Relevant bibliographies by topics / Photographie – Langage

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Photographie – Langage'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Photographie – Langage"

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Dewerpe, Alain. "Miroirs d'usines : photographies industrielle et organisation du travail a l'Ansaldo (1900-1920)." Annales. Histoire, Sciences Sociales 42, no. 5 (October 1987): 1079–114. http://dx.doi.org/10.3406/ahess.1987.283437.

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L'usage de la photographie comme source de l'histoire sociale est paradoxale : il la subordonne le plus souvent à l'archive, à qui l'image sert d'appoint, qui précise et illustre un savoir acquis, constitué par le langage écrit. La photographie est juxtaposée au texte, en contrepoint, mais le texte ne se prononce pas sur l'image, qui demeure un résidu. Nous voudrions ici tenter d'en inverser la logique en partant du document photographique comme source première, en ne recourant à l'imprimé que comme appoint. L'histoire du travail est un champ à cet égard significatif en raison du petit nombre d'études consacrées à la photographie industrielle — utilisée pourtant massivement par l'archéologie industrielle — qui contraste avec la masse énorme de documents photographiques disponibles.
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Ferraris-Besso, Caroline. "La Preuve par l'image: l'usage de la photographie dans La Moustache d'Emmanuel Carrère." Nottingham French Studies 60, no. 1 (March 2021): 98–113. http://dx.doi.org/10.3366/nfs.2021.0307.

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Nous éloignant de lectures antérieures de La Moustache qui se penchent sur les questions de la folie et de l'identité, nous nous intéressons de manière systématique à l'exploitation du motif de la photographie par Emmanuel Carrère dans son roman (1986) et son film (2005). La première section s'intéresse au rôle du langage dans la création d'images ambivalentes dans le roman. La deuxième section est consacrée à l'adaptation cinématographique qui pose par le biais des photographies la question de la vérité. Dans une troisième section, nous examinons l'influence des représentations sur la réalité. Nous montrons qu'au travers de différentes manipulations autour des images photographiques, La Moustache, dans ses deux versions, met en question la perception, la représentation du réel et la question de la vérité.
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Alba Pagán, Ester, and Aneta Vasileva Ivanova. "Du côté de chez la nomade. La femme gitane : mythe, photographie et auto(re)présentation." HYBRIDA, no. 1 (December 3, 2020): 129. http://dx.doi.org/10.7203/hybrida.1.16871.

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L’article reflet une longue recherche sur la représentation sociale des gitanas (o romi espagnoles). L’un de nos outils d’analyse est la photographie dans le cadre de ses relations avec le régime de la politique visuelle préétablie. Dans ce cas, nous enquêtons sur la manière de construire l’image de l’Altérité faite par des artistes français qui ont visité l’Espagne plus ou moins impliqués dans le paradigme exotique. Plus tard, quelques tendances plastiques plus expérimentales ont essayé d’autres types de regard, non sans des difficultés. Le deuxième paramètre que nous avons utilisé était la réponse auto-représentative des femmes gitanes contemporaines. Nous avons développé et mené une série d’entretiens avec des représentantes de diverses organisations romani en Espagne (Valence). Il s’agit de femmes engagées dans la revisón critique de nombreux déterminants de leur vie. Leur réponses au sujet des deux fondements de la représentation, le langage et l’image, nous ont apportées une aide inestimable et de nombreuses surprises.
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Mononen, Kaarina, and Hanna Lappalainen. "Taidetta ja tutkimusta näyttelyssä." AFinLA-e: Soveltavan kielitieteen tutkimuksia, no. 12 (April 16, 2020): 1–31. http://dx.doi.org/10.30660/afinla.84523.

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The aim of this study is to describe how linguistic biographies and photographic art complement each other in an exhibition. The exhibition was part of a project on biographies that were collected through conducting interviews, and some of the interviewees were subsequently photographed. The photos and written summaries that were based on the interviews were displayed together. This article discusses how photos are interpreted in relation to biographies. The data consist of the learning diaries of the students who visited the exhibition, interviews with the photographer and with some of those who were photographed. The linguistically oriented content analysis reveals that the interpretations of the photos were predominantly based on where the photographs were taken as well as on the appearance of the person in the photo. The informants also connected their observations to the use of languages and language attitudes of the interviewees who were photographed. In addition, the article analyses how the photographer discusses his choices of place and setting during the process of constructing linguistic biographies.
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.

