{"id":2055,"date":"2011-10-03T08:50:05","date_gmt":"2011-10-03T07:50:05","guid":{"rendered":"http:\/\/culturevisuelle.org\/icones\/?p=2055"},"modified":"2019-02-20T07:20:28","modified_gmt":"2019-02-20T06:20:28","slug":"colloque-si-la-photo-est-bonne","status":"publish","type":"post","link":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2055\/","title":{"rendered":"Colloque "Si la photo est bonne""},"content":{"rendered":"

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\u00ab\u00a0Si la photo est bonne. Le r\u00f4le des industries culturelles dans la construction de l’imaginaire\u00a0\u00bb<\/strong> colloque du Lhivic\/EHESS (direction: Andr\u00e9 Gunthert), 20-22 octobre 2011, Auditorium, Institut national d’histoire de l’art (INHA), <\/em>2, rue Vivienne\/6, rue des Petits-Champs, 75002 Paris (plan<\/a>), entr\u00e9e libre<\/em>.<\/p>\n

Argument<\/em>. Fortement structur\u00e9es autour des formes culturelles, les soci\u00e9t\u00e9s d\u00e9velopp\u00e9es ont d\u00e9l\u00e9gu\u00e9 l’essentiel de leur gestion au secteur des industries du divertissement, \u00e9galement appel\u00e9es industries m\u00e9diatiques ou culturelles. Souvent comprise comme la m\u00e9diation d’une production \u00e9labor\u00e9e par des instances l\u00e9gitimes (pouvoir politique, sciences, arts\u2026), cette activit\u00e9 \u00e9ditoriale n’en pr\u00e9sente pas moins des fonctionnements largement autonomes. Quels m\u00e9canismes pr\u00e9sident \u00e0 l’\u00e9laboration et \u00e0 la circulation de ce que Roland Barthes d\u00e9nommait les \u00ab\u00a0mythes\u00a0\u00bb de la \u00ab\u00a0culture de masse\u00a0\u00bb? Quelle est la part de ces repr\u00e9sentations dans l’imaginaire contemporain? Quels mod\u00e8les sont impos\u00e9s par les m\u00e9dias dominants? Quelle compr\u00e9hension avons-nous du r\u00f4le jou\u00e9 par l’industrie dans l’\u00e9laboration des pratiques culturelles? Ce colloque se donne pour objet l’exploration des modalit\u00e9s et des paradoxes de la construction de la culture dite populaire, entre hypervisibilit\u00e9 et d\u00e9ni.<\/p>\n

Highly structured by cultural forms, developed societies have delegated large segments of their management to the entertainment sector, also referred to as media or cultural industries. While these industries are understood as intermediaries in a process of production and dissemination that is directed by \u201clegitimate\u201d practitioners and authorities (politics, sciences, arts\u2026), expanding autonomy of these industries due to their editorial role and capacity raises a number of questions. Which mechanisms control the creation and circulation of what Roland Barthes called the \u201cmyths\u201d of \u201cmass culture\u201d? What significance do these bodies hold in the imaginary? What frames of reference are imposed by the \u00ab\u00a0mass media\u00a0\u00bb? How is the role that cultural industries serve in the development of cultural practices interpreted? This conference will investigate the modalities, emergent forms and paradoxes that exist in oscillation between hypervisibility and denial for the construction of so-called \u201cpopular\u201d culture.<\/em><\/p>\n

En partenariat avec le colloque \u00ab\u00a0Visual Studies\/Etudes visuelles: un champ en questions\u00a0\u00bb<\/strong>, organis\u00e9 par le Laboratoire de recherches sur les cultures anglophones, LARCA-Universit\u00e9 Paris Diderot (direction: Fran\u00e7ois Brunet)<\/p>\n

JEUDI 20 OCTOBRE<\/p>\n

Matin<\/em><\/p>\n