Tesis sobre el tema "Télévision et art – France – 1970-"
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Chevalier, Fleur. "Formater pour mieux régner : vidéastes et performers à l’épreuve de la télédistribution en France, 1975-1998". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080045.
From the early 1960s, within the context of French television broadcasting, some artists seize opportunities to reach advanced technologies, allowing them to explore the aesthetic potential of the electronic image as well as to lead their own visual research. At the crossroads of experimental or activist cinema, avant-garde movements and kinetic art, all of these marginal practices tend to ignore the norm of the so-called realistic image and the deceptive verisimilitude which rule the audio-visual mainstream. How to find a place within a structure entirely devoted to the distribution of stereotyped products designed to attract the largest segment of TV consumers? How to infiltrate inside the gaps of an industry resolutely hostile to the slightest visual and ideological glitch? The diverse strategies of the artists who chose to work within the field of television broadcasting are highly influenced by the economic mutations that transformed the French audio-visual landscape, from the dismantling of the ORTF to the partial privatization of the TV network. Facing the rigidity of the standards dictated by the mass media, the concept of “détournement” – or “diversion” –quickly appears to be a solution to blend into the audio-visual environment while continuing to shape satirical “counter-images”. The wish to explore the cathode-ray image as a medium is then supplanted by the desire to hack into the media network and its rhetoric. Nevertheless, as soon as the image is regarded as a public space to colonize, it becomes difficult to escape the coercive economy of the entertainment world
Quenault, Grégoire. "Reconsidération de l'histoire de l'art vidéo à partir de ses débuts méconnus en France entre 1957 et 1974". Paris 8, 2005. http://www.theses.fr/2005PA083705.
When, in the early 80s, France takes a serious interest in video art, contradictory time lines have already been expressed on the two sides of the Atlantic as to when the inaugural « gestures » for this new art form took place. Americans believe it began in the United States in 1965, whereas Europeans place its birth in Germany in 1963. Surprisingly, French specialists never investigated their own national production, preferring to adopt the reference dates of their foreign counterparts. Firstly, this will be an in depth study of the various American and German artistic events – wich, for the main part, are attibuted to the Korean Nam June Paik. Secondly, an exposé of French Production (maid by, or carried out at the ORTF Research Centre, and by Nicolas Schöffer) will reveal that, far from being inexistent, it is one of the earliest in the history of the electronic medium
De, Montgolfier Clémence. "Représentations des mondes de l'art contemporain à la télévision française de 1960 à 2013. De la médiatisation à la médiation". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA126.
This research aims to determine how French television has been representing the worlds of contemporary art from the 1960’s to nowdays. Through a semiological and pragmatic analysis of a corpus of television programs about contemporary art, we have observed, on the one hand, a decrease of their share and their relegation to less favorable hours of programing since the 1980’s. Whereas the programs from 1960 to 1980 aimed to transmit the aesthetic experience of the artworks as seen from the field, the programs between 1980 and 2000 were more dialogical and hosted discussions between experts and artists in the television studio. Showing few negative critiques, they fell under the discourse of cultural promotion. And on the other hand, since the 2000’s, television shows about contemporary art have been taking on the entertaining forms of reality shows. Ideological contradictions arise, between the cultural mediation mission carried on by the ORTF and later public channels and those new narratives of competition. Contemporary art finds itself at the heart of conflicts regarding the definition of culture. On one side, its media coverage shows a hegemonic world of art where sociocultural inequalities are legitimated. And on the other side, those programs continue to promise an ideal of democratization of contemporary art through narratives of accessing knowledge, source of emancipation and equality. Moreover, the mediation of the artworks, from the filmed exhibition to a “curatorial” television, promise more immediacy while multiplying the dispositifs of mediation. It is within this impossibility to decide what their purpose is that television programs about contemporary art can’t hold their promises
Castro, Jennifer de. "Le Festival de Cannes et la promotion du cinéma (1946-1972) : le 7ème art, un objet culturel protéiforme au service du prestige national". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA015.
This thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections
Nadaud-Albertini, Nathalie. "Constituer une innovation télévisuelle : le contenu et la réception numérique des émissions de télé-réalité en France". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0012.
This thesis deals with the way through which a TV innovation, reality-tv, has been created. It shows that reality-tv has been made up through interactions between producers, critics and viewers. When reality-tv has been broadcast in France for the first time, it was considered as a thrill so that the only way to think about it was to denounce its possible danger. Then, reality-tv has been developed in many themes, interactions have moved, and familiarity with programs has grown. Consequently, interactions have brought a specifie TV grammar not only relying on the fear of reality-tv. This thesis has used a method that enables to avoid to take part in controversy. It has followed step by s the co-constitution process of the innovation, studying the first categories into which reality-tv was though about and the changes of theses categories. Written press, programs, and websites and forums about realitytv have been studied, between April 2001 to December 2009. A specific methodology has been created in order to study the numeric reception (on the Internet). This thesis is structured around four main themes : - how thinking about reality-tv ? - it describes the process into which reality-tv has been adapted to its critics. -it shows a pattern of subject that emerges, the connexionnist subject, and develops in many fields. - it dea1s with mediatic convergence by studying sets created by producers and free uses. Finally, this thesis leads to reflect on the creation of TV norms
Emanuel, Susan. "La télévision et la culture en France : à la recherche d'une chaîne culturelle européenne". Rennes 2, 1993. http://www.theses.fr/1992REN20018.
