{"id":48,"date":"2009-11-07T19:41:57","date_gmt":"2009-11-07T17:41:57","guid":{"rendered":"http:\/\/culturevisuelle.org\/icones\/?p=48"},"modified":"2009-11-07T19:41:57","modified_gmt":"2009-11-07T17:41:57","slug":"soutenance-de-these-donner-a-voir-par-myriam-chermette","status":"publish","type":"post","link":"http:\/\/histoirevisuelle.fr\/cv\/icones\/48\/","title":{"rendered":"Soutenance de th\u00e8se "Donner \u00e0 voir", par Myriam Chermette"},"content":{"rendered":"
\"violette
Le Journal, 30 ao\u00fbt 1933 (d\u00e9tail).<\/figcaption><\/figure>\n

La th\u00e8se de doctorat d’histoire des m\u00e9dias Donner \u00e0 voir. La photographie dans <\/em>Le Journal, discours, pratiques, usages (1892-1944),<\/em> pr\u00e9sent\u00e9e par Myriam Chermette \u00e0 l\u2019universit\u00e9 de Versailles Saint Quentin-en-Yvelines sera soutenue le lundi 16 novembre 2009 \u00e0 9h \u00e0 13h, b\u00e2timent d’Alembert, en salle des th\u00e8ses (2e \u00e9t.), 5-7, Boulevard d\u2019Alembert, 78280 Guyancourt.<\/p>\n

Jury:<\/em> Christian Delporte (directeur de th\u00e8se, universit\u00e9 de Versailles Saint Quentin-en-Yvelines), Dominique Kalifa (universit\u00e9 Paris 1), Elisabeth Parinet (Ecole nationale des Chartes), Andr\u00e9 Gunthert (EHESS), Pascal Ory (universit\u00e9 Paris 1).<\/p>\n

R\u00e9sum\u00e9<\/strong>
\nL\u2019image, au tournant du XIXe et du XXe si\u00e8cle, joue un r\u00f4le marginal dans les dispositifs de s\u00e9duction et d\u2019information du public \u00e9labor\u00e9s par les quotidiens d\u2019informations g\u00e9n\u00e9rales. Quarante ans plus tard, elle est mise \u00e0 l\u2019honneur en premi\u00e8re page, fait l\u2019objet de discours nombreux, internes et externes aux r\u00e9dactions, et obtient une place privil\u00e9gi\u00e9e dans le traitement de l\u2019actualit\u00e9. Entre ces deux bornes chronologiques, le journal quotidien, support con\u00e7u le plus souvent pour le texte, s\u2019approprie le document iconographique. Cette th\u00e8se se propose, \u00e0 travers le cas du Journal<\/em>, fond\u00e9 en 1892 et qui parut jusqu\u2019en 1944, de restituer l\u2019histoire de cette appropriation, processus non lin\u00e9aire, fortement d\u00e9termin\u00e9 par les strat\u00e9gies \u00e9ditoriales de cet acteur majeur de la presse quotidienne d\u2019informations g\u00e9n\u00e9rales. L\u2019analyse des discours, des pratiques et des usages qui se construisent autour de la photographie met alors en \u00e9vidence l\u2019\u00e9volution des formes iconographiques au cours de cette p\u00e9riode, leur interaction avec la culture visuelle m\u00e9diatique de la Belle \u00c9poque et de l\u2019entredeux-guerres, ainsi que la repr\u00e9sentation de l\u2019actualit\u00e9 v\u00e9hicul\u00e9e par l\u2019image.<\/p>\n

Abstract<\/strong>
\nAt the beginning of the 20th century, pictures only played a marginal role in the devices aiming at seducing and informing the readers of the daily press. Forty years later, they were highlighted by being displayed on front pages\u00a0; they were the subject of many discourses both inside and outside the editorial offices, playing a part in their methods of dealing with the news. Between these two chronological landmarks, daily papers, a medium often originally designed for written material, took over pictorial material as well. Taking the example of Le Journal<\/em>, a daily paper founded in 1892 and discontinued in 1944, this dissertation aims at reconstructing the history of this appropriation which was a multi-dimensional process strongly determined by the editorial strategies of this major leader of the daily press and the economical & technical constraints that it had to comply with. Analysing the discourses, practices and uses dealing with pictures makes it possible to show the evolution of the different forms of photography during that period, the interplay of media visual culture in the Belle Epoque and the interwar period in order to have a better understanding of how the news was represented by images.<\/p>\n","protected":false},"excerpt":{"rendered":"

