Bibliographies thématiques / Photographes – Sociologie

Littérature scientifique sur le sujet « Photographes – Sociologie »

Auteur : Grafiati
Publié le 4 mai 2024

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Articles de revues sur le sujet "Photographes – Sociologie"

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Maresca, Sylvain. « Photographes : sociologie d’une profession mal connue ». Cahier Louis-Lumière 7, no 1 (2010) : 9–17. http://dx.doi.org/10.3406/cllum.2010.926.

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Léon, Véra. « La querelle des photo-filmeurs ». Photographica, no 2 (3 mai 2021) : 130–46. http://dx.doi.org/10.54390/photographica.468.

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À la fin des années 1940, les photo-filmeurs se multiplient dans les rues des villes, photographiant les passants pour leur vendre leurs portraits. Or cet essor est combattu tant par les syndicats de photographes établis, qui considèrent ces nouveaux venus comme des concurrents déloyaux, que par les pouvoirs publics qui font surveiller leurs activités par la police. À partir d’une étude de cas, cet article analyse les enjeux du conflit et brosse le portrait des acteurs incriminés. En articulant différentes échelles d’analyse, de la trajectoire individuelle à la stratégie collective, des mesures locales aux débats nationaux, il montre que cette querelle est au cœur d’une redéfinition du groupe des photographes : elle est un marqueur de la mutation de leur fonction sociale, économique et symbolique. Enfin, la démarche, croisant histoire sociale et sociologie du travail, met en évidence la dynamique de professionnalisation instiguée par les syndicats, en même temps que son échec. Malgré ces tentatives, les délimitations du groupe des photographes professionnels restent poreuses en France, et ce jusqu’à aujourd’hui.
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Bojanić, Sanja, Jelena Ćeriman et Sara Nikolić. « Upotreba foto-elicitacije u sociologiji ». Revija za sociologiju 53, no 3 (31 décembre 2023) : 429–57. http://dx.doi.org/10.5613/rzs.53.3.4.

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In sociological research, photography is most commonly used to supplement presented data and less frequently as a data collection technique. This paper focuses on using photography to examine the gender aspect of poverty in rural areas of Serbia. Through the application of photo-elicitation, data were collected in field research during 2015 in Serbia. The data include photographs taken by girls and women beneficiaries of social services. Additionally, they incorporate the notes on the motives and interpretation of the photographs taken, along with transcripts of interviews conducted with the photographers a month after the photography sessions. The research has shown that photography, as a medium, connects the emotional experiences of poverty among research participants with the factual conditions of their lives in material deprivation and isolation. Consequently, it offers the possibility of articulating diverse meanings of poverty. The diversity of meanings of poverty is evident in the specific social categories to which the interviewees in this study belong, such as persons with disabilities, for example. Based on the findings of this research, the use of photo-elicitation emerges as particularly significant in sociological studies that involve the exploration of subjective meanings and experiences of specific population groups, such as girls and women living in poverty in rural areas of Serbia.
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Robbins, Derek. « Gazing at the Colonial Gaze : Photographic Observation and Observations on Photography Based on a Comparison between Aspects of the Work of Pierre Bourdieu and Jean-Claude Passeron ». Sociological Review 57, no 3 (août 2009) : 428–47. http://dx.doi.org/10.1111/j.1467-954x.2009.01848.x.

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The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages – the gallery display of Bourdieu's photos in the present – might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products.
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Fox, Paul. « An unprecedented wartime practice : Kodaking the Egyptian Sudan ». Media, War & ; Conflict 11, no 3 (13 juillet 2017) : 309–35. http://dx.doi.org/10.1177/1750635217710676.

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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Ensel, Remco. « Dutch Face-ism. Portrait Photography and Völkisch Nationalism in the Netherlands ». Fascism 2, no 1 (2013) : 18–40. http://dx.doi.org/10.1163/22116257-00201009.

