{"id":1266,"date":"2010-12-09T14:04:58","date_gmt":"2010-12-09T12:04:58","guid":{"rendered":"http:\/\/culturevisuelle.org\/icones\/?p=1266"},"modified":"2010-12-09T14:04:58","modified_gmt":"2010-12-09T12:04:58","slug":"parution-etudes-photographiques-n26","status":"publish","type":"post","link":"http:\/\/histoirevisuelle.fr\/cv\/icones\/1266\/","title":{"rendered":"Parution \u201cEtudes photographiques\u201d n\u00b026"},"content":{"rendered":"<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft\" src=\"http:\/\/farm6.static.flickr.com\/5166\/5245894059_ab769e1c93_d.jpg\" alt=\"\" width=\"327\" height=\"500\" \/>La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution du n\u00b0 26 d\u2019<em>Etudes photographiques<\/em>.<\/p>\n<p><strong>Sommaire<\/strong><\/p>\n<ul>\n<li>Thierry Gervais, Vanessa R. Schwartz, Christian Delage, \u00ab\u00a0Introduction\u00a0\u00bb<\/li>\n<li>Thierry Gervais, \u00ab\u00a0Le plus grand des photographes de guerre. Jimmy Hare, photoreporter au tournant du 19<sup>e<\/sup> et du 20<sup>e<\/sup> s.\/<em>The Greatest of war photographers\u2019: Jimmy Hare, A Photojournalist at the Turn of the Twentieth Century<\/em>\u00ab\u00a0<\/li>\n<li>Jason E. Hill, \u00ab\u00a0De l\u2019efficacit\u00e9 de l\u2019artifice. <em>PM<\/em>, <em>Radiophoto<\/em> et discours journalistique sur l\u2019objectivit\u00e9 photographique\/<em>On the Efficacy of Artifice: <\/em>PM, Radiophoto<em>, and the Journalistic Discourse of Photographic Objectivity<\/em>\u00ab\u00a0<\/li>\n<li>Will Straw, \u00ab\u00a0Strat\u00e9gies formelles de la photographie d\u2019actualit\u00e9 criminelle\/<em>Formal Strategies in the True Crime Photograph<\/em>\u00ab\u00a0<\/li>\n<li><em>Portfolio<\/em>: Joachim Schmid, \u00ab\u00a0O Campo\u00a0\u00bb<\/li>\n<li>Vanessa R. Schwartz \u00ab\u00a0Grand angle sur la plage. Les origines du paparazzi et le festival de Cannes\/<em>Wide Angle at the Beach: The Origins of the Paparazzi and the Cannes Film Festival<\/em>\u00ab\u00a0<\/li>\n<li>Audrey Leblanc, \u00ab\u00a0La couleur de Mai 1968. <em>Paris Match<\/em> face aux \u00e9v\u00e9nements de mai et juin 1968\/<em>The Color of May 1968: <\/em>Paris Match<em> and the Events of May and June 1968<\/em>\u00ab\u00a0<\/li>\n<li>Vincent Lavoie, \u00ab\u00a0La rectitude photojournalistique. Codes de d\u00e9ontologie, \u00e9thique et d\u00e9finition morale de l\u2019image de presse \/<em>Photojournalistic Integrity: Codes of Conduct, Professional Ethics, and the Moral Definition of Press Photography<\/em>\u00ab\u00a0<\/li>\n<\/ul>\n<p>24\u20ac, abonnement France: 40\u20ac\/\u00e9tranger: 50\u20ac. Contact, abonnement: chabert.sfp(\u00e0)free.fr<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution du n\u00b0 26 d\u2019Etudes photographiques. Sommaire Thierry Gervais, Vanessa R. Schwartz, Christian Delage, \u00ab\u00a0Introduction\u00a0\u00bb [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[26,29],"tags":[54,58,62],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p80eNK-kq","jetpack-related-posts":[{"id":2746,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2746\/","url_meta":{"origin":1266,"position":0},"title":"Etudes photographiques, replay!","date":"20 juin 2013","format":false,"excerpt":"Ch\u00e8res lectrices, chers lecteurs et ami-e-s d\u2019\u00c9tudes photographiques, J\u2019ai le regret de vous informer que la parution d\u2019\u00c9tudes photographiques a \u00e9t\u00e9 provisoirement suspendue. Ainsi, le num\u00e9ro 31 ne sera pas disponible comme pr\u00e9vu ce printemps. Un conflit de projets de d\u00e9veloppement ainsi que la nomination de Thierry Gervais \u00e0 la\u2026","rel":"","context":"Dans &quot;ETPH&quot;","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1132,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/1132\/","url_meta":{"origin":1266,"position":1},"title":"Colloque &quot;Imaginaires du pr\u00e9sent&quot;","date":"9 octobre 2010","format":false,"excerpt":"Colloque international sous la direction de Vincent Lavoie, 22-23 octobre 2010, Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, Grande Biblioth\u00e8que, salle M 450, 475 bd de Maisonneuve Est, Montr\u00e9al, Canada. Quelles que soient les mutations technologiques et m\u00e9diatiques touchant les imageries \u00e9v\u00e9nementielles, quelle que soit la r\u00e9ponse des soci\u00e9t\u00e9s contemporaines aux \u00e9v\u00e9nements\u2026","rel":"","context":"Dans &quot;Agenda&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2010\/10\/imaginairesdupresentaff.