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AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Parejo, Nekane. "Transcripción cinematográfica de la mirada erótica del fotógrafo Bellocq en Pretty Baby de Louis Malle." Çédille 12 (April 1, 2016): 338. http://dx.doi.org/10.21071/ced.v12i.5628.

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Au début du XXe siècle Ernest James Bellocq a photographié avec son appareil photo l’image des prostituées de la Nouvelle- Orléans. Des années plus tard, Louis Malle a donné vie à ce mystérieux photographe sur l’écran dans le contreversé film La petite (Pretty Baby, 1978). Trois questions se posent en faisant un étude précis des oeuvres de ces auteurs. L’une d’elles se centre sur le parallélisme entre le personnage de Bellocq et celui que Malle a recrée dans son film. Une deuxième question est en rapport avec la représentation cinématographique des filles photographiées dans le bordel de Storyville. Et finalement, on va aborder l’acte photographique pour déterminer la transcription construite par le cinéaste.
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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.

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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.

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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Welch, Edward. "La Carte et le territoire: Mapping, Photography and the Visualization of Contemporary France." Nottingham French Studies 53, no. 2 (July 2014): 186–200. http://dx.doi.org/10.3366/nfs.2014.0085.

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Drawing on recent work by novelist Michel Houellebecq and photographer Raymond Depardon, this article examines the relationship between visual culture, spatial change and modernization in contemporary France. Investigating how Houellebecq foregrounds the visual representation of space in his novel La Carte et le territoire (2010), the article goes on to align the questions it raises with the six-year photographic tour of France undertaken by Raymond Depardon during the first decade of the twenty-first century. It considers Depardon's portrait of contemporary France in the context of his previous engagement with spatial change and state-led planning as part of the Mission photographique de la DATAR of the 1980s. It explores the vision of spatial layering and heterogeneity which emerges from the project, and discusses how it reasserts the importance of photography for capturing and articulating territorial identity and spatial change.
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Pierce, Kathleen. "Photograph as Skin, Skin as Wax: Indexicality and the Visualisation of Syphilis in Fin-de-Siècle France The William Bynum Prize Essay." Medical History 64, no. 1 (December 19, 2019): 116–41. http://dx.doi.org/10.1017/mdh.2019.79.

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In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis – the colour, texture, and patterns of primary chancres or secondary rashes – was of preeminent importance. Photography, with its potential claims to mechanical objectivity, would seem to provide the logical tool for such representations.Yet photography’s relationship to syphilographie warrants further unpacking. Despite the rise of a desire for mechanical objectivity charted in the late nineteenth century, artist-produced, three-dimensional, wax-cast moulages coexisted with photographs as significant educational tools for dermatologists; at times, these models were further mediated through photographic reproduction in texts. Additionally, the rise of phototherapy complicated this relationship by fostering the clinical equation of the light-sensitive photographic plate with the patient’s skin, which became the photographic record of disease and successful treatment. This paper explores these complexities to delineate a more nuanced understanding of objectivity vis-à-vis photography and syphilis. Rather than a desire to produce an unbiased image, fin-de-siècle dermatologists marshalled the photographic to exploit the verbal and visual rhetoric of objectivity, authority, and persuasion inextricably linked to culturally constructed understandings of the photograph. This rhetoric was often couched in the Peircean concept of indexicality, which physicians formulated through the language of witness, testimony, and direct connection.
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Dissertations / Theses on the topic "Photographie – Langage"

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Séguy, François. "Le sens et l'origine du vocabulaire technique en photographie dans les ouvrages techniques de langue française traitant de photographie, publiés entre 1840 et 1922." Toulouse 2, 1998. http://www.theses.fr/1998TOU20034.