The aim of this work is to study the relations between culture and communication in France. We begin with an overview of the different theories of the media and a description of France's television culture from the 1960s until the arrival in power of the socialists in 1981. The first chapter compares French attitudes to television with Anglo-saxon ones, especially with the approaches of cultural studies and television studies. Starting with the influence of the Frankfurt school, we examine the different ways in which national intellectuals tried to deal with the problem of mass culture. The second chapter recounts the history of French television; the third deale with the cultural and audiovisual policies of the socialists. In the fourth, we examine the various logics which resulted in the creation of a European cultural channel, la Sept - industrial, diplomatic, educational - and recount its institutional history. Chapter 5 is devoted to an analysis of French television aesthetics, particularly its focus on authorship and creation. The next chapter looks at various schools of french thought on culture and television, almost all deriving from a bias toward classical and modernist culture. The audience and the methodology of its study particularly neglected topics in France - are examined in chapter 7. Most industrialized countries are experiencing a crisis in their public service television, and an international comparison is introduced in the eighth chapter. The final one returns to keywords like quality, national identity, and postmodernism. A thematic bibliography precedes annexes, including publicity material for the channel
Bouquillion, Philippe. "Spectacle vivant et télévision : analyse socio-économique comparée du spectacle vivant et de la télévision en France pendant les années quatre-vingt". Grenoble 3, 1993. http://www.theses.fr/1993GRE39009.
At the end of the 80', fund rising depends on the audience and the notoriety in order to reach that objective : advertising is developing, the content is standardized and the diffusion system is favoured. These tendances have increased the costs rise. This problem is particulary important for the performing arts because the consumption is decreasing and because the tv channels are not intrested in broadcasting art programs
Diémé, Ahmed Serigné. "Scénographie communicationnelle et espace public politique depuis 1960 : critique des effets et représentations télévisuels". Bordeaux 3, 2004. http://www.theses.fr/2004BOR30005.
This thesis researche starts from a central question that here: which is the set relationship between the media order and the order symbolic system in the functiion of representation of the political phenomenon socio to the double direction of the term. The hypotesis is to assert that the relationship is complex: redundoncy, co existence, alteration, complementarity. Anyway, this study has revele certain processes related to the image practice ( scengraphie applied to the matériel and immateriel political public space)So, one must change the vsion of political public space as an experience, as an event, as a place the society tries to build the commun interest in the democratic system. One must also change the vision of representation, of communication in the double direction of the term, of symbolic system. This implies a new conception of political representation in contemporain era. This thesis has also started from different kind of images accordind ton the way televsion cuts and organises the phenomenon. Under this practice of image, we have found that the media ordre is determinated by the logic of the society of consumers and spectacle. Communication shoud not anymore, in our opinion, be considered as this diagram: E - M- R; because communication is lest an echange proces and more an intervention on things, people, situation, futur in political sens. We must also take in charge of the importance the the media as a form and as a cultural and political mecanisme in contemporain era. This are the scientific proposals of our study. But the researche is not finished an there are many perspectives in the media studies. Whatwill be the futur of policy accordind to media?
Bachmann, Sophie. "Histoire politique et sociale de la réforme de la radio-télévision en 1974 : "la délivrance ?"". Paris, Institut d'études politiques, 1986. http://www.theses.fr/1986IEPP0004.
The main purpose of this thesis is to explain why and how the reform of the ORTF has been taken just after the election of Mr. Valery Giscard d'Estaing as the President of the Republic in 1974. The first part discribes the genesis of the reform and analyses the crisis at the automn 1973 after a lot of reforms of structures. In spite of the project of decentralization of the ORTF prepared by his manager Mr. Marceau Long, the new government after the elections at the Presidency of the republic decides to suppress the ORTF and to create seven independent societies. The second part analyses the reasons of the choice of the government, the purpose of the reform and the oppositions during the preparation and the vote of this law. The third part presents the main - social and political - problems for the application of the reform after the vote of the law
Bollivier, Patricia de. "Art contemporain réunionnais, art contemporain à la Réunion : construction locale de l'identité et universalisme en art en situation post-coloniale". Paris, EHESS, 2005. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/M/TH_EHESS_Bollivier_2005.pdf.
Since the decentralisation policy (initiated by the French government during the 1980s), cultural policies in La Réunion (French overseas department -DOM- in the Indian Ocean) have been enabling strong identity claims founded on the multiterritorial belonging and the specific history and population of La Réunion's society. Based on an initial historic approach of cultural development (in La Réunion), this thesis suggests the study of the field of visual arts and "contemporary" art emergent in La Réunion during the 1980s and 1990s, with a particular focus on the political, aesthetic and ethical issues herein involved. Does the production of what has been classified as "contemporary Reunion art" contain a specific character? Is the answer to this question to be found in the artworks themselves or within their legitimizing discourses? Which identity strategies are "at work" in the art homologation process in this Creole society in which "France" has long been the only reference for aesthetic and cultural labelling? This is the main question of this work
Taty, Jean-Jacques. "La non émergence d'une production audiovisuelle autonome en Afrique centrale (cinéma et télévision)". Paris 1, 2003. http://www.theses.fr/2003PA010578.
Drugeon, Fanny. "Incarnation sans figures ? : l'abstraction et L'Église catholique en France, 1945-1965". Tours, 2007. http://www.theses.fr/2007TOUR2015.
