Tesis sobre el tema "Mémoire – Photographie"
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Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080033.
In a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Sheridan, Bridget. "Les cheminements de la mémoire : marche, photographie, écriture". Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20104/document.
With art walking and the body in motion at the heart of my artistic practice, this research incites us to explore collective memory via three visual and theoretical areas : walking in the landscape, photography and writing.The path we take demands exploring archives, using testimonies. It also means travelling alongside the witnesses of some of the most tragic episodes of our history, along the paths of their memory. As a walking artist, it is equally making my way, on foot, reactivating memory, which seeps into the furrows traces into the earth, projecting the past on the landscape, the mountains and the horizon. As we walk, our body in motion experiences the landscape, an intersensoriality that stimulates memory. I revive history whilst interweaving walking, photography and writing. Photography responds to the rhythm of the walking artist, to the artist's curiosity in the archives, and to the artistic language of the photographer questioning “lieux de mémoire”. Writing, in turn, examines the use of lines, movement and testimonies, while it also questions handwriting and mapping. These three mediums are intertwined in an intermedial artistic practice, discovering the paths of memory. We must imagine a process of weaving between creative work and theory that awakens curiosity for historical, anthropological, philosophical and architectural subjects. This research suggests considering this intermedial approach, this subtle blend between walking as an aesthetic practice, photography and writing, while walking the paths of memory
Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080033.
In a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Colombet, Julien. "La photographie en Pays d'Apt : (vers 1870-vers 1960) : image réaliste et enjeux ce mémoire". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10054.
Bourdieu, Séverine. "Proses de la mémoire : enquête, archive et photographie dans le récit français contemporain". Bordeaux 3, 2006. http://www.theses.fr/2006BOR30057.
Focusing on a corpus of contemporary French novelists, namely Pierre Bergounioux, François Bon, Annie Ernaux, Johan-Frédérik Hel Guedj, Pierre Michon, Patrick Modiano and Jean Rouaud, we will be examining a paradigm change which took place recently in the writing of memory. The works under analysis were written between the end of the nineteen seventies and the early 21st century. For reasons which are at the same time personal (episodes of grief), generational and historical (the fractures of the 20th century), the individual, family or collective past is now experienced as and marked by a sense of loss and escheated inheritance. Perceived as a riddle, it becomes actively investigated by the subject who seeks to inherit from it. It will be demonstrated that this process of investigation, centred as it is around the collection and the questioning of archives (letter-writing, notebooks, pictures, newspaper cuts, witness accounts and various material remains), borrows from methods of research and understanding belonging to other fields of knowledge, particularly social and human sciences, and from other types of discourse and writing, such as journalistic and police investigation. The borrowing rules themselves will be examined as so many questionings and defacements, with an eye on the renewal of literary forms that they bring about, as well as on the displacement of the relation between history and memory, and between document and fiction that they offer
Dornier-Agbodjan, Sarah. "Histoire de liens, histoire de biens : la photographie de famille : mémoire et transmission". Besançon, 2003. http://www.theses.fr/2003BESA1001.
Guillot, Hélène. "Photographier la Grande Guerre : les soldats de la mémoire, 1915-1919". Paris 1, 2012. http://www.theses.fr/2012PA010617.
Richards, Ariane Sarah. "Mai 68 : l'evolution de la mémoire culturelle et des icônes à travers la photographie". Thesis, Durham University, 2013. http://etheses.dur.ac.uk/6366/.
Eichenberger, Andrea. "Images d'Indiens : d'objet à sujet : la photographie chez les Guarani du village Yynn Moroti whera à Santa Catarina (sud du Brésil)". Paris 7, 2011. http://www.theses.fr/2011PA070046.
This thesis takes its place in discussions on Visual Anthropology and looks forward to promote an interaction between an imagetic narrative and an ethnographic reflection. After a work developed with Guarani people from the village Yynn Moroti Wherâ, located in Biguaçu district, south coast of Santa Catarina, I have tried to think about the different ways of seeing Indians in Brazil, and about the appropriation and usage of images in indigenous contexts. The thesis shows some changes in position regarding the visual constructions. Firstly, changes from the indigenous side, that are deconstructing stereotyped images and making simultaneously multiple images, that receive specific fonctions depending on the context : on one hand, they are an element of identity affirmation and a way to save the collective memory, on the other hand, they are looking for establishing a dialogue with the "Other" that is not able to see the Indians beyond the preconceived images. Secondly, a change from the anthropologist-photographer, that uses a differentiate methodology of insertion into the field and of interaction with studied subjects, and that produces an ethnographic narrative in which text and image are introduced so as to build a dialogue. In this work, Photography is set at the same level as ethnography, this means as an expression-discourse
Moreno, Jérôme. "Émergence et retrait de la figure humaine : pour une anthropologie de l’image". Toulouse 2, 2009. http://www.theses.fr/2009TOU20022.
Face plastic practice generates sensible images. This thesis proposes an exploration of figurative images based on anthropological approach. In a first category of images, face proceeds from vagaries of History. It could be alternately propaganda and destruction. Shoah symbolizes the face obliteration and reveals an image in the very back. Conversely, the face could rise from the melting pot of distortion, disfigurement and representation. The image envisages face like a trace: a gesture print issued from accumulation, interlace or series principle. In this case, image awakes from the gesture. However, a third set of images could also reveal a hesitant face. For example, in photography, this face plays on the thin frontier between representation and abstraction. Image waves between retreat and emergence, figurative appearance and disappearance. According to survival principle, this oscillation indicates the capability of figurative images to resurface time and space, beyond. They have a power : the power to remember
Wiener, Elise. "Trace d'existence et énigme de la présence : du photographique à l'oeuvre dans l'écriture de Patrick Modiano". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0018.