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La thèse se fixe pour buts la création originale d'un dictionnaire sémantique du vocabulaire technique français extrait des ouvrages les plus significatifs de photographie de la période étudiée. La première partie est un rappel des informations indispensables au positionnement de la photographie dans son époque : son histoire, son évolution jusqu'en 1922, la part qu'elle prend dans les industries graphiques et photomécaniques, son apport aux sciences, aux arts et à la communication. Une part est faite à la physique du XIXe, à la connaissance de la lumière et de la couleur. L'analyse traite des emprunts ou apports faits à la grammaire et aux discours d'autres techniques et pratiques professionnelles. La seconde partie composée de 5992 articles, est le dictionnaire expliquant tes expressions, mots ou termes présents dans les ouvrages analysés. Le principe est de bien détailler ce qui, dans un discours professionnel en train de s'élaborer, fait sens pour sa communication particulière. Seul l'extrait contextuel reste la préoccupation majeure de l'étude de l'article, d'où la présence obligatoire de la citation et de la source bibliographique datée. Dans tous les cas, le mot utilisé dans l'appel alphabétique est présent, dans les discours communs ou qu'il soit propre au discours photographique. La rédaction des articles se donne pour principes d'observer, de définir ou de fixer : - les mots ou ensembles de mots du vocabulaire technique et les créations terminologiques nouvelles qui font sens comme indicateurs particuliers, parfois dans une polysémie originale ; - l'origine culturelle ou technique, l'invention ou le détournement des mots ou ensembles de mots du vocabulaire technique ; - l'utilisation des souches nouvelles et la formation de nouveaux groupes terminologiques ; - l'apparition, l'évolution, la fixation ou la disparition des mots ou ensembles de mots de la terminologie photographique
The aim of this thesis is to compile the first French semantic dictionary of the technical vocabulary of photography, based on the most significant works published during that period. The first part of the thesis is a recapitulation of all information necessary to assess the position of photography at the time: its history, its evolution up to 1922, its function in the graphic and photomechanical industry, its contribution to science, art and communication. A section is devoted to the 19th-century knowledge of physics, optics and chromatics. The analysis examines how this vocabulary borrowed from and contributed to the grammar and language of other techniques and professions. The second part, comprising 5,992 entries, is the actual dictionary, in which are defined all expressions, words and terms used in the publications. Our aim has been to characterize in detail all words and expressions beginning to assume a specific meaning in an evolving professional vocabulary. As the entries are essentially studied in their context, the complete quotes and their dated sources are included. In each case, the word in the references, given in the alphabetical order, was used in the common language or in a specifically photographic sense. The entries have been composed with the objective of observing, defining or establishing - the words or groups of words in the technical vocabulary and the newly created terminology which have assumed a specific meaning, sometimes in an originally polysemic situation; - the technical or cultural origin of the words or groups of words in the technical vocabulary, the way they were invented or devised through a twisting of the sense; - the use of new roots and the formation of new terminological groups; - the emergence, evolution, establishing or disappearance of words or groups of words in the terminology of photography
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Gibert, Bertrand. "Nature morte et publicité : la photographie publicitaire d'objets seuls en France : 1980-1990." Bordeaux 3, 1993. http://www.theses.fr/1993BOR30036.

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La these porte sur les representaitions d'objets inanimes dans la photographie publicitaire de presse des annees 80 en france, en relation avec la nature morte picturale classique. Elle commence par un examen du genre pictural, sa definition, ses contenus manifestes et symboliques, les valeurs sociales qu'il manifeste et vehicule. La deuxieme partie est une etude des relations entre images - dans la sphere publicitaire et au-dela -, le croisement des genres et les modalites d'emprunts aux images anterieures. Enfin une analyse d'images significatives ouvre des directions de recherche sur la representation de l'objet, le jeu des allusions et l'affleurement des symbolismes anciens, - jusqu'a la reactivation des figures traditionnelles de la nature morte : la tentation des sens et la vanite des biens de ce monde
This thesis is an approach of representations of inanimate objects in advertising pictures in the french press of the 'nineteen-eighties, in relation to classical still life. The first part deals with selection and symbolism of objects and their internal lay out in traditionnal oil painting. The second part, which includes figures and diagramm, focuses on inter-relationships between images within the sphere of publicity and beyond. The aim of the final section of this study is to point out references to past representations and highlight what objects epitomize, through analyses of a selection of significant publicity images
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Romedenne, Jean. "Nouvelles techniques iconiques et publicité." Paris 7, 1995. http://www.theses.fr/1995PA070027.