The development of an abstract art within the religion of Incarnation has partly paradoxical consequences regarding the catholic dogma. The point is to understand the part played by the notion of abstract art within the Church, and vice versa, and how an incarnation without figures could be accepted. This dissertation firstly studies the reflexive relationship between the church and the arts, and the institutional and artistic issues linked. Then, it examines the creations partly born because of the will of a connection between the present and the research of a proper Church language. Moreover, through the independent creations appears the complexity of the relations between abstract art and Catholic Church in a non-liturgical environment. Finally, the debate is replaced in a larger context : the modern society, through sacred art exhibitions, shows or collections, where abstract art progressively gains a prime space
Dumont, Fabienne. "Femmes et art dans les années 70 : "douze ans d'art contemporain" version plasticiennes : une face cachée de l'histoire de l'art, Paris, 1970-1982". Amiens, 2004. http://www.theses.fr/2004AMIE0007.
Verger, Émilie. "Les Beaux-Arts, une fabrique d'artistes ? : histoire institutionnelle et sociale de l'enseignement des arts plastiques à l'Ecole Nationale Supérieure des Beaux-Arts de Paris de 1960 à 2000". Paris 1, 2011. http://www.theses.fr/2011PA010507.
Gautier, Louis. "La défense hors du sanctuaire : la politique militaire de la France 1990-1995". Paris 1, 1998. http://www.theses.fr/1998PA010281.
During the last five years of François Mitterrand’s second term of office, between 1990 and 1995, France's military policy underwent many reforms ; but theoretical reflection has difficulty in unearthing new concepts for its renewal. Moreover, French defence culture with its strong national consensus going back thirty years, curbs any desire for change. The white paper on defence, a compromise document published in 1994 during a period of political cohabitation illustrates the intellectual predicament that redefining strategic principles and the way our armed forces are to be employed found itself in in the early 1990's. The document manages to find a compromise between the old dogmas and the assertion of new priorities. Despite the difficulties to formulate new forms of theoretical and political expression, three themes dominate defence matters between 1990 and 1995 : peace dividends, the lessons learned from the gulf war and the construction of a new security system in europe. These analyses encourage the political leaders to launch a renewal of the military machine, with the will to take the consensus on defence a stage further whilst maintaining it intact. In some ways the procrastination in our defence policy reveals hesitation to engage reform, and at the same time, appears as the necessary condition to a new expression of the internal political consensus on fresh grounds. The second reform of the fifth republic's defence policy is nonetheless actively underway. None of its main objectives will be subsequently reviewed, even though the format was changed after 1995 and the adoption of a professional army was decided upon. 1990 to 1995 was the first stage in a transitional reform which further strengthens France's European commitment
Four, Pierre Alain. "Intervention publique et art contemporain : la création des Fonds régionaux d'art contemporain, : leur insertion dans le monde de l'art et leurs politiques d'acquisitions". Paris, Institut d'études politiques, 1995. http://www.theses.fr/1995IEPP0014.
Dealing with public policies, in relation with FRACs (fonds régionaux d'art contemporain). This PhD concerns as well art sociology and art history. The first part analyses how the policy was built and how the decision to apply it was taken. The origins of the FRACs, funded by the state and regional autorities, in order to support contemporary art through exhibitions and purchases, are widely studied. These roots appear to express a compromise between the partisans of a relaunch of art democratization through a larger diffusion, and those of a modernisation of the public intervention in order to better take into account the latest evolutions of contemporary art history. Soon after their foundation. FRACs encountered some profund changements, which the second part of this study describes in details. Many managers of theses institutions chose to follow the professionnal rules of the world art instead of following the initial political goals. This was mainly due to a lack of legitimacy of public intervention in this sensitive field. The third and last part closely examine art purchasing, one of the most specific activities of the FRACs. A "battle" for the definition of art (what is art and what is not) goes with debates about officialization of art and aesthetic criteria through public intervention and massive purchase. Nonetheless, it appears that this intervention remains pluralistic : the works chosen by the FRACs reflect a wide range of "definitions" of art which does not enable to conclude that these institutions contribute to rebuilt academic aesthetic criteria
Ornano, Stanislas d'. "Art contemporain et régulation politique dans les années 80 : étude cognitive comparée (Allemagne/France)". Grenoble 2, 2002. http://www.theses.fr/2002GRE21004.
Malherbe, Anne. "L' épaisseur sensible : la matérialité dans l'art sur la scène parisienne entre 1944 et 1965". Paris 1, 2004. http://www.theses.fr/2004PA010605.
Gilloux, Marie. "De la mise en page à la mise en scène : recherches sur les représentations de l'art contemporain dans les revues d'art à Paris, 1945-1970". Paris 1, 2012. http://www.theses.fr/2012PA010708.
Barbut, Clélia. "Corps à l'oeuvre, à l'ouvrage et à l'épreuve : sociohistorique des arts de la performance, années 1970". Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25980.
Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2015-2016
Entre les décennies 1960 et 1980 émergent les courants de l’« art de la performance », du « happening », du « body art », de l’« art corporel » ou encore de l’« art de l’action », qui désignent les démarches des nombreux plasticiens qui font directement intervenir le corps, souvent leur propre corps, dans leurs travaux. À travers les productions des acteurs qui soutiennent ces courants le corps est fabriqué comme un sujet légitime d’attention et de valeur. La thèse décrit l’émergence de ces courants artistiques pendant la décennie 1970 en soutenant qu’ils peuvent et doivent être interrogés comme des phénomènes sociaux. En effet, jamais auparavant autant d’acteurs des mondes de l’art visuel n’avaient décidé simultanément de se tourner vers le corps lui-même, et de le mettre à l’œuvre, à l’ouvrage, à l’épreuve. Interroger leurs productions du point de vue du corps peut permettre de dérouler de comprendre en profondeur la présence incisive et percutante du phénomène. Ces courants viennent poser des questions cruciales à l’anatomie du travail créateur : rapports sociaux de sexe, interactions avec les spectateurs, engagements politiques, marchandisation. L’étude, sociohistorique, focalise autour de trois scènes (France, côtes est et ouest des États-Unis) à partir d’un corpus d’archives documentaires (entretiens, critiques, essais, manifestes, notations, photographies). La thèse comprend un volet d’enquête qui mesure la reconnaissance de ces pratiques, un second volet d’histoire institutionnelle et intellectuelle qui décrit les savoir-faire et les modalités d’énonciation liés aux actions et aux événements et enfin, une topographie qui résume les modèles du corps produits par les gestes les raisonnements des artistes et de leurs commentateurs. Mots-clés : Histoire des corps, art de la performance, critique d’art, féminismes, documentation, sociologie historique.