Photography is a major topic in Patrick Modiano’s writing, it mingles together presence and absence, inscription and withdrawal, Being and non-Being. In many of his novels, photographs are documents that help the character to evolve in his quest to find the tracks of a missing relative or a forgotten memory. Futhermore, photography is a conceptual model in the narrative : the author examines the past and explores reality in a way that has a lot to do with the paradoxal characteristics that defines photography. The narrative construction does neither bring back the past nor those who disappeared, but instead builds up a poetic of memory that brings up the context of his disappearance. Digging for fragments and traces of anonymous persons, Modiano's narrative gives them back their subjectivity and their dignity, constructing thus a philosophical thought on existence. The story progresses recollecting disparate details build up together to enlight dust of stars that shimmers from the dark matter of the memory
Merzeau, Louise. "Du scripturaire à l'indiciel : texte, photographie, document". Phd thesis, Université de Nanterre - Paris X, 1993. http://tel.archives-ouvertes.fr/tel-00490006.
Merzeau, Louise. "Pour une médiologie de la mémoire". Habilitation à diriger des recherches, Université de Nanterre - Paris X, 2011. http://tel.archives-ouvertes.fr/tel-00904667.
Corp, Mathieu. "Des expériences du temps dans la photographie latino-americaine contemporaine". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA093/document.
During an exhibition, images displayed under the rubric of Latin-American photography vary according to the criteria retained by both curators and critics who legitimate their selection as well as their organisation. Curatorial biases can on their own determine choices with changing ethical and aesthetic implications and thus influence the shape taken on by exhibitions according to the thematic categories retained and the textual commentaries proposed for works whose Latin-American meanings, ever since the 1990s, are less affected by geographical considerations than by historical ones. In this thesis, it is our intention to show, first, how artists, using a plethora of plastic means, impart shape and form to experiences of time and, second, how images, through and according to the present moment, can establish various relationships with the past. Enlisting a semantic-pragmatic approach, we analyse the references established by images and texts in order to measure the contextual implications borne by their temporal relations; at the same time, the plastic modalities given to these temporalities allow us to interpret their meaning
Dos, Santos Maria Ivone. "Extension du corps, mémoire et projection : réseau d'une oeuvre et de son errance". Paris 1, 2003. http://www.theses.fr/2003PA010552.
Beauregard, Martin. "L'image écartelée : une étude exploratoire des rapports entre la photographie et le récit". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010574.
A photographic work is built around a story, one being narrated by the text or the image, one that one is telling just to oneself or that is being shared with others. Such a work is animated by the problematic relationships it may have with the novel or the film, partly caused by its fixed ontological purpose and the narrative effects it produces in the spectator’s imaginary world. The concept of image-écartelée brings forth this tension between the photography and the experience of creation. It allows one to contemplate the various processes of deconstruction and reconstruction of the image, generating a profound reflection concerning the structural matrices and semiotic narratives. L ’image—écartelêe asks us to examine the different modalities of allegory and reflexivity of the photographic medium in its relation to the images in the narrative. By this means, et multiple interplay of temporalities is produced, between the story and the memories it evokes, which retraces even the act of writing and a personal practice of the photographic art
Bertolini, Florencia Fernández. "Portraits, biographies et fours à chaux : images, mémoire et construction patrimoniale de l'exploitation minière dans une ville d'Argentine à la fin du XXe siècle". Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/31697.
Gleeson, William. "Les lieux de la désolation : évènement, espace et destruction dans la photographie de la guerre civile américaine (1861-1865)". Paris 7, 2012. http://www.theses.fr/2012PA070033.
This dissertation examines American Civil War photography, notably its relationship with the environment. The images from the conflict are placed into their cultural context and are considered as elements of non-discursive rhetoric. One part looks at the difficulty of photographing the Wilderness region of Virginia. Another chapter looks at the possibility of making a portrait by substituting a landscape for an absent body. The dissertation also investigates the use of these images after the war, raising issues of memory and photographic truth. A final chapter concerns the photography of ruins and tries to understand how these ruins establish a lasting manner of looking at destruction
Le, Blanc Florence. "Les épaves scintillantes : emplois autofictionnels de la photographie au sein du récit filmique". Doctoral thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/36804.
Gaillard, Frédérique. "Approches esthétiques et théorétiques des archétypes dans le photojournalisme : à partir du World Press Photo (1956-2013)". Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080021.
Through an analysis based on the aesthetics and theoretical approaches, this research of photojournalism and archetypes raises many questions. The theoretical approach is to look at a practice first in terms of non-Art, as distinct from aesthetics as a theoretical approach to something that is primarily equated with art. The concept of archetype is studied through its various facets and thus with different approaches (psychology, philosophy, mythology, etc.). Before looking at photographs, it is important to determine how the image of photojournalist was forged through time. Revisiting the life of Robert Capa and what is said about it, the work of a mythologist, Joseph Campbell, sheds new light and makes it possible, although complex, to draw an analogy between the hero in myths and the man that is considered since 1938 as the greatest war photographer in the world. The detailed and unique analysis of the photographs awarded a prize by the World Press Photo (WPP), in the category World Press Photo of the Year, since the award was created until 2013, opens new perspectives on the evolution of photojournalism. This iconographic imagery deals primarily with natural disasters, famine, war and terrorism. The focus of the reports is continuously on people, their actions and their consequences. It is sometimes necessary go far back in history to understand the concerns of the contemporary world and the images that we perceive of it. Some winning photographs have emerged as historical time markers and shape our collective memory. A number of factors contribute to developing this collective memory. The question of archetype in these photographs also leads us to rethink the mental image and the image as an object, in order to better discern its contours and understand its challenges. This research uses unexpected ways to deliver an innovative interpretation of these press photographs
Kim, Min Kyung. "Poïétique de l'archive, une expérience de la promesse : micro-archive, macro-archive, inter-archive". Paris 1, 2012. http://www.theses.fr/2012PA010626.