La th\u00e8se de doctorat d’histoire des m\u00e9dias Donner \u00e0 voir. La photographie dans Le Journal, discours, pratiques, usages (1892-1944), pr\u00e9sent\u00e9e par Myriam […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[16],"tags":[54,62,74],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p80eNK-M","jetpack-related-posts":[{"id":277,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/277\/","url_meta":{"origin":48,"position":0},"title":""Donner \u00e0 voir"","date":"18 d\u00e9cembre 2009","format":false,"excerpt":"Remarquablement \u00e9crite, la th\u00e8se de Myriam Chermette prend \u00e0 bras le corps la question de l'illustration photographique au moment de son installation dans la presse, au cours du premier vingti\u00e8me si\u00e8cle. Dict\u00e9 par la disponibilit\u00e9 des archives du quotidien Le Journal, le choix du corpus est aussi celui d'un \"mauvais\u2026","rel":"","context":"Dans "Notes"","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1250,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/1250\/","url_meta":{"origin":48,"position":1},"title":"Soutenance de th\u00e8se \u201cPaysages sur commande\u201d, par Rapha\u00eble Bertho","date":"3 d\u00e9cembre 2010","format":false,"excerpt":"La th\u00e8se de doctorat d\u2019histoire Paysages sur commande. Les missions photographiques en France et en Allemagne dans les ann\u00e9es 1980 et 1990, pr\u00e9sent\u00e9e par Rapha\u00eble Bertho \u00e0 l\u2019EPHE sera soutenue le mardi 7 d\u00e9cembre 2010 \u00e0 14h30, Biblioth\u00e8que nationale de France, salle 70, 11, quai Fran\u00e7ois Mauriac, 75013 Paris. Jury:\u2026","rel":"","context":"Dans "Agenda"","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2203,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2203\/","url_meta":{"origin":48,"position":2},"title":"Soutenance de th\u00e8se \u201cLa photographie et l'industrialisation des images\u201d, par Estelle Blaschke","date":"15 novembre 2011","format":false,"excerpt":"La th\u00e8se de doctorat d'histoire de l'art La photographie et l'industrialisation des images. Du Fonds Bettmann \u00e0 l'agence Corbis (1924-2010), pr\u00e9sent\u00e9e par Estelle Blaschke \u00e0 l'EHESS sera soutenue publiquement le lundi 12 d\u00e9cembre 2011, de 9h \u00e0 13h, salle 303, \u00e0 l'Institut d'art et d'arch\u00e9ologie, centre Michelet, 3, rue Michelet,\u2026","rel":"","context":"Dans "Agenda"","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2011\/11\/fiche_bettmann-300x203.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2324,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2324\/","url_meta":{"origin":48,"position":3},"title":"Soutenance de th\u00e8se "La mise en r\u00e9cit de Shoah", par R\u00e9my Besson","date":"20 f\u00e9vrier 2012","format":false,"excerpt":"La th\u00e8se de doctorat d'histoire culturelle La mise en r\u00e9cit de Shoah, pr\u00e9sent\u00e9e par R\u00e9my Besson \u00e0 l'EHESS sera soutenue publiquement le vendredi\u00a0 9 mars 2012, de 9h \u00e0 13h, salle Vasari, \u00e0 l'INHA, 2 rue Vivienne, 75002 Paris. Jury: Christian Delage, (directeur, Paris 8\/EHESS), Philippe Despoix (universit\u00e9 de Montr\u00e9al),\u2026","rel":"","context":"Dans "Agenda"","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2371,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2371\/","url_meta":{"origin":48,"position":4},"title":""Quand la photographie illustre l\u2019actualit\u00e9. Narratologie de l\u2019information"","date":"29 avril 2012","format":false,"excerpt":"Vid\u00e9o de mon intervention du 7 mars 2012 \u00e0 l'universit\u00e9 Paris 8, dans le cadre des Mercredis de Cr\u00e9teil: \"Quand la photographie illustre l\u2019actualit\u00e9. Narratologie de l\u2019information\" (48\", r\u00e9alisation: Didier Delattre, Richard Vening, CRDP, acad\u00e9mie de Cr\u00e9teil). R\u00e9sum\u00e9: C\u00e9l\u00e9br\u00e9es par des prix, expos\u00e9es au mus\u00e9e, qualifi\u00e9es d'\"ic\u00f4nes\", les meilleures images\u2026","rel":"","context":"Dans "Enseignement"","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2996,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2996\/","url_meta":{"origin":48,"position":5},"title":"Colloque: "D'un \u00e9cran \u00e0 l'autre, les mutations du spectateur"","date":"30 avril 2014","format":false,"excerpt":"Colloque international, 21-23 mai 2014, Institut National de l\u2019Audiovisuel, Centre Pierre-Sabbagh, 83-85, rue de Patay, 75013 Paris (entr\u00e9e libre). Organis\u00e9 par l\u2019Universit\u00e9 Paris 8 (Centre d\u2019\u00e9tudes sur les m\u00e9dias, les technologies et l\u2019internationalisation, CEMTI), l\u2019Universit\u00e9 du Qu\u00e9bec \u00e0 Chicoutimi (UQAC), l\u2019Institut National de l\u2019Audiovisuel (INA), sous la direction de Jean\u2026","rel":"","context":"Dans "Agenda"","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts\/48"}],"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=48"}],"version-history":[{"count":0,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts\/48\/revisions"}],"wp:attachment":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/media?parent=48"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/categories?post=48"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/tags?post=48"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}