« Performance art », « body art » and « happenings » appeared on the art scene between the 1960s and the 1980s. The human body was at the heart of these artistic movements, to the extent that many artists embodied their own works. Within such creative processes and productions, the body undeniably became a legitimate subject of attention and value. This dissertation describes the initial stages of the art movements aforementioned, and argues that they must be analyzed as sociological phenomena. Never before had such a larger of artists within the same time period decided to focus on the entity of the body itself, to use and misuse it so intensely. Observing their approaches through the lens of the body allows us to voice critical questions about the anatomy of a creative work - gender relations, interactions with the viewers, political commitments, and marketing. This sociohistorical research studies three landmark art scenes of the time (France, the east coast, and the west coast of the USA), by delving into a documentary material of archives (interviews, reviews, essays, manifestos, notations and photographs). The thesis begins with a sociological inquiry which measures the visibility of these artistic movements; it is followed by a history of the institutional and critical apparatus which described the atistic skills and statements at work within body actions and happenings; lastly, the dissertation presents a topography of the workings of the body, drawn from the artists’ performances and theoretical stances, as well as art critics’ viewpoints and analyses. Key Words : body art, avant-gardes, history of the body, feminisms, documentation, historical sociology.
Lambin, Hélène. "La Photographie (en France) de 1970 à 2000. Anthologie de textes". Paris 8, 2002. http://www.theses.fr/2002PA082176.
By grouping together and undertaking analysis of a hundred and thirty-eight texts, published between 1970 and 2000, for the most part in France, this thesis discusses the upheavals that have taken place in the status of photography over the last thirty years. Photography has undergone some far-reaching transformations since 1970. Its instrumental function have diminished, and photography has been confronted with the contemporary phenomenon of unexplored worlds of images. A phase of autonomisation is beginning, which can be seen in the growing assertion that art is the exclusive end of the photographic process. A cultural field is developing that draws its identity " from " and " for " photography. This autonomisation process is, however, not yet complete since art is not the goal of all photographic production. Since photography cannot be reduced to questions of art, the issue is that of a history that encompasses the plurality of fields and practices
Rosset, Culleron Sophie. "André Marfaing : les toiles entre 1952 et 1970". Paris 1, 1999. http://www.theses.fr/1999PA010548.
Andre Marfaing, born in Toulouse in 1925, settles in paris in 1949 with the firm decision de dedicate himself to painting. Self-taught, this young artist guided by a deep desire to flee the toulousian artistic context, displays very early a will of independence towards all artistic teaching. Without wanting to refute the contributions of the forms of past art, he considers nevertheless to get aside in order to express the world within him. In 1952, his art becomes non-representational and his paintings, though imbued of aesthetic researches of some of his illustrious elders, characterized by a dark palette, muted and already radical and arbitrary. Marfaing passes over quickly the step of abstract art and black appears as a predilection colour. Preferring to work the values at the expense of colours, he invents a language where black, white and grey encounter, join or collide in an always-renewed dialogue. From their encounter arises the fundamental intention of his pictorial research: the translation of light. First weighted with matter, sometimes closed to illegibility, his paintings become then chaotic, expressing the lyrism with a liberated gesture. But the consciousness of the painter, smitten with order and harshness and concerned to keep control of his painting, engages him to always simplify his intention. To the limited palette adds thrift of means. The matter becomes lighter; the contrasts are accentuated and the number of forms is reduced. Working each painting with a same obstinacy, Marfaing pursues faithfully his venture. From that time, the asceticism of his palette, the evolution and integrity of his creative steps casts his painting to the rank judged by some as difficult to reach or even perhaps austere. His painting involves the spectator to wonder on the objective in demand and on the way to reach it
Quinby, Diana. "Le collectif Femmes/Art à Paris dans les années 1970 : une contribution à l'étude du mouvement des femmes dans l'art". Paris 1, 2003. http://www.theses.fr/2003PA010600.
Ferreira, António Quadros. "Les relations artistiques entre le Portugal et la France (1910-1930) : analyse et réception de la modernité chez Almada". Nice, 1990. http://www.theses.fr/1990NICE2031.
Roulleau, Nathalie. "André Hermant, architecte et urbanisme". Aix-Marseille 1, 1998. http://www.theses.fr/1998AIX10052.