Gaillard, Frédérique. "Approches esthétiques et théorétiques des archétypes dans le photojournalisme : à partir du World Press Photo (1956-2013)". Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080021.
Through an analysis based on the aesthetics and theoretical approaches, this research of photojournalism and archetypes raises many questions. The theoretical approach is to look at a practice first in terms of non-Art, as distinct from aesthetics as a theoretical approach to something that is primarily equated with art. The concept of archetype is studied through its various facets and thus with different approaches (psychology, philosophy, mythology, etc.). Before looking at photographs, it is important to determine how the image of photojournalist was forged through time. Revisiting the life of Robert Capa and what is said about it, the work of a mythologist, Joseph Campbell, sheds new light and makes it possible, although complex, to draw an analogy between the hero in myths and the man that is considered since 1938 as the greatest war photographer in the world. The detailed and unique analysis of the photographs awarded a prize by the World Press Photo (WPP), in the category World Press Photo of the Year, since the award was created until 2013, opens new perspectives on the evolution of photojournalism. This iconographic imagery deals primarily with natural disasters, famine, war and terrorism. The focus of the reports is continuously on people, their actions and their consequences. It is sometimes necessary go far back in history to understand the concerns of the contemporary world and the images that we perceive of it. Some winning photographs have emerged as historical time markers and shape our collective memory. A number of factors contribute to developing this collective memory. The question of archetype in these photographs also leads us to rethink the mental image and the image as an object, in order to better discern its contours and understand its challenges. This research uses unexpected ways to deliver an innovative interpretation of these press photographs
Réra, Nathan. "Rwanda, de l'archive à la représentation : La photographie et le cinéma à l'épreuve du génocide des Tutsi (1994-2012)". Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3081.
In Rwanda, from April to July 1994, photographers and cameramen from international news agencies had big difficulties to document the genocide of the Tutsi, blurred by the civil war between the Armed Forces of Rwanda and the Rwandan Patriotic Front, and by the exile of the Hutu civilians in the refugee camps of the neighboring countries. Reporters found many impediments on their road, to take, to send and to spread their images in the Western world : technical damages, military and political censoring, lack of interest from editors, etc. Soon after the event, some photojournalists and cameramen decided to break with the mass-media system. They began to deconstruct their images by artistic representation, more suited to incarnate the genocide and to help the viewer recover the primacy of his look. Concurrently, other artists undertook to elaborate the memory of the genocide, collecting faces and testimonies of survivors and perpetrators, filming or photographing the places of the killings that became memorials. Within 18 years, the amount of artistic representations of the Tutsi genocide is important. Placed in a visual history which paradigm is the destruction of the Jews, these works show the way of a historical, political and aesthetical reflection on the extermination of the Tutsi and its consequences in the Rwandan society after the genocide
Roch, Alexia. "Ghosts". Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25535.
Cseh, Gabriella. "Histoires d'intérieur(s). Essais de reconstruction de lieux de mémoire parisiens : les espaces intérieurs d’André Kertész et de Brassaï aujourd’hui". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040110.
The topic of my thesis is the former dwelling places of two famous Hungarian photographers, André Kertész and Brassaï. It identifies the pieces of the archives which were made in the private spaces of the artists. The identification is carried out through getting into the flats, into the spaces. Getting in touch with the present occupants is the beginning of a collective creative work. The pictures are taken in these spaces, from different point of views, but at the same time. My work is a documentation of an urban experience with a structure of a network. The research, which is built on the visual content of the archives, presents factual results and interpretational creative activity as well. Seven found interiors and the two archives have been examined, 57 pictures have been identified, which shed light on new parts of the artists’ biographies. The social requirement of the method of working up serves the collective cognition of cultural memories, the discovery of one’s own living space and the possibilities of passing them on. The act of Rephotography, points towards the future and makes the recipient think on. To interpret the relative relationship between the pictures, the thesis examines the possible representative domains of the photographical metaphor of intertextuality. It looks for analogies which enable that the works made in intervisual spirit could be compared to Genette’s intertextuality and it completes the method of arrangement with further chronological, topographical and medial theoretical schemes
Rocha, Janaína Delgado Falcão da. "MEMÓRIAS COSTURADAS: CENÁRIOS COMO DISPOSITIVOS DE UMA POÉTICA VISUAL". Universidade Federal de Santa Maria, 2009. http://repositorio.ufsm.br/handle/1/5180.