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Les nouvelles techniques iconiques presentent un polymorphisme techno-esthetique, un eclectisme stylistique, une thematique boulimique, une plurifonctionnalite, et consacrent l'avenement du coblage et de l'interactivite
New iconic technics present techno-esthetic polymorphism, stylistic diversity; bulimic thematics, multi-functionality, and reveal new precision and interactivity
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Boutella, Safia. "Regard algérien : histoire d'une culture visuelle : approche médiologique et sémiologique de la photo de presse." Bordeaux 3, 2000. http://www.theses.fr/2000BOR30039.

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Le debat sur l'image est souvent aborde par l'histoire occidentale. Les differentes analyses attribuent a l'ensemble des societes, l'experience occidentale en ignorant les conditions d'inscription du medium- image dans les differentes cultures. Notre recherche s'articule autour d'une eventuelle histoire de l'image, dans une societe autre qu'occidentale, telle que la societe algerienne. La production visuelle y a ete longtemps soumise a des restrictions religieuses (l'heritage iconoclaste) et a une manipulation politique. Notre problematique insiste sur l'idee d'une histoire d'image propre a la culture algerienne, parce qu'une situation de restriction et d'interdit entraine necessairement une recomposition de la sphere sociale avec une production d'images typiques. Deux affirmations sont al'origine de cette recherche. La premiere concerne l'effet du mouvement iconoclaste sur la production visuelle dans la culture algerienne. L'heritage religieux, interdisant toute representation humaine, s'est attenue dans le temps, mais sans pour autant disparaitre definitivement. La deuxieme affirmation porte sur la discontinuite historique de l'image fixe. Par discontinuite historique, nous entendons que l'histoire de l'image n'est pas universelle. Le medium- image a une histoire qui differe d'une culture a une autre et d'une epoque : a une autre. La discontinuite historique de l'image peut-etre definie comme une histoire visuelle propre a chaque culture. Nous observons comment la religion, le parti unique et la crise socio- politique contribuent, chacun de son cote, a l'evolution historique de l'image, dans la societe algerienne. Comment sontils devenus des intermediaires et des intercesseurs dans le processus de production visuelle. Quelles sont donc, les caracteristiques de l'image produite actuellement? favorise-t-elle un apprentissage du langage visuel dans une societe verbale? enfin, que devient actuellement, le mouvement iconoclaste traditionnel? l'hypothese d'une histoire visuelle propre a chaque culture est verifiee par une analyse semiologique d'images locales telles que les photos de presse algerienne des deux dernieres decennies. Au-dela du sens vehicule, l'etude s'etend au role social de l'image en tant que support technique de communication. Ainsi, notre recherche fait appel a la mediologie pour analyser les fonction sociales du medium- image, dans leurs rap
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Le, Maître Barbara. "L'ensemble visuel et l'idée de manque : un essai sur la relation entre film et photo." Paris 3, 1999. http://www.theses.fr/1999PA030108.

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Quelquefois, les images filmiques et photographiques confluent, puis s'imbriquent pour former des representations composites. L'ensemble visuel est le nom que je leur donne. Comment s'effectue la rencontre entre ces images ? que produit leur confrontation ? comment comprendre leur relation ? je note d'abord ceci, que la confluence opere entre des images qui sont aussi bien des empreintes. Je noteencore que l'ensemble visuel s'offre comme une representation fracturee, litteralement ecartelee entre film et photo. De la que cet ensemble fonde deux problemes theoriques, dont le premier engage la comprehension de l'image-empreinte, et le second, celle de l'agencement entre les differents morceaux du tissu representatif. Il se trouve que la pensee freudienne place l'empreinte au coeur de la mecanique du desir et suggere un modele pour comprendre la maniere selon laquelle une simple trace se fait image. A partir des reflexions de freud, j'ai tente de montrer que les empreintes filmiques et photographiques ne constituent pas uniquement des objets visuels, mais encore de veritables instruments d'un travail psychique. Autrement dit, il y a un rapport tout a fait privilegie entre l'empreinte et le desir, entre le travail de l'image et le manque, rapport qu'il s'agit d'expliciter. Les analyses d'oeuvres de robert frank, de chris marker, d'agnes varda, de johan van der keuken, d'autres encore, sont autant d'occasions d'examiner les differentes manieres selon lesquelles l'image exhibe quelque chose du desir, quelque chose qui trouve la, non seulement a s'organiser visuellement, mais encore a s'accomplir.
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Muller, Catherine. "Paroles sur images : Les interactions orales déclenchées par des photographies d'auteur en classe de français, langue étrangère." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030107.