Andre hermant began his career in the middle of the thirties, the period when the modernists avant-garde architects competed with the strong tendencies of a return to academism and regionalism. Graduated from + l'ecole speciale d'architecture ;, hermant clearly displayed his interest for the modernism. Before the war, he devoted his time almost exclusively to creating stands for exhibitions but also contributed actively with essays and technical management to the review l'architecture d'aujourd'hui, thereby making this magazine a journal of the architectural avant-garde. During the war, hermant chose to take the unofficial management of a new journal, techniques et architecture, until 1945. Having thus got into conflict with the editorial staff of l'architecture d'aujourd'hui, hermant lost precious relations and practically gave up publishing. The reconstruction after the war gave him finally the opportunity to work as an architect : in le havre, he joined the staff of auguste perret, and after that in beauvais and in troyes. Very interested in designing collective housing, hermant showed that he was a follower of le corbusier, especially in his town planning projects. During the fifties, hermant sought to resuscitate the + union des artistes modernes ; by forming the association + formes utiles ;. However, he took part in agitated debates, witch made him at last give up his ideas about allowing everyone to have a good functional housing, both in good taste and not expensive. He then turned himself to the museums where his capacity to create exhibition-rooms in a new radical spirit, gave him numerous commissions until the seventies. Andre hermant was an architect and town planner who is inspired by perret and le corbusier, but whose works and thoughts went beyond the strict adaptation of the established schools in his endeavour to achieve a synthesis of modernism
Hountou, Julia. "Les actions de Gina Pane de 1968 à 1981 : de la fusion avec la nature à l'empathie sociale". Paris 1, 2007. http://www.theses.fr/2007PA010555.
Théault, Chloë. "Regards sur l'histoire de l'art des années 1930 : d'après les catalogues d'expositions français et britanniques des années 1960 et 1970". Paris 8, 2004. http://www.theses.fr/2004PA082463.
This analysis deals with the writing of the art history of the 1930s by the first French and British exhibitions catalogues dedicated to it, during the ‘60s and ‘70s. We first question the silence of the museums and galleries on the art of the ‘30s : the role played by social demand, historical analysis and art history practice are examined. An explanation of the emergence of the art of the ‘30s during the ‘60s and ‘70s is then proposed. We underline the fact that the temporal sequence of the second world war comes to an end during the ‘60s and that the evolution of the practices of history and art-history then allowed to think the ‘30s. Finally, the writings of the exhibitions catalogues are analyzed. We examine the position of the catalogues in relation to the modernistic paradigm, then, we show that the evolutions that occurred in the social sciences after the 1930s are nascent in these catalogues
Mercier, Cyril. "Les collectionneurs d'art contemporain : analyse sociologique d'un groupe social et de son rôle sur le marché de l'art". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00831145.
Metayer, Myriam. "La construction de l'histoire de l'art du XXe siècle : analyse et étude comparative d'ouvrages français et italiens publiés entre 1945 et 1977". Poitiers, 2009. http://www.theses.fr/2009POIT5009.
A book, which is an editorial object, tells a tale, in other words an intellectual construction which is subject to the laws of narration and which takes shape at a given moment in a given society. Beginning from this observation, the objective of this thesis, through a study of French and Italian works, is to understand the development of the history of the art of the 20th century between 1945 and 1977, a period of profound historical transformations and great changes in the nature of art itself. By deciphering the editorial devices used, the research first retraces the social acceptance of the book and the significance of the history of modern art in the community. The second part outlines the most common interrogations which are incessantly incited by the renewal of artistic concepts. Finally, the third part shows how the narrative continues to be shaped by national identity in spite of the growing internationalization of artistic creation
Martinez, Léo. "Le rôle des expositions dans la valorisation de la photographie comme expression artistique, en France de 1970 à 2005". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00764966.
Delmas, Virginie. "Le politique dans le médiatique : étude de l’intervention de Nicolas Sarkozy dans l’émission télévisée de la campagne présidentielle de 2007 J’ai une question à vous poser". Paris 5, 2010. http://www.theses.fr/2010PA05H045.
This study proposes an analysis of political discourse through the media genre, which brought political discourse within the general public’s reach. We focused on a particular speech: Nicolas Sarkozy’s interaction with a sample group of interlocutors, in I have a question for you, a French presidential campaign television program. We based our study on the idea that discourse analysis must take into account various levels, each level providing an insight on the construction of meaning. However, we postulate that the syntactic level can constitute the basis of discourse analysis, even if it combines with the semantic, enunciative and interactional levels. Thus, the study of the discursive means used by Nicolas Sarkozy to try to convince his interlocutors and the audience of the program, shows that he implements recurrent syntactic structures, in association with certain semantic and enunciative choices, on which he founds the meaning of his speech and his argumentation. This TV program is structured around an interactional frame; therefore the analysis of the interaction between Nicolas Sarkozy, the French people gathered to interview him and the presenter, gives us the possibility to take into account other discursive means which also contribute to the co-construction of discourse. This program displays a particular media frame (citizens interviewing a candidate); therefore, the interactional analysis triggers a reflection on the media approach of the democracy they pretend to embody. Our results show a tight interweaving of syntactic and semantic levels for the analysis of interactional discourse
Essaouri, Mohamed. "Rapports entre le texte et l'image dans la litterature francaise du surrealisme aux annees 1970". Paris 4, 1989. http://www.theses.fr/1989PA040059.
What are the connexions between the text and the picture? these are the problems raised by this study, which establishes that the aesthetic and literary criteria that have been suggested up to the beginning of the twentieth century to form the art (by giving supremacy to poetry and then to painting) and to define the links between the picture (much emphasis being put on the illustrative role of the picture) prove to be irrelevant. This study tries to surrount the most important aspect of the new links which have been established between the painters and the writers (from the surrealism period to the seventies) links that are based upon the conception which is different from creation, benceforth considered as a production, a hesitating research following the same proceeding : pictoral and verbal collage, picturesque novel, elaboration of fictions from pictures, introduction of linguistic symbols in painting (namemy proper nouns) and at last the experimentation of the scriptural practice the pictural one, by modern writers
Dupont, Valérie. "Le discours anthropologique dans l'art des années 1920-1930 en France, à travers l'exemple des "Cahiers d'art"". Dijon, 1999. http://www.theses.fr/1999DIJOL008.