Ce travail résulte d'une recherche laquelle a été dirigée à la construction poétique de Scénarios composites d'éléments de mémoire autobiographie, assortis par l'acte de la couture que, conjointement avec des photographies et des objets scéniques, composent un travail d'Arts Visuels qui s'approche conceptuellement du Cinéma et du Théâtre. L'objectif de deconstruire des travaux qui disaient à histoires des autobiographie allumées à l'acte de la couture a pris la recherche pour cette approche avec les deux secteurs mentionnés ci-dessus, étant la relation avec le cinéma prouvé par le concept de montage comme générateur de conflit et significação, et avec le Théâtre par l'idée du montage de la pièce, y compris tous les éléments et procédures qui impliquent cette construction. Ces concepts ont été rapportés à des procédures des Arts Visuels qui traitent le corps de l'artiste comme a supporté et mote de travaux artistiques. La photographie comme enregistrement du processus et la photographie mise en scène ont été sujets approfondis pendant le parcours de la recherche, où s'est cherché à établir les relations de découpage space-temporel proportionné par l'image photographique. Pour telle procédure, le travail est divisé à trois chapitres qui dissertent sur Photographie, Mémoire, Temps et Vestige, au premier chapitre ; l'Auto-portrait, le Corps et les Stratégies Narratives au second chapitre et, finalement, une réflexion sur la construction de mon travail artistique, reflétant sur des questions rapportées aux Montages, dans le Cinéma et dans le Théâtre, et sa relation avec les Scénarios de Mémoires que je construis comme objet d'Arts Visuels.
Este trabalho resulta de uma pesquisa que foi direcionada à construção poética de Cenários compostos de elementos de memória autobiográfica, unidos pelo ato da costura que, juntamente com fotografias e objetos cênicos, compõem um trabalho de Artes Visuais que se aproxima conceitualmente do Cinema e do Teatro. O objetivo de construir trabalhos que narrassem histórias autobiográficas ligadas ao ato da costura levou a pesquisa para esta aproximação com as duas áreas citadas acima, sendo a relação com o Cinema evidenciada pelo conceito de montagem como geradora de conflito e significação, e com o Teatro pela idéia da montagem da peça, incluindo todos os elementos e procedimentos que envolvem esta construção. Esses conceitos foram relacionados a procedimentos das Artes Visuais que tratam o corpo do artista como suporte e mote de trabalhos artísticos. A fotografia como registro do processo e a fotografia encenada foram temas aprofundados durante o percurso da pesquisa, onde se procurou estabelecer as relações de recorte espaço-temporal proporcionado pela imagem fotográfica. Para tal procedimento, o trabalho está dividido em três capítulos que dissertam sobre Fotografia, Memória, Tempo e Vestígio(primeiro capítulo); o Auto-Retrato, o Corpo e as Estratégias Narrativas (segundo capítulo) e, finalmente, uma reflexão sobre a construção do trabalho artístico resultado desta pesquisa (terceiro capítulo), onde reflete-se sobre questões relacionadas às Montagens, no Cinema e no Teatro, e sua relação com os Cenários de Memórias que resultam como objeto de Artes Visuais de tal investigação.
Khaddhar, Rafiaa. "De l'objet trouvé au "possible-devenir"". Paris 1, 2011. http://www.theses.fr/2011PA010602.
Lévesque, Marie-Andrée. "L'esprit des lieux". Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28342.
I was traveling on Nicaragua’s long roads, wandering, strolling with a camera in my hands, trying to capture the soul of rejected places and buildings. “I have visited historic places where pirates and conquistadores had passed, lands colonized by the English, Spanish and American empires. I have visited wonderful cities and isolated villages, virgin forests and crowded markets. I saw grand churches and modest chapels which had celebrated joyous births and had seen war heroes leaving. " I fully dived into this surprising culture. Sometimes as a tourist, a rambler, or a stranger, I wanted to immortalize the last visible tracks of some historic events that filled the history and the Nicaraguan culture. I produced a series of photographs which generated a large reflection about the construction of my own personal history, my own memory and my own identity. This essay is a testimony of these reflections from a human being as well as an artistic experience point of view.
Adentrarse en la aventura sobre los caminos de Nicaragua, deambulando con mi cámara fotográfica en la mano, para capturar el alma de edificios viejos y abandonados. « Visité lugares históricos, donde pasaron los piratas y los conquistadores, lugares colonizados por los ingleses, españoles y estadounidenses. Visité grandes ciudades y pueblos aislados, selvas vírgenes y mercados abarrotados. Vi iglesias grandiosas y modestas capillas donde se habían celebrado nacimientos felices y que habían visto ir a héroes de guerra. » Me sumergí en esta cultura asombrosa. Turista, vagabunda, extranjera, queriendo inmortalizar los últimos rastros visibles de eventos históricos que impregnaron la historia y la cultura nicaragüense hasta siempre. Produje así una serie de fotografías que engendraron una reflexión sobre la construcción de mi propia historia, de mi propia memoria y de mi propia identidad. El informe presenta un testimonio de estas reflexiones, así como una experiencia a la vez humana y artística.
Carvalho, Fontes Larissa Yelena. "Anthropologie d'un musée silencieux : la Collection Persévérance et les enjeux de mémoire autour du "xangô alagoano" (Maceió - Brésil)". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2071.