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Cette étude relève de la didactique des langues, mais elle s’appuie également sur l’analyse des interactions verbales et des interactions en classe de langue, ainsi que sur l’anthropologie et la sociologie. Elle repose sur la capacité de l’image à susciter des productions verbales. La photographie d’auteur est ici considérée comme un déclencheur d’interactions orales permettant de communiquer en classe de langue. Nous avons mis en oeuvre une technique didactique dans descours de français enseigné comme langue étrangère en contexte pluriculturel à Paris avec des apprenants de niveaux A1 à B2. Le projet mené en groupe consiste à commenter des photographies d’auteur sans objectifs langagiers prédéterminés. Nous n’avons pas cherché à transmettre des informations concernant les images, volontairement énigmatiques. La question de recherche porte sur la nature des échanges verbaux déclenchés. L’analyse des données dans la partie 2 révèle l’importance de la communication entre les apprenants. Ceux-ci déploient des stratégies de communication et d’appropriation. L’interaction fortement coopérative encourage un apprentissage mutuel entre pairs avec des phénomènes d’étayage collectif. Dans la partie 3, nous analysons les manifestations verbales de la réception des photographies. L’observation des images donne lieu à de la description et de la narration, à la recherche de solutions ou de messages, à des réactions esthétiques, interprétatives, ou encore à des phénomènes d’immersion fictionnelle. Les apprenants mettent en relation les photographies avec d’autres images, ce qui révèle l’importance de l’intericonicité dans la perception visuelle et favorise des échanges interculturels
The study lies in the field of foreign language education, but it also refers to verbal interaction analysis, foreign language classroom research, anthropology, and sociology. It rests onthe capacity of visual images to trigger verbal expression. Photography is here considered as ameans to induce oral interaction, thus enabling students to communicate in language courses. Wehave implemented a task in lessons of French taught as a foreign language in a pluricultural contextin Paris, learners’ levels ranging from A1 to B2. In this group project, students were invited tocomment on fine art and documentary photographs. We had no predetermined language objectivesand we did not seek to pass on information about the images, which were intentionally enigmatic.Our research question deals with the nature of the verbal interactions triggered by the photographs.In part 2, the analysis of the corpus highlights how learners interact. They implement strategies to communicate and to learn. The interactions are highly cooperative, which encourages students tolearn from their peers by using collective scaffolding. In part 3, we analyse the verbal reactions of the students when they comment on the photographs. These learners describe the images, they buildnarratives, they seek solutions, messages or interpretations, they evaluate the pictures esthetically,and they immerse themselves in the fiction of the photographs. They also find analogies with other images, which reveals the importance of intericonicity in visual perception and encourages learners to engage into intercultural exchanges
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Hilles, Juhayna. "Le langage visuel de Gyorgy Kepes, une éducation de l’œil (1937-1973)." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL114.