This thesis studies the anthropological discourse found in the pages of "Cahiers d'art", the journal produced by Christian Zervos during the twenties and thirties. The first part of the thesis deals with the development of French ethnology; its theoretical bases, its methods and its initial results. The second chapter deals with the anthropological content of "Cahiers d'art", which draws from the German ethnologist Leo Frobenius who wrote a number of articles for the journal between 1929 and 1930, based on his research carried out in Africa. On a number of points Frobenius' ideas seem close to those of Christian Zervos, in such a way that the humanist approach becomes clear in the agenda of the journal. But the valorisation of tribal cultures and objects at the heart of "Cahiers d'art" also coincides with an attitude which contested western values, comparable to the analysis of the German writer Oswald Spengler which was developed in his book "The decline of the West". In the context of this intellectual connivance between Zervos, Frobenius and Spengler, Zervos' approach to archaic and prehistoric tribal productions is considered by looking at his entire contribution, including his books. The third chapter deals with the artistic circles which established a close relationship with the ethnological milieu, in particular those of the Surrealists : the group centred around both André Breton and Georges Bataille, and the revue documents; as well as the writer and ethnologist Michel Leiris. The last section raises the importance of the discipline of ethnology in the re-introduction of the human subject, both as represented image and as a determining element of art discourse in the thirties. The humanism of "Cahiers d'art' will, in this debate, find its own particular place
Ferreira, António Quadros. "Les relations artistiques entre le Portugal et la France : 1910-1930 : analyse et reception de la modernité chez Almada". Doctoral thesis, Nice : Université de Nice, 1990. http://hdl.handle.net/10216/63963.
Férey, Norman. "La déconstruction du corps et des sexualités dans les performances artistiques en France de 1970 à 2000 : vers une prise en compte de la notion de genre". Paris 8, 2014. http://octaviana.fr/document/182002225#?c=0&m=0&s=0&cv=0.
During the 90s, the concept of gender related to the cultural context of the body hardly had a place in the intellectual sphere. Did this concept spread itself more easily in the field of performance? From the 70s onward and right after the impulse given by 68 movements, the body took an important protest role in the creative process, in particular regarding gender deconstruction: that is the development of body art. Several artists tried through this medium to find a Body fundament which could bring an answer to cultural issues related to sexual differences. Later in the 80s, performance art became less subversive. The global political environment was changing and the body was more visible especially on screens. Two mains positions emerged among French artists: one focused more on words and an immaterial approach and the other using technology and media to explore the body. In both cases, the relationship between the artist and the deviant bodies that they used is far from clear. The “minority bodies” were more to be found in the militant and activist sphere. In the 90s, arguments about topics to do with secularism and the alarming raise of HIV would finally push the performers to reconsider the political dimension of gender and identity questions. Therefore, in this last decade, the concept of gender found its legitimacy in the artistic field even though the relationship between creative process and political activism still seems problematic and not that active
Saou-Dufrêne, Bernadette Nadia. "Art et médiatisation : le cas des grandes expositions inaugurales du Centre Georges Pompidou (Paris-New York, Paris-Berlin, Paris-Moscou)". Grenoble 3, 1998. http://www.theses.fr/1998GRE39026.
Armaos, Georges. "L'exposition de l'histoire de l'art : recherches sur vingt-quatre expositions contemporaines organisées et/ou tenues au Musée National d'Art Moderne, Paris et au Museum of Modern Art, New York, 1977-1999". Paris 1, 2002. http://www.theses.fr/2002PA010535.
Gacongne-Leroux, Claire. "La réponse de la critique à l'art technologique : archéologie d'un discours". Paris 1, 2007. http://www.theses.fr/2007PA010524.
Ruellan, Patrice. "Philippe Caubère, le roman d'un auteur". Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10065.
Orain, Hugo. "Images et Révolution en mouvement : représentations fictionnelles de la Révolution française au cinéma, à la télévision et dans le jeu vidéo entre 2000 et 2020". Thesis, Rennes 2, 2022. http://www.theses.fr/2022REN20013.
Our thesis questions the contemporary mythologies which transform our perception of the past, by nourishing a social imagination, and by colliding with historian narratives. For this, we studied 23 fictional representations of the French Revolution in cinema, television and video game, in France, between 2000 and 2020. The Revolution is a memorial object that persists largely thanks to fictions. Contemporary mythologies, such as the focus on the Terror and revolutionary violence, feed a dark vision of history, and oppose a positive republican memory. The fictions that we have analyzed are seen and played by millions of individuals, thus fictional narratives constitute a "parallel school" which competes with historical works. Until this day, no historical research has really been conducted on these issues. Our approach is unique because it is intermedia, that is to say that we have combined three media (cinema, television and video games), according to the idea that there is a media hybridization in design process. In this thesis, using sources of conception and reception (interviews, making-off, art work, reviews...), have deconstructed contemporary to understand mechanisms of representation of the past. Historians must bring fictions into their laboratory
Kim, Menart Soo Young. "La Maison Martin Margiela (1988-2014)". Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080063.