The central object of this thesis is the “Persévérance” Collection, a group of pieces that were stolen from Afro-Brazilian houses of worship in Maceió, capital of the state of Alagoas, in the northeast of Brazil. The pillaging of these objects occurred in an episode of political-religious repression in 1912, known as Quebra de Xangô. This Collection is exposed by the Museum of the Historical and Geographical Institute of Alagoas and since its pillage it has not been subject of any scientific studies. In this way, this research has tried to fill the existing gaps on the subject, tracing its path so far and demonstrating the great transformations experienced by the worship of xangô alagoano, both at the liturgical and ritual levels. For the production of those objects inventory an investigation was carried out to try to find the original uses and toproperly reference the pieces. This investigation was produced with the participation of the Afro-Brazilian religious community, focusing on their traditional knowledge, mythology and cosmological system to discover and construct the biography of those objects. Therefore, the xangô alagoano is presented here, tracing its peculiarities, fruit of my ten years of field experience
Rèbre, Isabelle. "Figures du deuil et du photographique. Formes du film-essai chez Naomi Kawase, Alain Cavalier et David Perlov". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080044.
This dissertation is a consideration of the photographic in its relation to memory and mourning in both their personal and historical forms. It demonstrates how photography is a figure of mourning; how it is at once a means of connecting and a means of cutting off. Figures of mourning and filmmakers’ unique formal gestures are analyzed through a pared-down corpus of three essay films. In Letter From a Yellow Cherry Blossom (2002), Naomi Kawase is personally confronted with death. Her use of photographic stills provokes an interruption that reverses a seemingly fatal trajectory. Photography is a connecting figure that brings together the living and the dead. In Alain Cavalier’s This Answering Service Takes No Messages (1978), the filmmaker embodies a man in mourning. He uses a number of photographic stills from his personal archives, including newspaper clippings showing cadavers from the Second World War. This gesture of reuse brings out the historical dimension of the issues investigated in this dissertation. Photography becomes a figure of cutting off: the film deploys a number of figures through which rupture is insistent and participates in a process of mourning. In David Perlov’s Diary (1973-1982), a project bookended by two wars, these issues take on a political dimension. The Israeli filmmaker and photographer makes use of a number of photographic formats. Through reuse and repetition, the photographic allows for a transformation of the figure that breaks off from a traumatic past
Lee, Kyoung-Yul. "L'imagerie photographique floue et la représentation mnémonique (autour des oeuvres photographiques chez Christian Boltanski, Gerhard Richter et Andy Warhol)". Paris 1, 2000. http://www.theses.fr/2000PA010551.
Wu, Shui-Jou. "Le flou : détournement de l'image d'archive chez Gerhard Richter, Christian Boltanski et Thomas Ruff". Thesis, Paris 1, 2016. https://ecm.univ-paris1.fr/nuxeo/site/esupversions/976f9ecc-8580-4715-a3dc-756130aa037b.
The blur, as a widespread artistic effect, is still victim of a bad reputation, since it is usually considered to be a technical fault or the opposite of a rational and rigorous thinking. Against this reductive vision, this research tries to show, throughout a selection of artworks from Gerhard Richter, Christian Boltanski and Thomas Ruff, that the blur is an artistic act which arouses a distanced and critical reflection. We elaborate a comparative study of each artist's creation process, and an analysis of archival image features appropriated by them : amateur photographs and press images. The blur seems to represent an efficient method of appropriation and détournement. It highlights the image material in spite of its representational function, and it allows to transgress the borders between painting and photography. The blur is also sign of distance : between artworks and spectators, as well as between artists and appropriated images. However, the detachment of artists doesn't prevent them from expressing a critical thinking over images they use. For it is in integrating archival images with topics varying from daily banality and major historic events in their artworks, that the artists examine the social uses and the media reproduction of images. But the blur proved mainly to be a strategy to cross the borders between shape and material, objectivity and subjectivity, or mass culture and fine art. It is above all, a dynamic concept used for transgression
Troya, Gonzales Maria Fernanda. "Pour une mémoire et économie visuelles sur les peuples de l'Amazonie équatorienne : photographies sur les Kichwa et Shuar, 1900-1940". Paris, EHESS, 2016. http://www.theses.fr/2016EHES0722.
This dissertation is an interdisciplinary study of five corpuses of archival photographs produced by ethnographic expeditions and catholic missions while working with or about Kichwa groups of Napo province, and Shuar groups of Morona Santiago province, in Ecuadorian Amazonia between 1990-1940. Starting from a discussion about the contemporary value of these archival images, we review the diverse uses and functions these images have fulfilled since their production. We focus on a visual economy of the images: the aim to reveal their use and exchange values, the ways by which they have been "exploited" or the networks in which they have circulated. We led then a comparartive study of the diverse production and exploitation situations these images have been related to, mainly by means of their inclusion in scientific or religious publications. Secondly, we analyze the value these archival images may have today for the descendants of the indigenous peoples appearing in the images. In order to do so we study the nature of the image and its connection with individual and collective memory. As a result of fieldwork that we conducted for this purpose amongst Kichwa and Shuar communities, we analyze the memory experience provoked by the viewing of the images in relation to this particular ethnographic situation. Finalyy, w estudy the connection between photographic images about indigenous peoples of the Amazon and the production of imaginaries linked to the exotic alterity of these groups. We also analyze the consequences these imaginaries linked to the exotic alterity of these groups. We also analyze the consequences these imaginaries may have had in the scientific knowledge produced about them during the period of time mentioned above
Bardizbanian, Audrey. "Après la Shoah : écritures de la trace dans les œuvres de Jonathan Safran Foer, Daniel Mendelsohn, et Art Spiegelman". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040183.
