{"id":1684,"date":"2011-05-13T23:56:37","date_gmt":"2011-05-13T21:56:37","guid":{"rendered":"http:\/\/culturevisuelle.org\/icones\/?p=1684"},"modified":"2011-05-13T23:56:37","modified_gmt":"2011-05-13T21:56:37","slug":"parution-etudes-photographiques-n27","status":"publish","type":"post","link":"https:\/\/histoirevisuelle.fr\/cv\/icones\/1684\/","title":{"rendered":"Parution \u201cEtudes photographiques\u201d n\u00b027"},"content":{"rendered":"<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-medium wp-image-1685\" title=\"EP27lr\" src=\"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2011\/05\/EP27lr-326x500.jpg\" alt=\"\" width=\"326\" height=\"500\" \/>La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution du n\u00b0 27 d\u2019<em>Etudes photographiques<\/em> (mai 2011).<\/p>\n<p><strong>Sommaire<\/strong><br \/>\n<em> Images de guerre<\/em><\/p>\n<ul>\n<li> Georges Didi-Huberman, \u00ab\u00a0\u00c9chantillonner le chaos. Aby Warburg et l\u2019atlas photographique de la Grande Guerre\/<em>Sampling Chaos: Aby Warburg and the Photographic Atlas of the Great War<\/em>\u00ab\u00a0<\/li>\n<\/ul>\n<p>Portfolio: Mathieu Pernot, \u00ab\u00a0Migrants\u00a0\u00bb<br \/>\n<em> Photographies mises en pages<\/em><\/p>\n<ul>\n<li> David Campany, \u00ab\u00a0Une intervention r\u00e9calcitrante. Les pages de Walker Evans\/<em>Recalcitrant Intervention: Walker Evans\u2019s Pages<\/em>\u00ab\u00a0<\/li>\n<li> G\u00e9r\u00f4me Truc, \u00ab\u00a0Le 11-Mars comme un nouveau 11-Septembre. Le traitement photographique des attentats de 2004 \u00e0 Madrid\/<em>March 11 as a New September 11: The Photographic Coverage of the 2004 Madrid Bombings<\/em>\u00ab\u00a0<\/li>\n<\/ul>\n<p><em> Histoires en mouvement<\/em><\/p>\n<ul>\n<li> R\u00e9my Besson, \u00ab\u00a0Le Rapport Karski. Une voix qui r\u00e9sonne comme une source\/<em>The Karski Report: A Voice with the Ring of Truth<\/em>\u00ab\u00a0<\/li>\n<li> Val\u00e9rie Vignaux, \u00ab\u00a0L\u00e9on Moussinac et <em>L\u2019Humanit\u00e9<\/em> du cin\u00e9ma. Cin\u00e9ma militant et militantisme culturel dans l\u2019entre-deux-guerres en France\/<em>L\u00e9on Moussinac and <\/em>L\u2019Humanit\u00e9<em> as a Cinematic Force:Militant Cinema and Cultural Activism in the Interwar Years in France<\/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 27 d\u2019Etudes photographiques (mai 2011). Sommaire Images de guerre Georges Didi-Huberman, \u00ab\u00a0\u00c9chantillonner [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[29],"tags":[54,62],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p80eNK-ra","jetpack-related-posts":[{"id":2118,"url":"https:\/\/histoirevisuelle.fr\/cv\/icones\/2118\/","url_meta":{"origin":1684,"position":0},"title":"Parution &quot;Atlas ou le gai savoir inquiet&quot;","date":"18 octobre 2011","format":false,"excerpt":"Les \u00e9ditions de Minuit annoncent la parution de: Georges Didi-Huberman, Atlas ou le gai savoir inquiet (L'\u0152il de l'histoire, 3), 384 p., 73 ill. NB, 29 euros. (4e de couverture) \u00c0 quiconque s\u2019interroge sur le r\u00f4le des images dans notre connaissance de l\u2019histoire, l\u2019atlas Mn\u00e9mosyne appara\u00eet comme une \u0153uvre-phare, un\u2026","rel":"","context":"Dans &quot;Lhivic&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2011\/10\/6256787831_0acd543ee5_b.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1266,"url":"https:\/\/histoirevisuelle.fr\/cv\/icones\/1266\/","url_meta":{"origin":1684,"position":1},"title":"Parution \u201cEtudes photographiques\u201d n\u00b026","date":"9 d\u00e9cembre 2010","format":false,"excerpt":"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, \"Introduction\" Thierry Gervais, \"Le plus grand des photographes de guerre. Jimmy Hare, photoreporter au tournant du 19e et du 20e s.\/The Greatest of war photographers\u2019: Jimmy Hare, A Photojournalist\u2026","rel":"","context":"Dans &quot;Lhivic&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/farm6.static.flickr.com\/5166\/5245894059_ab769e1c93_d.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":582,"url":"https:\/\/histoirevisuelle.fr\/cv\/icones\/582\/","url_meta":{"origin":1684,"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":1132,"url":"https:\/\/histoirevisuelle.fr\/cv\/icones\/1132\/","url_meta":{"origin":1684,"position":3},"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":2990,"url":"https:\/\/histoirevisuelle.fr\/cv\/icones\/2990\/","url_meta":{"origin":1684,"position":4},"title":"L\u2019image num\u00e9rique s\u2019en va-t\u2019en guerre. Les photographies d\u2019Abou Ghraib","date":"28 avril 2014","format":false,"excerpt":"Il y a 10 ans, Dan Rather d\u00e9voilait sur CBS les premi\u00e8res photographies de torture de la prison d\u2019Abou Ghraib. Je republie \u00e0 cette occasion mon compte rendu paru en 2004 dans le n\u00b0 15 d\u2019Etudes photographiques. Le 17 septembre 2004 s\u2019ouvrait \u00e0 New York l\u2019exposition \"Inconvenient Evidence\" (\"Documents g\u00eanants\").\u2026","rel":"","context":"Dans &quot;Contributions&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2014\/04\/aboughraibcorpus1-695x617.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1038,"url":"https:\/\/histoirevisuelle.fr\/cv\/icones\/1038\/","url_meta":{"origin":1684,"position":5},"title":"Colloque &quot;Livre, imprim\u00e9 et photographie&quot;","date":"24 ao\u00fbt 2010","format":false,"excerpt":"Les 10 et 11 septembre 2010, GwinZegal, Centre d\u2019Art et de Recherche, organise un colloque sur le th\u00e8me: \"Livre, imprim\u00e9 et photographie\", autour d\u2019\u00e9diteurs, de responsables d\u2019institutions photographiques, d\u2019artistes et de chercheurs de diff\u00e9rents pays europ\u00e9ens. Le colloque se tiendra au th\u00e9\u00e2tre du Champ au Roy \u00e0 Guingamp. Le livre\u2026","rel":"","context":"Dans &quot;Agenda&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2010\/08\/guingamp.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts\/1684"}],"collection":[{"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/comments?post=1684"}],"version-history":[{"count":0,"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts\/1684\/revisions"}],"wp:attachment":[{"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/media?parent=1684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/categories?post=1684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/tags?post=1684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}