This thesis covers the evolution of the Maison Martin Margiela, from its foundation in 1988 by Martin Margiela, to a point in 2014, just before the arrival of the new creative director, John Galliano. The study aims to identify and explore indicative components of the House's creative universe, whilst calling into question received definitions of art and fashion, these two hitherto distinct and opposite poles. In the first part, we will focus on the history of the House, allowing us to grasp the context of its birth. The second part takes us right to the heart of creative approaches conceived by the House, across two types of practice - artisanal and industrial, leading us to question value judgments applied in terms both of originality and authenticity, whilst we examine how the premise of signatory authorship contrasts with that of collectivity, in this regard. Finally, we will analyse the overall relationship between artistry and aesthetics at the House, which goes far beyond the comparison of art with fashion, reaching into the complex rapports between haute couture and ready-to-wear, craft vs industry, singularity vs reproducibility, originality vs multiplicity, and creativity vs consumption, where we will note that the House has blurred the erstwhile boundaries drawn between the former categories. Thus, highlighting the above nodes will allow us to move toward refreshed and challenging definitions for the creations of the Maison Martin Margiela
Brun, Éric. "Guy Debord et l'Internationale situationniste : sociologie d'une avant-garde « totale »". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0076.
At the crossing of the intellectual's sociology, political sociology and the sociology of artistic movements, this PhD dissertation analyzes the evolution of a group named "Situationist International" (S. I. ) and of its leader, Guy Debord (1931-1994). It was founded in 1957 from the merging of some small groups of "avant-garde" artists, it became a "revolutionnary" political movement during the 1960s. The core of this dissertation is to understand this "reconversion" by studying the social properties, the positions and the stands taken by the situationnists, such a reconversion, wich can also be considered as the decompartmentalization of the different social sectors of activity, is an opportunity to test a new object of the concept of field forged by Pierre Bourdieu. It also sheds a new light on the relationships artists and intellectuals maintain with politics. In keeping with its work on redefining the conceptions of creation and selflessness, the S. I. Is led to take some distance from the artistic field. Its reconversion into "revolutionary" activism is also related to the issues at stake for literary and artistic field. Its reconversion into "revolutionnary" activism is also related to the issues at stake for litterary and artistic avant-gardes in the 1950s. As well as to a transformation of the space of political possibles at the beginning of the 1960s. Lastly, it brings out internal struggles within the movement, the study of wich reveals the mechanisms that control the forming of avant-garde groups as well as the obstacles to the their becoming international
Hagemann, Anja. "Les interactions entre le texte et l’image dans le « Livre de dialogue » en France et en Allemagne de 1980 à 2004". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040041.
This thesis investigates the interactions between text and image in the artist book (Livre de dialogue), composed jointly by a poet and a painter, in France and Germany from 1980 to 2004. In contrast to the « illustrated book», where the image is subordinated to the text, I explore in this special type of book the encounter between two means of expression sharing equal importance, a dialogue that yields complex interactions between visual and verbal signs. The existence of two different semiotic systems such as poetry and painting bears interesting questions, as each possesses its specific units, its own syntagmatic and paradigmatic structure and its specific way to create significance. The analysis focuses on the different forms, the consequences and the limits of this encounter. The first part consists of an examination of the figurative processes that are linked to the representation of the poetic or pictorial object in a general way. Following this examination, a more detailed analysis investigates the interactions between text and image based on the concepts of space, fragment, body and the creative process. Thus, the aim is not to transpose the stylistic system to painting or vice versa, but to explore points of intersection between semiotic, intermedia, aesthetic and history of art
Alexis, Lucie. "Réponses à la mission culturelle de la télévision publique : analyse sémiologique des rapports institutionnels, des figures de l'artiste et des écritures numériques à France Télévisions (1993-2017)". Thesis, Paris 2, 2017. http://www.theses.fr/2017PA020048.
The dissertation focuses on the France Télévisions’s cultural agenda and addresses the following question : Is there a form of culture specific to public service broadcasting ? If there is, how is it regulated and how does its coherence appear? We tackle the issue using a restricted definition of the notion of culture that includes both the great artistic disciplines and the productions of cultural industries. A chronological analysis follows three movements that place the reader/audience in various political and media territories: an inquiry into the institutional reports published between 1993 and 2007; figures and portraits of artists in three lateevening TV shows (On n’est pas couché, Ce soir (ou jamais!), and Des mots de minuit) broadcast between 2010 and 2011; and digital writings/narratives of culture between 2011 and 2017. Based on a history of public television, our perspective is mainly semiological. However, our study is inscribed in a project that includes several methodological tools while also using discourse analysis and a socioeconomic approach of the cultural industry. Finally, we have carried out graphic interviews. The heterogeneous nature of the artefacts and methods we summon lead us to conclude that public television culture is conveyed thanks to an understanding of culture close to the "established culture", the productions of cultural industries and "mediacultures", although it tends to expand in relation to digital experiences. Lastly, the combination of a number of factors produces a synoptic vision of the different conceptions of public television culture. Keywords : Public television ; France Télévisions ; culture and arts ; cultural industry products ; institutional reports ; talk-shows ; new audio-visual writing ; graphic gesture
Bernard, Yves-Michel. "Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes". Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30042.
This thesis studies in depth, the origin and the creation of theRegional Contemporary Art Collection (FRAC) between 1981 and 1986. The plan is divided into three main parts. The first part analyses the patterns of acquisitions and eexhibitions, which were models for the formation of the FRAC during the twentieth century in France. The second part examines the commitment of the Ministry of Culture in an ambitious policy that led to the creation of the FRAC after the arrival of the labour party who came to power in 1981. The third part, strictly concerning the history of art, focuses on the collections of the FRAC. This study of the collections has been the core of the research, established from computer data created by Videomuseum, who made a census of all acquisitions. The thesis is also based on archival documents, existing works, an onsite study of each collection of the FRAC, interviews and a literature of artistic media. Included in the labour party’s political program for the presidential elections of May 1981, the FRAC, funded equally by the State and the Regions, is a strong example of the success of a decentralized cultural policy. Between 1983 and March 1986 twenty-one FRAC in activity acquired a total of 5,438 works of art from 1,377 artists.Since the 1960s, the FRAC is an exception in French cultural funding and the result of a desire for democratisation. Until 1986, the continued growth of acquisition loans - offered by the State and regional councils - could lead to the establishment of a formal aesthetic. “Zones of influence" emerged to compensate for absences in the museum collections in the region. However, despite this undeniable institutional investment, public power was not entitled to become a major player in the history of art
Delas, Céline. "Des mythologies quotidiennes à la figuration narrative : pour une histoire de la figuration critique, 1964-1977". Paris 1, 2010. http://www.theses.fr/2010PA010549.