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This article takes its cue from an essay by Gerhard Richter on Walter Benjamin and the fascist aestheticization of politics. It examines the portrait photography of Dutch photographer W.F. Van Heemskerck Düker, who was a true believer in the ideology of a Greater Germany. He published a number of illustrated books on the Dutch Heimat and worked together with German photographers Erna Lendvai-Dircksen and Erich Retzlaff. When considering what type of photography was best suited to capture the photographic aesthetics of the fascist nation, the article argues that within the paradigm of the Greater German Heimat we find not so much a form of anthropometric photography, as exemplified by the work of Hans F.K. Günther, as a genre of Heimat portraits that was better equipped to satisfy the need to unify two crucial structural oppositions in fascist ideology, namely mass versus individuality, and physical appearance versus inner soul.
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Brown, Terry M. « Transcending the colonial gaze : Empathy, agency and community in the South Pacific photography of John Watt Beattie1 ». Journal of New Zealand & ; Pacific Studies 8, no 2 (1 décembre 2020) : 151–70. http://dx.doi.org/10.1386/nzps_00035_1.

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For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a variety of publications, with or without attribution. I shall examine some of these photographs in the context of the ethos of the Melanesian Mission, British colonialism in the Solomon Islands, and Beattie’s previous photographic experience. I shall argue that Beattie first exhibited a colonial gaze of objectifying his dehumanized exotic subjects (e.g. as ‘savages’ and ‘cannibals’) but with increased familiarity with them, became empathetic and admiring. In this change of attitude, I argue that he effectively transcended his colonial gaze to produce photographs of great empathy, beauty and longevity. At the same time, he became more critical of the colonial enterprise in the Pacific, whether government, commercial or church.
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Lewis, Abigail E. « Collaboration in Focus ». French Politics, Culture & ; Society 40, no 3 (1 décembre 2022) : 73–98. http://dx.doi.org/10.3167/fpcs.2022.400304.

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Abstract This article examines the collaboration trials of French photographers André Zucca (1944–1945) and Robert Delhay (1947–1949) within the context of the postwar French state's attempts to punish collaboration and rehabilitate the French press. Paying attention to the interpretation of photographs as evidence, I argue that within the post–Liberation French courtroom, photographic evidence became crucial to narrating collaboration and resistance as a means of gaining re-acceptance into the profession and escaping legal charges. However, photographs proved too complicated to clearly prove either collaboration. Photographers disputed the charges against them by offering new interpretations of their photographs. These new readings were rooted in a postwar visual culture that had been saturated with photographs as historical evidence of Nazi atrocities, French victimization, and resistance. This article details how the collection and display of photographic evidence in these court proceedings informed the emergence of a postwar photographic press steeped in résistancialisme.
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Saburova, Tatiana. « Geographical Imagination, Anthropology, and Political Exiles ». Sibirica 19, no 1 (1 mars 2020) : 57–84. http://dx.doi.org/10.3167/sib.2020.190105.

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This article is focused on several themes connected with the history of photography, political exile in Imperial Russia, exploration and representations of Siberia in the late 19th–early 20th centuries. Photography became an essential tool in numerous geographic, topographic and ethnographic expeditions to Siberia in the late 19th century; well-known scientists started to master photography or were accompanied by professional photographers in their expeditions, including ones organized by the Russian Imperial Geographic Society, which resulted in the photographic records, reports, publications and exhibitions. Photography was rapidly spreading across Asian Russia and by the end of the 19th century there was a photo studio (or several ones) in almost every Siberian town. Political exiles were often among Siberian photographers, making photography their new profession, business, a way of getting a social status in the local society, and a means of surviving financially as well as intellectually and emotionally. They contributed significantly to the museum’s collections by photographing indigenous people in Siberia and even traveling to Mongolia and China, displaying “types” as a part of anthropological research in Asia and presenting “views” of the Russian empire’s borderlands. The visual representation of Siberia corresponded with general perceptions of an exotic East, populated by “primitive” peoples devoid of civilization, a trope reinforced by numerous photographs and depictions of Siberia as an untamed natural world, later transformed and modernized by the railroads construction.
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Haddour, Azzedine. « Bread and Wine : Bourdieu's Photography of Colonial Algeria ». Sociological Review 57, no 3 (août 2009) : 385–405. http://dx.doi.org/10.1111/j.1467-954x.2009.01846.x.