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":582,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/582\/","url_meta":{"origin":1266,"position":2},"title":"Parution &quot;Etudes photographiques&quot; n\u00b025","date":"30 avril 2010","format":false,"excerpt":"La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution d\u00e9but mai du n\u00b0 25 d'Etudes photographiques. Sommaire Olivier Lugon, \"Avant la forme tableau. Le grand format photographique dans l\u2019exposition Signs of Life, 1976\/Before the Tableau Form: Large Photographic Formats in the Exhibition Signs of Life, 1976\" \u00c9l\u00e9onore Challine, \"La m\u00e9moire photographique.\u2026","rel":"","context":"Dans &quot;Lhivic&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/farm4.static.flickr.com\/3366\/4565958017_9ac8b4af30.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1684,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/1684\/","url_meta":{"origin":1266,"position":3},"title":"Parution \u201cEtudes photographiques\u201d n\u00b027","date":"13 mai 2011","format":false,"excerpt":"La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution du n\u00b0 27 d\u2019Etudes photographiques (mai 2011). Sommaire Images de guerre Georges Didi-Huberman, \"\u00c9chantillonner le chaos. Aby Warburg et l\u2019atlas photographique de la Grande Guerre\/Sampling Chaos: Aby Warburg and the Photographic Atlas of the Great War\" Portfolio: Mathieu Pernot, \"Migrants\" Photographies mises\u2026","rel":"","context":"Dans &quot;Publications&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2011\/05\/EP27lr-326x500.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2259,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2259\/","url_meta":{"origin":1266,"position":4},"title":"M\u00e9moires du Lhivic en ligne","date":"28 d\u00e9cembre 2011","format":false,"excerpt":"Th\u00e8ses Estelle Blaschke, Photography and the Commodification of Images. From the Bettmann Archive to Corbis (1924-2010), th\u00e8se de doctorat de l\u2019EHESS, sous la direction d\u2019Andr\u00e9 Gunthert et Michel Poivert, 2011, 280 p. (11 Mo). Thierry Gervais, L\u2019Illustration photographique. Naissance du spectacle de l\u2019information, 1843-1914, th\u00e8se de doctorat de l\u2019EHESS, sous\u2026","rel":"","context":"Dans &quot;Lhivic&quot;","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":279,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/279\/","url_meta":{"origin":1266,"position":5},"title":"Un tour dans la photographie de tourisme (bibliographie)","date":"18 d\u00e9cembre 2009","format":false,"excerpt":"La photographie de tourisme peut \u00eatre consid\u00e9r\u00e9e comme un \u00abart populaire\u00bb, ce que Pierre Bourdieu d\u00e9finit par la propri\u00e9t\u00e9 de \u00absubordonner l\u2019activit\u00e9 artistique \u00e0 des fonctions socialement r\u00e9gl\u00e9es\u00bb, et pour lequel une analyse qui prend en compte les pratiques et les usages est plus appropri\u00e9e qu\u2019une approche intrins\u00e8quement esth\u00e9tique. Il\u2026","rel":"","context":"Dans &quot;Invit\u00e9s&quot;","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts\/1266"}],"collection":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/comments?post=1266"}],"version-history":[{"count":0,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts\/1266\/revisions"}],"wp:attachment":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/media?parent=1266"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/categories?post=1266"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/tags?post=1266"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}