Rochard, Marine. "Une avant-garde à réaction : gestualité, lyrisme et autopromotion chez Georges Mathieu (1944-1975)". Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2005.
The study of Georges Mathieu’s work, debated artist whose activities extend over the decades following the Second World War, aims at enlightening an unkown path to be able to integrate it in a more relevant way into the contemporary field of the art history. Be interested in the networks in which the artist gravitated allows to consider the lyrical abstraction overall and to draw complex connections between the various actors of the worlds of art. The stakes in the artistic context of the 1950s are so put forward more exactly, leading to the identification of strategies of promotion partially based on the mythologies of the creative gesture. Mathieu, developing his discourse by anticipation of his reception and appearing as an ambivalent media personality, fits into an inherent dialectic of the art in postmodern era : the constant swaying between culture of elite and mass culture
Herold-Marme, Amanda. "L'identité artistique à l'épreuve : les artistes espagnols à Paris et l'engagement à partir de la Guerre civile (1936-1956)". Thesis, Paris, Institut d'études politiques, 2017. http://www.theses.fr/2017IEPP0017.
Nourished with new information, this study aims to examine the impact of the Spanish Civil War on the community of Spanish artists settled in Paris. We will consider artists with longstanding ties to the French capital when the war breaks out, as well as those whose arrival in France is precipitated by the conflict. Our objective is to situate the specificities of individual trajectories in a global history, by considering the political engagement of these previously apolitical creators for both sides of the Spanish conflict through the prism of their artistic identity which is both Spanish and Parisian. Defined by the ties to modernity or tradition that each artist claims in his work or his social practices, this artistic identity becomes permeated with ideological connotations at the beginning of the Spanish Civil War. Our aim is to shed light on and put into perspective the complexity, the paradoxes and the contradictions of this politicized activity undertaken by Spanish artists in Paris over the course of these tumultuous years, especially during the Nazi Occupation of Paris. The renewal of normalized relations with Francoist Spain in the 1950s marks the end of our study. The massive and ostentatious political engagement of a considerable number of Spanish artists residing in or with strong ties to the French capital will allow us to clarify the point to which these Spaniards in Paris, in spite of their artistic ambitions, find themselves at the point of convergence of art and politics throughout these troubled years of the XXth century
Oprea, Alina-Gabriela. "Le système de la politesse confronté aux défis du talk-show : Politesse, impolitesse et a-politesse à l’épreuve du spectacle et de la violence dans "On n’est pas couché" et "Tout le monde en parle"". Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20088.
In linguistics, politeness, considered omnipresent, aims at preserving the interactional and interpersonal harmony. But what happens when conflict is at the very heart of verbal interactions, as is the case with our talk-shows? The role of impoliteness and violence, as well as their relationship with politeness in “On n’est pas couché” and “Tout le monde en parle” are to be considered as the starting point for our research. Thus, the present work is an analysis of the notion of politeness confronted to the “challenges” raised by the televised shows mentioned above, an analysis in which we explored the politeness/impoliteness dichotomy that we articulated, thereafter, with the notions of appropriateness (in respect to the communication contract), violence and representation or “mise-en-scène”.In order to give a proper account of the functioning of these phenomena, firstly, we gave up the general view according to which politeness was defined as adequate behaviour while impoliteness was seen as its negative counterpart. Secondly, we tried to reconceptualise the notion of appropriateness going beyond rigid classifications or conventionalised polite and impolite formula.Given these considerations, we established a twofold objective. On the one hand, we tried to adjust the theoretical framework of politeness that, applied to our data, presented certain deficiencies, and to come up with some evaluation criteria for the analysed notions; consequently, we modestly and prudently proposed a framework and several theoretical “tools” adapted to our talk-shows. On the other hand, we analysed ─ using the presented tools and framework ─, the mechanisms of politeness and impoliteness as well as the divers “mises-en-scène” of polite, impolite and violent speech
Leturcq, Celine. "Tableau, la fabrique du sujet". Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080038/document.
If the age-old practice of painting has been supplanted by a large number of contemporary approaches tomaking art, certain artists are still primarily painters who make work about painting. This raises the question ofits relevance. In France in the early 1980s, abstract pictorial practices were left aside in favor of both a new kindof painting open to international influences, and an art that ultimately abandoned painting altogether. This is stillthe case today, although there has been a renewed interest in painting in recent years. This has to do, firstly, withthe structural force inherent to painting and the construction of pictorial space. Secondly, it has to do withsociocultural phenomena outside the realm of contemporary art : photography, film and television, and morerecently the widespread use of digital screens, have lead to the creation of new pictorial spaces. Painting still hasa promising future as a means of questioning the subject’s relationship to the image ; the shifting boundaries ofthe painted picture (the tableau) enrich and enlarge time-space frameworks, which, a priori, have nothing to dowith painting as an archaic practice. This thesis, therefore, attempts to understand how and why some individualstoday, especially in France, continue to paint, to make objects and images in their studios, in the traditional senseof the term