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The photography of Bourdieu, whilst documenting aspects of his sociological work in Algeria, problematizes the relationship between its photographic referents and their history. To grasp this relationship, I will decode the historical signification of three photographs taken by Bourdieu in the mid-1950s when Tillion published L'Algérie en 1957 and Sartre ‘Le colonialisme est un système’ situating Bourdieu's photographic and sociological work in relation to both Tillion and Sartre. Although the influence of Tillion on Bourdieu is discernable, especially in Sociologie de l'Algérie, their political positions are at variance. Bourdieu's snapshots provide us with a perspective on how to interpret the causes of the vagrancy and famine in colonial times. Despite his avowed hostility to Sartre, Bourdieu concurs with the latter's critique of colonialism. His three photographs together project a political affinity with both Sartre and Barthes. The impoverishment of native Algerian society was not due to the fact that it failed to catch the train of progress, as Tillion intimates; rather it resulted from its systematic despoilment by colonial France.
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Thèses sur le sujet "Photographes – Sociologie"

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Aufort, Adrien. « Homo photographicus : sociogenèse du métier de photographe en France ». Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL023.

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Cette thèse se propose d'étudier le métier de photographe par le prisme de la sociologie et de l'histoire.Un portrait actuel (2018-2023) des professionnels est dressé par l'analyse de 30 entretiens et de 258 réponses à un questionnaire diffusé en ligne. L'éducation, la sociabilité, la technique, les préférences esthétiques ainsi que les habitudes culturelles sont précisément décrites. À la manière d'une expérience de réplicabilité, certains résultats de cette double enquête renforcent les conclusions de travaux antérieurs, notamment dans les déterminants socio-démographiques de l'entrée dans la profession. D'autres sont plus originaux, tels que la mise en lumière de l'influence de l'ancienneté sur les revenus, ou encore celle de l'implantation géographique sur l'obtention d'un prix. La réussite professionnelle est également traitée. Le succès est compris comme l'adéquation entre un « dispositif élargi », articulation entre l'Homme et la machine, et les représentations sociales. Ces dernières sont le fruit d'un travail des photographes, tant sur les images photographiques qu'ils produisent que sur l'image de soi qu'ils cultivent. Une correspondance historique (1910-1952) a également pu être établie grâce à l'analyse de 778 numéros de la revue Le Photographe. Des balbutiements corporatifs jusqu'aux acquis juridiques, politiques et institutionnels, la profession est tributaire d'une riche histoire. Entendu comme entreprise individuelle et collective, le métier de photographe semble continuellement en crise. Il exige des professionnels non seulement une négociation permanente avec les ruptures technologiques mais aussi avec les autres usagers de la photographie
This doctorate thesis aims to study the profession of photographer through the lens of sociology and history.A current portrait (2018-2023) of the professionals is drawn up by analyzing 30 interviews and 258 responses to an online questionnaire. Education, sociability, technique, aesthetic preferences and cultural habits are described in detail. In the manner of a replicability experiment, some of the results of this double survey reinforce the conclusions of previous work, particularly with regard to the socio-demographic determinants of entry into the profession. Others are more original, such as the influence of seniority on income, or the influence of geographical location on winning a prize. Professional success is also addressed and understood as the match between an ‘extended setup', a link between man and machine, and social representations. The latter are the fruit of the photographers' work, both on the photographic images they produce and on the self-image they cultivate. A historical correspondence (1910-1952) was also established by analyzing 778 issues of the magazine Le Photographe. From its beginnings as a corporate body to its legal, political and institutional achievements, the profession has a rich history. Understood as an individual and collective enterprise, the profession of photographer is seemingly in a constant state of crisis. It requires not only a constant negotiation with technological changes as they arise, but also with other users of the photographic medium
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Ulanovsky, Lucia. « Entre l'appareil et les rotatives : photoreporters, usages des photos et organes de presse (1969-1984) ». Paris, EHESS, 2014. http://www.theses.fr/2014EHES0628.

