses illustrées française et allemande en Grande Guerre". Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/25494.
Examining Board: Prof. Regina Schulte, EUI (Supervisor) ; Prof. Annette Becker, Université de Paris X-Nanterre (External Supervisor) ; Prof. Christian Delporte, Université de Saint-Quentin-en-Yvelines ; Prof. Heinz-Gerhard Haupt, EUI.
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
Ioannitis, Christos. "De Tarente à Pergame : la guerre des dieux et des Géants". Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/ioannitis_c.
The new volute krater of the Darius Painter, an eminent apulian vase-painter, is the central point of this work. This document has been partially presented by Konrad Schauenburg in 2002. It is now at the Museum für Kunst und Gewerbe at Hamburg (inv. 2003. 130). It depicts the biggest Gigantomachy of greek art – the sculptures of the Pergamon Altar excepted. The vase is very fragmentary but a reconstruction of the battle is possible. Almost all the divinities of the greek pantheon are in fight but also heroes (Herakles, the Dioscures) and a personification, probably Delos. The rocks with architectures thrown by the Giants are a unicum in greek imagery. This work has a lot of common points with the attic amphora of the Suessula Painter (Louvre MNB810). We can presume that the two artists are using a common model (peplos of Athena or a wall painting). There are also a lot of cross hackings between the Darius Painter scene, the sculpture of the imperial period (Perge, Aphrodisias, Leptis Magna) and the latin epopee and particularly with the latin and greek Gigantomachy of Claudian
Southcott, Chris. "La Nation et l'appareil militaire : la guerre et les images nationales canadiennes : 1899-1919". Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37601349s.
Reyburn, Karen Ann. "Blurring the boundaries, images of women in Canadian propaganda of World War I". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ35925.pdf.
Libros sobre el tema "Images de guerre":
Galinier, Martin y Michel Cadé. Images de guerre, guerre des images, paix en images: La guerre dans l'art, l'art dans la guerre. [Perpignan]: Presses universitaires de Perpignan, 2012.
Frèches, José. La guerre des images. Paris: Denoël, 1986.
Scarpetta, Guy. Errō: La guerre des images. Paris: Cercle d'art, 2010.
Graffenried, Michael von. Algérie: Photographies d'une guerre sans images. Paris: Hazan, 1998.
Antilogus, Pierre y Burns Ross. Images de la Seconde guerre mondiale. [Paris]: Presses de la Cité, 1992.
Guillot, Hélène. Images interdites de la Grande Guerre. Rennes: Presses universitaires de Rennes, 2014.
Vasseur, Georges André. Images de guerre: À Boulogne-sur-Mer. Boulogne-sur-Mer: Société d'impression de Boullonais, 1987.
Gilles, Benjamin. Une guerre des images: 1914-1918 : France-Allemagne. Paris: Éditions de La Martinière, 2014.
Didier, Bigorgne, ed. Images de la Semoy avant la Grande Guerre. Charleville-Mézières: Editions Terres ardennaises, 1992.
Pierre, Miquel. La guerre d'Algérie: Images inédites des archives militaires. [Paris]: Chêne, 1993.
Capítulos de libros sobre el tema "Images de guerre":
"La guerre des sciences". En La philosophie des sciences en images, 112. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-1904-1-089.
"La guerre des sciences". En La philosophie des sciences en images, 112. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-1904-1.c089.
"Une Guerre des sexes dynamique". En La théorie des jeux en images, 120. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-2244-7-044.
"Une Guerre des sexes dynamique". En La théorie des jeux en images, 120. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-2244-7.c044.
Diamond, Hanna. "La France en 1940 : images des réfugiés". En La guerre de 1940, 195–210. Presses universitaires du Septentrion, 2014. http://dx.doi.org/10.4000/books.septentrion.7369.
"Les statistiques de la guerre de Crimée". En Les statistiques en images, 31–32. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-2085-6-020.
"Les statistiques de la guerre de Crimée". En Les statistiques en images, 31–32. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-2085-6.c020.
"Multiplicité d’équilibres : la Guerre des sexes". En La théorie des jeux en images, 55–59. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-2244-7-024.
"Multiplicité d’équilibres : la Guerre des sexes". En La théorie des jeux en images, 55–59. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-2244-7.c024.
Jurado, David. "Chapitre I. Argentine : « la guerre antisubversive »". En Résilience des images et des récits, 25–56. Presses universitaires de Rennes, 2020. http://dx.doi.org/10.4000/books.pur.142585.
Actas de conferencias sobre el tema "Images de guerre":
Molina García, Erika Natalia. "Déversement du regard fluide. Esquisse d'une méthodologie pour approcher théoriquement le cinéma." En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3090.
Cunha, Álvaro Saluan da. "A guerra em imagem e texto: a coleção "Quadros historicos da guerra do Paraguay"". En Encontro de História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4316.
Garriga Inarejos, Rocío. "Palabra e imagen. La ley del espejo". En IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9560.
Ponta, Radu Tudor. "Entre les lignes ou de bouche à l'oreille. Le Corbusier en roumain". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.770.
Freitas, Thaiz Araujo. "Harun Farocki entre a compreensão política do olhar e a ressignificação das imagens: Imagens do Mundo e Inscrições da Guerra". En Encontro de História da Arte. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/eha.vi14.3362.
Santos, Evandro José dos. "O Realismo em Rossellini e Manet: um apelo ao sublime na imagem". En Encontro da História da Arte. Universidade Estadual de Campinas, 2014. http://dx.doi.org/10.20396/eha.10.2014.4153.
Pugliese, Vera. "Explorações metodológicas do campo plástico da pintura do pósguerra". En Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3907.
Apollonio, Mariela. "La fotografía de arquitectura como objeto de estudio. ¿Convención o supervivencia?" En I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6751.
Veloso Batschauer, Daniel, Edson Luiz Zuchi, Maria Julia Fischer, Ana Carolina Luciani Corrêa, Mateus Muller Ribeiro, Maurício Justino y Leonardo Rauta. "Desenvolvimento de um picossatélite educacional - CapSat". En Computer on the Beach. São José: Universidade do Vale do Itajaí, 2021. http://dx.doi.org/10.14210/cotb.v12.p567-570.
Císcar Cebriá, Ana. "Armas para salvar hombres, imágenes para someterlos". En II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13226.
Informes sobre el tema "Images de guerre":
Soroka, Anastasia. Повномасштабна фаза російсько-української війни: висвітлення в іспанських медіа (2022). Ivan Franko National University of Lviv, marzo de 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11734.