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Cette étude porte sur la théorie du langage visuel de Gyorgy Kepes. Peintre, photographe, designer, pédagogue, ainsi que théoricien de l’art, l’œuvre complexe de cet artiste transcende les frontières des médiums plastiques. Né en 1906 à Selyp en Hongrie, il étudie la peinture à l’Académie Royale des Beaux-Arts de Budapest sous la direction du peintre impressionniste István Csók. Politiquement engagé depuis sa jeunesse, il rejoint le cercle Munka de Lajos Kassák, quitte la Hongrie en 1930 pour rejoindre László Moholy-Nagy à Berlin, puis à Londres, avant de s’installer définitivement aux États-Unis. Cet artiste qui n’a jamais étudié ou enseigné à l’école du Bauhaus en Allemagne, devient l’une des figures principales de l’école du New Bauhaus à Chicago. En 1946, il intègre l’institut de technologie du Massachussetts ou MIT comme Professeur en design visuel à l’école d’architecture. La fondation du Center for Advanced Visual Studies ou CAVS en 1967, marque le début de nouvelles orientations civiques et environnementales dans son travail. Cherchant à réconcilier l’art et la technologie, il défend le rôle sociopolitique de l’art. L’objectif de cette thèse est de porter un regard analytique sur le développement de la théorie du langage visuel chez Gyorgy Kepes, en examinant ses applications et ses adaptations tout au long de sa carrière (1937-1973). Les diverses confrontations avec le monde militaire, scientifique et technologique seront analysées à travers trois axes d’analyse, proposant ainsi une lecture compréhensive de la théorie du langage visuel
This study examines the theory of visual language of Gyorgy Kepes. Painter, photographer, designer, pedagogue, and an art theorist, his complex work transcends the frontiers between plastic mediums. Born in 1906 in Selyp in Hungary, he studied painting at the Royal Academy of Fine Arts of Budapest, under the tutelage of the impressionist painter István Csók. Politically engaged since his early youth, he joins the Munka circle of Lajos Kassák, and leaves Hungary in 1930 in order to join László Moholy-Nagy in Berlin, and then in London, before moving permanently to the United States of America. In 1946 he is appointed Professor of visual design at the School of Architecture and Urban Planning of Massachusetts Institute of Technology, his establishing of the Center for Advanced Visual Studies, mark the beginning of new civic and environmental orientations in his work. Looking to reconcile art and technology, he defends the sociopolitical role of art. The aim of the thesis is to analyze the development of the theory of visual language, examining its applications and adaptations along Kepes’ career (1937-1973). The confrontations between art and the military, scientific, and technological world will be examined through three principal axes, offering a comprehensive reading of the theory of visual language
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Marini, Alexandra. "De la camera oscura à la "caméra visible" : éloge du plan-séquence dans l'oeuvre de Sam Szafran." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040096.

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En choisissant d’aborder l’œuvre de Sam Szafran par le biais du cinéma et de la photographie, cette thèse a une double visée : - D’une part, démontrer le principe séquentiel qui domine son œuvre. Szafran, qui a appris à voir au cinéma, ne se répète pas, mais crée des images arrêtées d’une séquence globale; et la photographie, de par sa contingence et sa fragmentation, constitue à cette fin un outil essentiel. - D’autre part, il s’agira d’aborder la question du montage tant du point de vue technique, rappelons que l’artiste est célébré comme le virtuose du pastel à travers le monde, que du point de vue cinématographique. Nous établirons que Szafran — homme de cinéma — emprunte la structure d’un plan-séquence pour composer ses images afin de poser le problème du regard, ou, pour le dire autrement, de rendre la caméra « visible ». Ainsi, en exposant Sam Szafran à ses influences clés, notre étude — qui constitue le premier travail de recherche universitaire approfondi sur l’artiste — entend multiplier les analyses autour des processus réflexifs et méthodologiques du travail du peintre. A partir de sources inédites, convoquant tour à tour l’histoire du siècle et la vie intime de l’artiste, elle ambitionne de jeter un jour nouveau sur ce que l’on considère comme « l’une des œuvres les plus secrètes et les plus poétiques de ce temps » (Jean Clair). Enfin, deux volumes d’annexes complèteront cette réflexion par un large corpus d’œuvres et de documents d’archives
By exploring Sam Szafran’s work through film and photography, the aim of this thesis is twofold: - To highlight the largely sequential nature of his work: Szafran, who learnt to ‘see’ through the cinema, does not repeatedly create the same images - he creates ‘freeze frames’ in a global sequence; and photography, which by its nature is incidental and fragmentary, is an essential tool for achieving this. - To examine the notion of editing: from both the technical - Szafran is of course world famous for his virtuosic pastels - and cinematographic points of view. We will demonstrate that his images resemble sequence shots, as employed in the modern era by Orson Welles, in order to examine how things are seen, or, in other words, to make one aware of the camera’s presence. Hence, by highlighting Sam Szafran’s key influences, our study - which is the first in-depth university study of the artist - aims to analyse every aspect of the painter’s methodological and reflexive approach to his work. Based on completely new sources, relating to both the history of the 20th century and the artist’s personal life, the study’s main aim is to shed new light on the artist’s oeuvre, which is considered to be ‘one of the most mysterious and poetic of our time’ (Jean Clair). This study will be complemented by two volumes of annexes, comprising a large corpus of works and archive documents
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Oliveira, Tatiana Pontes de. "Caminhar, fotografar, fabular: entre a cidade e a fotografia." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20214.