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Entre l’appareil et les rotatives. . . Est une étude qui se propose situer au photoreporter et à la photographie de presse dans un espace où se révèlent des tensions entre les tâches des photoreporters, les opérations éditoriales appliquées aux images publiées et les automatismes et les croyances qui dominaient au sein de la culture de presse d’une époque. La recherche poursuit cette trame dans le cadre de l’histoire sociale et politique de la période 1969-1984 en Argentine ; soit un moment où le métier du photoreporter et la photographie de presse étaient déjà largement présents dans les organes de presse. C’est une période d’une grande diversification par rapport aux usages de l’image dans la presse, de fermetures et interventions des médias, de censure, de conditions imposées et auto-imposées dans les politiques de l’image de presse, de routines et défis professionnels quant aux photoreporters. On met l’accent sur les rapports de production, les laboratoires, les circuits de l’image, les témoignages des photoreporters. On s’interroge sur le rapport texte et image, les manipulations graphiques et éditoriales. On s’intéresse aux contradictions, aux zones grises, aux parties peu visibles de ces phénomènes. Et dans cette démarche qui observe, reconstruit et analyse les politiques éditoriales de l’image et les services photographiques, chapitre par chapitre on remet en question une discussion sur la place du photoreporter au sein des organes de presse et au sein de la société argentine, et sur les effets déployés en quête de véracité photographique dans les dispositifs médiatiques.
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Dal, Pezzo Rolando. « Photography, sociology & ; anthropology ». FIU Digital Commons, 1999. http://digitalcommons.fiu.edu/etd/2708.

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An analysis of the social research done to date using photographs shows that photography, although used both in anthropology and sociology for data collection, as visual evidence and illustration, in photoelicitation or in time-studies, has not been fully exploited as an aid to see further and deeper in the social arena. Most social researchers still perceive photography as being simultaneously too complicated as a research aid and too creative and therefore unscientific to use as a research method. This project is exploratory and argumentative and not directed towards the formulation of a model. I propose that the camera is the proper tool to obtain more precise, detailed, and complete date, to uncover and clarify meaning, to investigate and clarify the research question, and to help in the presentation of the results of social investigation. Therefore the camera should become more accepted as a tool for the modern social researcher notwithstanding its creative component and even because of it. Indeed, as any individual in a culture oversaturated with images, although trained to observe precisely and record objectively, the social scientist has learned to see only a few v things while editing and blocking out the rest. The camera, because of its ability to record the world with richness of detail, is the proper tool to obtain a more precise and more complete visual documentation, which is essential for an accurate reconstruction of meaning. Lastly, I propose that the sociologist-anthropologist who accepts the challenge of integrating photography in his work should become also a skilled photographer, cultivating with practice the ability to intuitively perceive potential opportunities that may escape direct observation and developing a visual and emotional acuity that bridges the gap between intuition and the physical limitations of human perception. This new skill seems to be the result of an inner propensity to visual investigation combined with photographic practice and systematic studying of the history of photography and represents a jump of sophistication in the use of photography in more creative ways in social research, both conceptually and technically. In looking at the body of work produced in visual social research as well as in photographic social analysis, it seems that the most successful and compelling outcomes have been produced by authors who explored the unique opportunities of in depth analysis offered by the synergy of images and text to conduct a social, autoethnographic or psychological discourse. This appears to me a most promising area of development for the immediate future of visual social research.
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Eldridge, Alison. « Photography and sociology : an exercise in serendipity ». Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7392/.

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This thesis examines the relationship between photography and sociology as offering complementary ways of understanding ourselves and the world we live in. Drawing from the work of Pierre Bourdieu and Raymond Williams, I examine the idea of a ‘field’ of photography within the field of cultural production more generally. The practises of documentary photography, photojournalism and fine art photography are explored with specific reference to images of war. In this arena, the politics, aesthetics and ethics of representing the body in pain are addressed.
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Campion, Britta Maree Art College of Fine Arts UNSW. « Photography as a method of visual sociology : An investigation of the potential of still photography as a method of visual sociology ». Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42059.