This study explores the works of Jonathan Safran Foer, Daniel Mendelsohn, and Art Spiegelman through the notion of trace, the founding principle of the aesthetics and ethics of post-Holocaust writing. The incomplete knowledge of these “post-Holocaust generations” implies the presence of a “postmemory”, the “deferred” nature of which requires the imagination to be put to work and informs the creative approach of these post-Holocaust artists and writers, reconstructing their family’s past. These haunting narratives are marked by a “memory shot through with holes” and are often the result of a break in the bond of filiation, and therefore a hiatus of transmission. Having embarked on a quest for knowledge, narrators and protagonists examine the event through material traces, as well as real or imaginary returns to their places of origin. These narratives are made up of heterogeneous elements which create visual ruptures and are informed by various temporal disruptions: disorders, chronological breaks, latency and repetition – all symptomatic of the deferred action of trauma. Finally, these postmemorial texts raise the issue of the ethics of representation. The performativity of language, the fictionalization of History, and the issue of transmission are at the heart of these works in the making, and ethically question their authors’ responsibility, between transfer and the work of mourning
Hughes, Sabrina Lynn. "Empty Streets in the Capital of Modernity: Formation of Lieux de Mémoire in Parisian Street Photography From Daguerre to Atget". Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1662.
Ilic, Nevena. "Former factory fotokemika as a museum of photography". Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/21121.
Chen, Yen-Ling. "Critique du regard colonial dans les arts plastiques de Taïwan de 1945 à 2012". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA027/document.
This thesis analyses the relationship between the idea of decolonization and the plastic arts in Taiwan in the second half of the twentieth century. The historical context of Taiwan has been marked by a number of colonization experiences, such as the Japanese colonization, but also the quasi-colonization represented by the coercive practices and the authoritarianism of the nationalist party of China, as well as the American cultural imperialism. A historical overview of the colonial situation in Taiwan reflects the nested character of its culture. The selected corpus includes seven works bearing a specific view: the painting Pastoral of Lee Shih-chiao in 1946; the portrait of Chiang Kai-shek painted in oil by Li Mei-shu in 1975; a series of reworked photos Journeys in Time of Chen Shun-chu from 2001 to 2003; the merged portrait The Three Principles of the People Reunite China of Mei Dean-e in 1991; Representa.tiff of Chou Yu-cheng exposed three times under different formats between 2008 and 2012; École de Great Taipei Autumn Exhibition by Huang Hua-cheng in 1966 ; the video work Empire’s Borders from 2008 to 2009 by Chen Chieh-jen. We make the hypothesis that these works are each representative of an era and has a particular relationship with the colonization issue. Some express a colonized point of view: some of them import, for example the Japanese or European aesthetic codes. Institutions – official art exhibitions – convey the principles. Other works by the following generation of artists take a critical look at these cultural references inherited from the colonial moment. These artists question also the dominant values. This raises the question: which actors implemented a process of decolonization of the arts from 1945 to 2012? Is this action completed? By entering into an approach of cultural history and borrowing the one from the sociology of arts, we have analysed the methods of the works’ elaboration and their critical reception; the role of institutions of mediation, especially museums. The analysis enables to identify a switchover between works placed in a colonial context and works that either criticize them or free themselves from. This represents two modalities of the critical point of view on the colonial process at work in the plastic art
Séméria, Marie-Noëlle. "Etude de circuits submicroniques implantés pour mémoire à bulles magnétiques". Grenoble 1, 1987. http://www.theses.fr/1987GRE10137.
Ramírez, Martínez Claudia. "La Mémoire en images : réflexions sur la photo de famille à Tamazunchale et Santa Maria del Rio, (Etat de San Luis Potosi), Mexique, 1930 à 2002". Strasbourg, 2011. http://www.theses.fr/2011STRA1019.
The photographic image is proposed, in this case, as a representation of relationships that cross individual memory and collective memory. This idea resulted in three issues: a) what were the reasons to keep the images within the same family? If relations were related to a specific scale of values, how they would target the image? b) If family pictures see the individual photo archives, at the end become part of collective memory, why is there a disdain for the local archives? When a set of images takes a meaning for the group? How the sense of belonging is marked over the years? What role do they play the photographers among peoples? c) How the individual can justify the creation of his own image through a photographic object? How the individual ask himself about the changes of his own image? Individual memory is closely associated with a life history; she remains tied to images of the family album. The context is that of two Mexican towns, Santa Maria del Rio and Tamazunchale. The study period extends from 1930 until 2002. The comparison of these two populations, Tamazunchale and Santa Maria del Rio, has addressed the parallel manipulation of the image in the rural and the urban environment; it also brings out the differences between the urban community with its trading activities and the rural community with its crafts. The relatively long period, from 1930 to 2002, is treated in a synchronic way, with a good insertion of photographic equipment
Potel, Marc. "Orients de nos mémoires : le fantasme de l'exotisme et le spectre du fanatisme, figures émergentes des représentations médiatiques et photographiques contemporaines de l'Orient musulman dans la presse écrite française". Rennes 2, 2001. http://www.theses.fr/2001REN20051.