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This research addresses the relationship between photography and the city, having as its object of study the contemporary photography produced by walking in the city. The starting point of the research is the question "How does the interaction between the city and the photography happen, considering walking as the procedure used by photographers as a strategy to establish communication with the city?". The main assumptions raised by this question are as follows: a) for having both documentary and fictional features, the photography is an ambivalent means of communication; b) The city is also characterized by ambivalence for being an environment in which interactive experiences and habits are governed by mediative order programs; c) The interaction between the ambivalences of the photographic language and the city enhances the creation of images that make visible the processes of the city and the photographer's imaginary affected by it. In order to verify the hypotheses present in this research, an extensive literature review was carried out to support the empirical analysis of the connections between the city, image and communication, as well as the nature of the photographic language and its ambivalence characterized by documentary and fictional traits. The theoretical foundation follows the goal in each chapter, therefore, in Chapter 01, the image is studied out of a network that connects three authors: Warburg, Benjamin and Flusser. The study of the image concept aims to support the following chapters, in which the relationship between photography and the city is addressed. In Chapter 02, the theoretical foundation links concepts for thinking on the city and its communicative mediative and interactive processes, as well as its dimensions of technosphere and psychosphere, as proposed respectively, by Ferrara and Santos. There is also an investigation on the ambivalence and the specificities of the photographic language taking into account the connections among works by Barthes, Dubois, Kossoy, Soulages and Fontcuberta. Finally, Chapter 03 analyzes the procedure of walking, used by photographers as a poetic strategy to put themselves in touch with the city and seize its manifestations. Having as object of study the photographic works by Daniel Ducci, Felipe Russo, Fernando Cohen and Wesley Barba, the focus of analysis is on how photographers "fable" about the city by creating new possibilities for understanding its impositions and spontaneity proposals, considering the experience of photographing and “fabling” as gestures of resistance
Esta pesquisa trata das relações entre a fotografia e a cidade, tendo como objeto de estudo a fotografia contemporânea produzida pelo caminhar na cidade. O ponto de partida da pesquisa é a pergunta “Como se dá a interação entre a cidade e a fotografia, tendo em vista o caminhar como procedimento usado pelos fotógrafos como estratégia para se colocarem em comunicação com a cidade?”. As principais hipóteses levantadas por essa questão se constituem do seguinte modo: a) Por ter simultaneamente um caráter documental e ficcional, a fotografia é meio comunicativo ambivalente; b) A cidade também se caracteriza pela ambivalência por ser um ambiente onde se processam vivências interativas e hábitos regidos por programas de ordem mediativa; c) A interação entre as ambivalências da linguagem fotográfica e as da cidade potencializa a criação de imagens que tornam visíveis os processos da cidade e o imaginário do fotógrafo afetado por ela. A fim de verificar as hipóteses da pesquisa, realizou-se ampla revisão bibliográfica para fundamentar a análise empírica das relações entre cidade, imagem e comunicação, além da natureza da linguagem fotográfica e sua ambivalência caracterizada por traços documentais e ficcionais. A fundamentação teórica acompanha o objetivo de cada capítulo, de modo que, no capítulo 01, a Imagem é estudada a partir de uma rede que conecta três autores: Warburg, Benjamin e Flusser. O estudo do conceito de imagem tem por objetivo fundamentar os capítulos seguintes, nos quais é tratada a relação entre a fotografia e a cidade. No capítulo 02 a fundamentação teórica relaciona conceitos para pensar a cidade e seus processos comunicativos mediativos e interativos, e suas dimensões de tecnosfera e psicosfera, como proposto, respectivamente, por Ferrara e Santos. Há também uma investigação sobre a ambivalência e as especificidades da linguagem fotográfica considerando as relações entre as obras de Barthes, Dubois, Kossoy, Soulages e Fontcuberta. Por fim, o capítulo 03 analisa o procedimento de caminhar, usado pelos fotógrafos como estratégia poética para se colocar em contato com a cidade e apreender suas manifestações. Tendo como objeto de estudo os trabalhos fotográficos de Daniel Ducci, Felipe Russo, Fernando Cohen e Weslei Barba, o foco de análise se colocou sobre o modo como os fotógrafos fabulam sobre a cidade criando novas possibilidades de entendimento das imposições e espontaneidades propostas por ela, considerando as experiências de fotografar e fabular como gestos de resistência
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Wilder, Kelley E. "Ingenuity, wonder and profit : language and the invention of photography." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397138.