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Ever since the camera was invented people have been using it as a tool to reflect and record the world around them. Photographic images have great potential to investigate different social practices and phenomena in the world. Photography, in its own right, is an extremely large area of study. Despite its relatively short history, photography has undergone a broad and complex evolution since it was invented in 1840. This paper does not aim to cover the comprehensive history of the development of photography in its many facets, it aims however to concentrate on a specific area of what has come to be termed visual sociology and the potential of the still photographic image as a primary tool within the field. Visual sociology is a marginal, experimental area of sociology, it is a field which has not been given due consideration by many sociologists due to its unscientific nature and one which remains unfamiliar to many social documentary photographers. This paper traces the history of visual sociology and explores its roots and links with social documentary photography. It explores the established methods of visual data collection that are utilised within the field of visual sociology. It also explores a further sub-discipline, urban sociology and the role of the image in investigation of urban phenomena. The resulting practical component of this research is an extensive urban photographic investigation shot over the period of one month in the city of Tokyo. The resulting series of images exist as a type of photographic visual map of ‘city creatures’ ubiquitous in the urban environment. The series aims to constitute as a visual, cultural survey about an aspect of social life within the Japanese urban context.
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Conord, Sylvaine. « Fonctions et usages de la photographie en anthropologie des cafés bellevillois (Paris XXe) à l'île de Djerba (Tunisie) : échanges entre des juives d'origine tunisienne et une anthropologue-photographe ». Paris 10, 2001. http://www.theses.fr/2001PA100169.

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L'objet de ce travail consiste à étudier les multiples fonctions de la photographie dans des échanges interculturels et à reconnaître le support photographique comme un instrument de recherche à part entière dans l'observation de réalités sociales et culturelles. La photographie, considérée à la fois comme pratique, usage, et objet, occupe dans cette recherche une place déterminante dans les rapports que le chercheur-photographe entretient avec son terrain de recherche (ici l'étude de femmes juives d'origine tunisienne fréquentant les cafés de Belleville). Investie du rôle central de photographe, l'auteur a pu suivre ces femmes juives originaires de Tunisie dans leurs divers déplacements (fêtes, pèlerinages, loisirs) de Paris à Djerba. L'ensemble des matériaux visuels et oraux recueillis offre une variété d'angles de vues à propos de la vie sociale d'une population, qui, appartenant à un milieu social défavorisé et pour la plupart originaire du quartier Hafsia de Tunis, reste profondément attachée à ses origines culturelles et religieuses. La photographie est apparue, au fil des recherches comme un outil d'investigation et de communication aux multiples facettes : moyen de valorisation personnelle, outil de recherche sur l'auto-mise-en-scène et les représentations sociales, support de discours, objet d'échange matériel et symbolique, don et contre-don, support de la mémoire et du souvenir. Objet construit, l'image photographique constitue un mode de représentation spécifique ; elle est le résultat d'une interaction complexe entre photographe et sujet photographié. Ultérieurement intervient le "lecteur" de l'image et son propre mode de perception. Ce travail tente de développer une approche de ces croisements de regards : les thématiques 'développées autour de la fonction médiatrice de l'image fixe s sont au centre de la réflexion
The purpose of this research is to study the various functions of photography in intercultural exchanges between a french anthropologist and Jewish women of Tunisia, regular customers of Belleville cafés in Paris XXe. Photography, considered at the same time a practice, a custom, a material and symbolic exchange artcle, a mean of personal enhancement, occupies here a central and determining place in the relations that the anthropologist maintains with her field. A photography is, in itself, a specific representation : it is a result of the interaction between the photograph and the photographed subject. The "reader" of the picture has also his own subjective system of perception. On account of her photographic practices, the photographer practices, the photographer finds herself invested, by the Jewish women of Tunisia, with diverse and varied roles which allow her to understand better certain aspects of the social relation characteristic of this population : self mise en scène, the "evil eye", the rivalries, "good deals", women sociability, the religious ceremonies, pilgrimages of Lag ba­O mer in Israël and in Tunisia, etc. These different regards help to understand the mediatory function of photography in a field in anthropology
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Galla, Taylor. « DANGERS OF THE NEWS(FEED) : AN EXPLORATION INTO FAKE NEWS, PHOTOGRAPHIC TRUTH AND THE POWER OF DIGITAL COMMUNICATION ON FACEBOOK ». Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1208.

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In an age of ever-expanding digital communication platforms and the presence of news online becoming paramount, the amount of information being shared and the truth of that information is becoming more and more difficult to track. The power of these social platforms is one that all should recognize and reflect upon in terms of their use of them, and reliance on them for the information they need. This thesis seeks to explore this power and the ways in which to remedy the falsities spread on the platforms faster than ever before, through photographic journalism.
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Garza-Meza, Laura Elizabeth. « Photography as a spiritual technique ». Thesis, Pepperdine University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3558387.