Journalists treatment of the Iranian revolution brought about by Khomeiny in 1979 and the " Creil Islamic shawl affair " in 1989 are symptomatic of stereotypes concerning the Orient in the media and in particular in the French press. Photographs and articles published during this period (1979-1995) with reference to these two events and in accordance with historical events, confine the portrayal of the Orient to two emblematic illustrations : fantasy of exoticism and the spectre of fanaticism. A collective unconscious and a professional culture of journalists based on the myth of the event as an objective reality result in this process of construction and representation. Contemporary portrayals of the Orient which take root in various origins, from the Crusades, another myth founded in the division EAST-West, to the instrumentation of Islam, continue to shape the images of the Orient. Since the Crusade myth which is omni-present in the media, writers, travellers, painters, photographers, anthropologists have produced, accumulated and transmitted a number of references which have inspired journalists even today to deal with information concerning the Iranian revolution and the Islamic shawl affair. With the production of this oriental imagery, the Western make-believe reveals a fundamentally binary Orient. It manages to disassociate its exaggerated dimension in One Thousand and One Nights and the menace of the fanatical Islamist in order to pit them against each other. In this regard, the image of the oriental woman is meaningful : the degree of unveiling or veiling overbalances the portrayal sometimes in the expression of fantasy with its erotic visions of the Orient limited to the luxury industry's advertisements or sometimes in the fantasy of the publication of photographs of veiled women, evidence of the inevitable advance of an intolerant and conquering Islam which we discover in the daily newspapers
Boutemedjet, Anissa. "Imagerie et quartier, entre pratiques des populations et action publique : le cas de la ville d'Annaba en Algérie". Thesis, Tours, 2014. http://www.theses.fr/2014TOUR1501.
The efficiency of the representations to work in the dynamic socio-space ones and their crystallization through a strong imagery constitute with our direction a fertile object of research to understand the urban fact. Our reflection relates to the imagery of two districts to Annaba, Kouba and the Allemands, respectively representative of the collective units carried out within the framework of the Plan of Constantine in 1958 and the ZHUN in the years 1980. Identity constructions which are attached there are largely related to the urban history and in the conditions of their settlement, the first shelters mainly executives, technicians, the second reflects a kind of space proximity between the same type of population and the disaster victim coming from the slums and medina. Thus, we consider that to seize the contrasted imagery characterizing these spaces, would give access logics the base, as well of the urban actions initiated by the authorities, as modes of appropriation of the populations of these districts through their residential route, their mobilities, their uses, their social interactions and their relations at the city
Bolle-Anotta, Françoise. "Le portrait du défunt dans les cimetières lorrains de 1804 à nos jours". Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0317.
From the imperial law of 23 Prairial year XII (June 12, 1804) which imposes the burial obligation for all in the cemetery, the sculpture puts itself at the service of the portrait of the deceased, in this very special space which is at the same time of the private frame and the public setting. Heir to a tradition hitherto booked with noble and to the king, the funerary portrait is displayed in an iconography which oscillates between symbolic system and realism of the physical features; the soldier is honored as hero while the priest is venerated by the parishioners. Falling under the fashion of the “statuomanie galopante” years 1880, the Lorraine cemeteries join the public will to honour its Great men, at one time when the “Small Fatherland”, Lorraine, meets the “Great Fatherland”, France, where known artists and sometimes less known put their know-how and their notoriety at the service of portraits the notable ones. The funerary portrait knows its golden age then. Whereas the modern cemetery is built little by little thanks to its compartmental organization, the families test the imperative need very quickly to materialize, on these family concessions, the memory of the features of their late and the carved portrait give of it them the opportunity and here it is which leaves the intimacy of the living rooms to be installed either on the family stele of the tomb. Thus the tearful husband remembers the face his dear wife, that ploughed up parents can comfort themselves to have lost a little angel in him substituent another face, rather idealized, or best the figure of another angel, more solid because out of marble and more protective. Little by little, the cemetery is avoided of people of statues which some professional reasons come to supplement, rare however. The personalization of the tomb remains however very discrete, the pain contained. The funerary sculpture, and the portrait in particular, are put at the service of the expression of subsidiary or marital feelings, hitherto booked with the intimacy, but translate an elitism which the legislation 23 Prairial An XII did not wish. For the period 1880-1930, the silent partners of the funerary portraits profit from a widened offer of products in particular thanks to rise of the photography and with the process of vitrification. Without competing with the carved portrait carried mainly by the bronze medallion and the sculpture in the round, the photographic stained glass makes it possible to promote the memory of late in a luxurious house, where, for the first time, the presence of the color makes animate these faces and makes them almost alive. But, it is a luxury which few families can offer. Then, the photographic medallion on enamelled plate, more modest, makes it possible to less fortunate customers to reach the funerary portrait with the cemetery. After 1930, whereas vault and stained glass disappear from the alleys of the cemetery, the medallion can definitively take seat on the burials. Very quickly, these is a assured success which is not contradicted, still today. The period of 1940 to our days is by far richest in funerary portraits and this thanks to techniques controlled well, that of photography on porcelain medallion and that of mechanical or artistic engraving, grace also to new supports which are the funerary plates, the ballot boxes, vases. And it is not rare that a family resorts to different techniques for each one of her late. The way of presenting the late one also evolved; the photographic model of studio gives way to a model presented “to the naturalness”, i.e. resulting from the family photographic album and new symbols show the late one under more personal aspects. From now on, the funerary portrait of late with the cemetery is not only any more one face but it is also a sportsman, a hunter, a motorcyclist, a professional, in love with the animals, an amateur of game of bowls
Zind, Alain. "Irak, 2003 : une expérience de guerre filmée : les soldats comme acteurs et témoins". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080051.