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The purpose of this study is to compare the spiritual benefits of practicing photography to the spiritual benefits of practicing prayer, meditation and yoga. Benefits noted were divided into the 4 dimensions of being human: physical, emotional, intellectual, and spiritual. The study considers Mexican leaders' perceptions of photography as a spiritual practice. A total of 105 Mexican leaders answered surveys. Of the 105 leaders, 14 were professors, 30 were entrepreneurs, 46 were business executives and 15 were students and homemakers (listed as "other") varying in ages from 21 to over 61.

The design of this study is descriptive, while the study was quantitative in nature. In preparation for the study, the researcher gathered qualitative information regarding the benefits observed as leaders practice photography. These descriptive answers were then used to create the quantitative surveys for the study.

The data demonstrated that photography can be considered a spiritual technique. First, the spiritual benefits shown from practicing photography mirror, to a large degree, the spiritual benefits reported for practicing prayer, meditation, and yoga. The literature also supports the reported similarities; however, participants do not consciously recognize these benefits. Second, the 4 dimensions of being human (physical, intellectual, emotional, and spiritual) are divided into 5 factors: (a) physical well-being and better decision-making, (b) optimism in life, (c) interrelation with the environment and intellectual development, (d) relaxing, and (e) spiritual growth.

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Hayes, S. « Building community : a sociology of theatre audiences ». Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.

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This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.
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Blanchard, Benoît. « Photographie contemporaine, institutionnalisation et marché de l'art (1995-2005) ». Paris 8, 2012. http://www.theses.fr/2012PA083821.

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

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contributor, Arrif Abdelmajid, et Tozy Mohamed contributor, dir. Paul Pascon, un été dans le Haouz de Marrakech. Casablanca : Éditions La croisée des chemins, 2017.

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Paz, Alfredo De. La fotografia come simbolo del mondo : Storia, sociologia, estetica. Bologna : CLUEB, 1993.

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Martins, José de Souza. Sociologia da fotografia e da imagem. São Paulo, SP : Editora Contexto, 2008.

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Martins, José de Souza. Sociologia da fotografia e da imagem. São Paulo, SP : Editora Contexto, 2008.

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Prosthetic culture : Photography, memory and identity. London : Routledge, 1998.

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Shevchenko, Olga. Double exposure : Memory & photography. New Brunswick : Transaction Publishers, 2014.

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Weinberger, Karlheinz. Karlheinz Weinberger : Photos, 1954-1995. Zurich : Andreas Züst Verlag, 2000.

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Baudrillard, Jean. Jean Baudrillard : Fotografien 1985-1998 ; [im Horizont des Objekts ; Objekte in diesem Spiegel sind näher als sie erscheinen ; 9.1.-14.2.1999, Neue Galerie Graz am Landesmuseum Joanneum, Graz] = Photographies = Photographs. Ostfildern-R # : Hatje Cantz, 1999.

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Gariglio, Luigi. Uno sguardo obiettivo ? : Fotografie e immagini fisse in campo sociologico. Roma : Aracne, 2010.

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Uno sguardo obiettivo ? : Fotografie e immagini fisse in campo sociologico. Roma : Aracne, 2010.

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Chapitres de livres sur le sujet "Photographes – Sociologie"

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Harper, Douglas. « Documentary photography and visual sociology ». Dans Visual Sociology, 8–49. 2e éd. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003251835-2.

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Sebag, Joyce, et Jean-Pierre Durand. « From Ethnologist Photography to Filmic Sociology ». Dans Filmic Sociology, 31–82. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_3.

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Möller, Frank. « Visual Peace : Towards a Sociology of Visual Knowledge ». Dans Peace Photography, 59–85. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-03222-7_3.

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Bartollas, Clemens, et Dragan Milovanovic. « Auto-ethnography, Visual Sociology, Photography and Quantum Connections : 1990s to Present ». Dans Richard Quinney, 127–58. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02296-9_7.

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Matthews, Scott L. « What a Place This South Is ». Dans Capturing the South, 68–111. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646459.003.0003.

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This chapter examines Farm Security Administration photographer Jack Delano’s images of Greene County, Georgia during the New Deal. It highlights his collaboration with sociologist Arthur Raper who was conducting his own fieldwork in Greene County for the FSA. With Raper’s assistance, Delano created an extraordinary photographic record, making Greene the most photographed county in the most documented region during the New Deal. Nevertheless, Delano emphasized certain images of Greene County that link his work to the region’s broader documentary tradition. His photographs both exposed the poverty and environmental exploitation that were products of the region’s cotton economy and romanticized the county’s seemingly premodern folk and agrarian roots, which neutralized his work’s reformist agenda. This chapter also uncovers the resistance Raper and Delano faced to their documentary work in Greene County. Some whites feared Raper’s work with New Deal agencies might undermine white supremacy while the county’s rural black people occasionally expressed resentment at the intrusion of a government photographer, even one motivated by New Deal liberalism. These suspicions and acts of resistance led Raper and Delano to create a sanitized images of Greene County in Tenants of the Almighty, a documentary book that represented the culmination of their collaboration.
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Fuccaro, Nelida. « The Oil Company’s Fields of Vision : Public Relations and Labour Images in The Arab World ». Dans Life Worlds of Middle Eastern Oil, 87–119. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399506144.003.0004.

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This chapter investigates the new cultures of oil – both visual and material - that emerged in the Arab world in the 1950s and 1960s following oil nationalisation in Iran and the consolidation of Arab nationalism across the region. It concentrates on the photographic images produced by the Public Relation offices of foreign oil companies in Iraq, Kuwait, Saudi Arabia and Bahrain featuring the private and professional lives of local workers. On the one hand, these images - often published in the companies’ Arabic magazines - are analysed as the combination of the technology and human agency that crafted and circulated them to local publics. On the other hand, labour photography is scrutinised as evidence of the companies’ values and concepts of work and social relations as it served to create imaginary sociologies and geographies of petroleum production in order to entertain, instruct, and ultimately subdue the workforce. By exploring these fields of corporate vision, the chapter shows how cameras and lenses interacted not only with photographers and workers as a subject matter, but also with a new public relations world made up of oil publicists, magazine editors and writers that emerged in a turbulent age of oil decolonisation.
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Rowe, Jeremy. « Geo-Referencing Early Photographic Studios and Using Historic Photographs to Study Urban Processes and Environments ». Dans Visual and Multimodal Urban Sociology, Part A, 97–121. Emerald Publishing Limited, 2023. http://dx.doi.org/10.1108/s1047-00422023000018a004.

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Conord, Sylvaine. « Entre sociologie et photographie. Sur les pas des enquêtés ». Dans Carrières, 253–70. Presses universitaires de Paris Nanterre, 2019. http://dx.doi.org/10.4000/books.pupo.31391.

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Choi, Y. Susan, Heather M. Gray et Nalini Ambady. « The Glimpsed World : Unintended Communication and Unintended Perception ». Dans The New Unconscious, 309–33. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195149951.003.0013.

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Abstract In 1979, the sociologist Erving Goffman published Gender Advertisements, an examination of the ways in which images of men and women are used in advertisements. Goffman was particularly interested in how such images reflect underlying cultural values about relations between the sexes. He went on to draw a parallel between the still photographs of advertisements and the fleeting observations of strangers, gathered in the course of our lives, that comprise what he called “our glimpsed world.” Just as posed photographs provide insight into sociocultural values, Goffman averred, brief glimpses of others reveal a great deal about their psychological lives. In sum, Goffman suggested that observations made in passing can be used as sources of information about the internal states, social identities, and relationships of those who make up our social worlds.
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Arús, María A. Cabrera. « Fashioning and Contesting the Olive-Green Imaginary in Cuban Visual Arts ». Dans Picturing Cuba, 155–74. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400905.003.0011.

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Sociologist María A. Cabrera Arús dissects the militaristic iconography of the Cuban Revolution and its ironic appropriation by contemporary Cuban artists. Cabrera Arús demonstrates that the celebration of the sartorial guerrilla identity of the 1960s has largely given way to a critical perspective on the epic narrative in the post-Soviet era, which is exemplified by painters like Carlos Rodríguez Cárdenas and photographers like José Ángel Toirac. In recent artworks produced in Cuba, the olive-green uniform of the revolutionary army appears more often as a symbol of oppression than as a metaphor for a utopian vision.
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Actes de conférences sur le sujet "Photographes – Sociologie"

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Cocieru, Mariana. « Values of Romanian ethnological photographic art : Joseph Berman ». Dans Conferință științifică internațională "FILOLOGIA MODERNĂ : REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.20.