This PhD analyses videos directed, produced and uploaded on Internet by the main actors of 2003 Iraq War. It mixes historical and aesthetical problematic, and questions thematic as: intentionality, writing configuration, temporality and reception of these visual documents. Since it’s distributed on the Internet, we also need to observe migration, virality and sustainability phenomenon. We proposed the storytelling of soldiers’ war experience through their own film productions. We also observed how external viewers understood these footages. This PhD also carried the project of setting and securing a writing process that is always moving due to the freedom that the Internet gives. Accordingly, It was important to give back to this transformable data its historical substance. But we also needed to analyze it though cinematographic tools, since the authors of the films also used the cinematographic language. We observed their composition and directing choices, the storytelling they proposed, the editing choices, and also the cultural and artistic inspirations that may have influenced their work. Eventually, these footages, released online, finally reached movie industry, and great directors worked on this material – for example Brian de Palma or Ang Lee
Hamel, Anne-Marie. "La photographie documentaire comme aide-mémoire de l'identité féminine américaine (1920-1960)". Mémoire, 2010. http://www.archipel.uqam.ca/3416/1/M11504.pdf.
Bissonnette, Karine. "La mémoire matérielle : évocation des souvenirs et photographie dans Les années, d’Annie Ernaux". Thèse, 2012. http://hdl.handle.net/1866/9081.
The interweaving of writing and photography will be examined in Annie Ernaux’s Les années, showing the central tension of the author’s double desire to document past events and pass them on to others. The implement of documents and the engraving modes of memories are generally presented as mental images that will be studied here from a poetic and aesthetic point of view. We will see that those images are linked to a photographic effect, in order to share with the reader an intimate and collective material memory that spreads over many years. This approach would allow a rereading of Les années from a new critical perspective and a contribution to research about narrative, trace and memory in contemporary writing.
Labonté, Stéphanie. "Usages de la photographie chez Patrick Modiano". Thèse, 2007. http://hdl.handle.net/1866/7292.
Comtois, Michèle. "Camp et Forêt suivi de Quatre objets de mémoire". Thèse, 2012. http://hdl.handle.net/1866/9200.
Camp presents a Nazi officer and his Jews : a little girl leaning on her previous life so that she’ll survive in her afterwards life, a young woman livened up by a pungent inner freedom and a group of prisoners, the grey herd. This story takes place within few days inside an extermination camp, in Poland. It is about an insane plan, envisioned and implemented by the Nazi whose discourse is similar to muddled and vacuous logorrheas. At the very roots of the unveiling of the character’s individuality (the prisoners), the quest for a denied humanity emanates from the grace and the vital force of the protagonist, the little girl, towards her plan-of-anyhow-life. First written in parallel then in the end, Forêt is not the continuation of Camp even if it is, as well… This brief poetical narrative relates a woman’s crossing of a forest while searching for her Edens. Hailed and quite often jeered for what it became, the site turns into an actant. Through its mythical remnants, Forest ergo compels the woman’s doomed step-by-step. The essay Quatre objets de mémoire focuses on the appropriation and transmission of the memory of the Holocaust through remnants, details, small things regarded here as imaginable traces. I examine quaint signs of unlikely objects (Third Reich’s administrative leaflets, Auschwitz-Birkenau’s fragmented pictures and images of its woods and latrines) in order to disclose small pieces of what is the hidden, the secretive and the unspeakable about the Final Solution. The affect experienced upon their contact, through what I call the “necessary abandonment”, is thusly analyzed with the purpose to comprehend the corresponding pains and to seize them for myself. Photo Artist Marie-Jeanne Musiol’s work on Auschwitz-Birkenau underlies this perennial desire to remember.
Beauchamp, Alexandre. "La chambre à débarras ; suivi de, L'écriture et ses allées à". Mémoire, 2013. http://www.archipel.uqam.ca/5188/1/M12754.pdf.
Létourneau, Sophie. "La mélancolie même de la photographie : Roland Barthes". Thèse, 2009. http://hdl.handle.net/1866/3267.
In any body of knowledge, from humoral medicine to psychoanalysis, from art history to philosophy, melancholy has been defined by a gap. Unless he becomes apathetic, the melancholic will try to cope with this deficiency by engaging in intellectual or artistic activities: melancholy is both genius and inadequacy. Melancholy is a labour that deals with absence – but what kind of absence? Arts and scholarly literature has portrayed melancholy as a result from a flaw in the image: a memory or an accurate representation is missing in the melancholic mind. We do not see much of melancholy but an ongoing process of imagination, craft and organization that we call “intellectualization” or “creation”. Melancholy supposes a tendency to formalize: it is the search of the ideal mode of representation, be it a graphic, a name or a literary genre. Few productions allow the study of melancholy at work as well as Roland Barthes’ (1915-1980). Intellectual, his written works question the meaning and the forms of literature and the world in a melancholic way. Creative, his production shows a figure of melancholy that varies from one book to another, depending on what is missing – though it always has something to do with a defect in the image. In this sense, photography has been used as the image of both reality and memory for the writer-to-be. The photographic image is a key to understand his theoretical quest and desire to write a novel. With photography, melancholy appears in the city (L’Empire des Signes), on the mirror (Roland Barthes par Roland Barthes), in love (Fragments d’un Discours Amoureux), and on a grave (La Chambre Claire). Figuring what literature cannot grasp, a photograph sets the conditions of a melancholic narrative. Thus, fragmentation, collection, speculation, investigation, and formalization are the many operations that describe Roland Barthes’ poetics. In these operations, we see as well a model for the melancholy of the creative process.
Barada, Nina. "Sur un cinéma élégiaque : de la preuve à la plainte : le deuil, l'archive, la photographie". Thèse, 2017. http://hdl.handle.net/1866/20763.