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In this article, the author refers to one of the elite representatives of Romanian photographic art, Joseph Berman, a distinguished personality in the field of visual documentation, who contributed enormously to the development of ethnological field research. From a theoretical and practical perspective, a visual image immortalizes a moment in space and time, facilitating the recourse to the information it holds whenever needed. The photography can communicate to you several types of information, on the one hand, about the personality of the one who made this immortalization, revealing details about the preferences and skill of the master photographer, and on the other hand, it expresses realities, historical, social, ethnographic details of eternal temporal moments and habitats, motivating us to become critical consumers of visual images. For these reasons, the rhetoric of the image (Roland Barthes) becomes emblematic for ethnological research. Researchers in the field of Romanian ethnological photography delimit the period of flourishing (development) of visual documentation from the first half of the 20th century into two segments, the first up to Joseph Berman and the second – after him. With its affirmation in the photographic field, ethnological documentation took on color, becoming „alive”, loaded with deep meaning. The famous sociologist Dimitrie Gusti, appreciating his talent, called him: „co-author of the image of the Romanian village and peasant” and, rightly, did not accept a monographic campaign through the villages of Romania without Berman’s skill and talent, considering any other type of ethnological research compromised from the start.
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REPANOVICI, Angela, Vlad BATRANU-PINTEA, Elisa DAN, Liviu TOADER et Adrian Paul TULIGA. « DAILY LIFE IN COMMUNISM. AN APPROACH THROUGH PERSONAL OBJECT ANALYSIS ». Dans 10th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscss.2023/s10.44.

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The present paper wants to analyze the perception of communism. It is structured in two main parts: the theoretical preliminaries and the case study. In the first part, we will build a theoretical base about the main concepts that influenced the cultural world and daily life during the years of communist dictatorship in Romania. In the second part, we analyzed a database composed of photographs of objects chosen by the respondents as significant for the period we are talking about. We want to see what are the reasons that made the research participants opt for the respective objects and what significance they had for the history of Romanian anthropology and sociology. The research hypotheses on which this paper was built are two in number. The first of them starts with the fact that the objects had a major importance in the formation of a collective memory and identity in a turbulent period from a political, economic, and social point of view. The second one looks at the object as a method of flaunting one's status or escaping from everyday life.
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Martins, João. « Design of products to honor people post mortem ». Dans Systems & Design : Beyond Processes and Thinking. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3323.

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The cemeterial units, are places of social practices of everyday life and worship and the tomb where nostalgia can be externalized and the memory of the deceased revered. In Western societies we can find a category of artifacts meant to evoke the memory or honor the dead. In this paper we we mention three examples of products that enabled a reflection on the concepts that gave rise to their ways, and that risks to fit them into a new "material culture", in that it may have created a break with the traditional system codes and standards shared by companies, and its manifestations in relation to the physical creation of this category of products. This work offers a reflection on the Design Products.What probably makes it special is the field where it is located: the design of products in one post mortem memory. Usually made of granite rock or marble, have the form of plate or tablet, open book or rolled sheet. On one side have a photograph of the person who intend to honor and inscriptions. The thought of inherent design of this work put on one side the intricate set of emotions that this type of product can generate, and other components more affordable, and concerning the form, function and object interactions with users and with use environments. In the definition of the problem it was regarded as mandatory requirements: differentiation, added value and durability as key objectives.The first two should be manifested in the various components / product attributes. The aesthetic and material/structural durability of product necessarily imply the introduction of qualifying terms and quantitative weights, which positively influence the generation and evaluation of concepts based on the set of 10 principles for the project that originated a matrix as a tool to aid designing products. The concrete definition of a target audience was equally important. At this stage, the collaboration of other experts in the fields of psychology and sociology as disciplines with particular ability to understand individuals and social phenomena respectively was crucial. It was concluded that a product design to honor someone post mortem, should abandon the more traditional habits and customs to focus on identifying new audiences. Although at present it can be considered a niche market, it is believed that in the future may grow as well as their interest in this type of products.DOI: http://dx.doi.org/10.4995/IFDP.2016.3323
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