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Books on the topic "Photographie – Langage"

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Haefs, Lisa, and Jeff Winter. Langlade County schools: A photographic history. 2nd ed. [Antigo, Wis.]: Langlade County Historical Society, 2004.

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Another language. [London]: Mack, 2012.

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Marianne, Fulton, ed. Language of light: Masterworks from the collection. [Rochester, N.Y.]: George Eastman House, 1992.

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Heidtmann, Frank. Bibliographie der Photographie: Deutschsprachige Publikationen der Jahre 1839-1984 : Technik, Theorie, Bild = Bibliography of German-language photographic publications, 1839-1984 : technology, theory, visual. 2nd ed. München: Saur, 1989.

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Photographic vision in Proust. New York: P. Lang, 1992.

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Derek, Dudek, Shinohara Keiji 1955-, Price Robin, and Robin Price (Publisher), eds. Language of her body. [Middletown, Conn.?]: Robin Price, 2003.

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Norac, Carl. Métropolitaines: Tentative de photographier avec le langage, métro de Paris, hiver 1999-2000. [France]: Escampette, 2003.

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W, Hall James. Body language. New York: St. Martin's Paperbacks, 1999.

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Creates, Marlene. Language and land use, Newfoundland 1994. Halifax, N.S: MSVU Art Gallery, 1998.

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Abramson, Beverley. Bawdy language: Exotic dance. [Toronto: B.H. Abramson], 2003.

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Book chapters on the topic "Photographie – Langage"

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Roth, Nancy Ann. "Out of language." In The Routledge Companion to Photography Theory, 398–409. New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315727998-27.

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Meinhof, Ulrike Hanna, and Dariusz Galasiński. "Photography and the Discourses of Memory and Identification." In The Language of Belonging, 112–58. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230504301_5.

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Ami Podrebarac, Anamarija. "Introduction to Natural Language Processing." In Fragmentation of the Photographic Image in the Digital Age, 204–11. New York, NY: Routledge, 2020. | Series: [Routledge history of photography]: Routledge, 2019. http://dx.doi.org/10.4324/9781351027946-15.

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Keeling, David J. "Alternative Languages of Landscape Analysis: Visualizing Geography Through Photography." In Handbook of the Changing World Language Map, 1–15. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73400-2_49-1.

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Keeling, David J. "Alternative Languages of Landscape Analysis: Visualizing Geography Through Photography." In Handbook of the Changing World Language Map, 3061–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02438-3_49.

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Srihari, Rohini K. "Use of Captions and Other Collateral Text in Understanding Photographs." In Integration of Natural Language and Vision Processing, 245–66. Dordrecht: Springer Netherlands, 1995. http://dx.doi.org/10.1007/978-94-011-0273-5_14.

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Saggion, Horacio, Katerina Pastra, and Yorick Wilks. "Using Natural Language Processing for Semantic Indexing of Scene-of-Crime Photographs." In Computational Linguistics and Intelligent Text Processing, 526–36. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-36456-0_56.

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Wetherholt, William A., and Gregory S. Vandeberg. "Reading the Landscape in Antler, North Dakota: Repeat Photography in an Atrophying Northern Plains Town." In Handbook of the Changing World Language Map, 1–23. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-73400-2_178-1.

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Wetherholt, William A., and Gregory S. Vandeberg. "Reading the Landscape in Antler, North Dakota: Repeat Photography in an Atrophying Northern Plains Town." In Handbook of the Changing World Language Map, 3185–207. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02438-3_178.

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Charitonos, Koula, and Marina Charalampidi. "Designs for Heritage Language Learning: A Photography Project in the UK Supplementary Education." In Communications in Computer and Information Science, 198–216. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25684-9_15.

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Conference papers on the topic "Photographie – Langage"

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Niu, Xue. "Discussion on Pictorial Photography and Pure Photography in the Development of Photographic Art." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.131.

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Fuster pérez, Jaime. "La edición fotográfica en Ramón Masats." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.7055.

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Resumen-Abstract El Premio Nacional de fotografía 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), ha sido considerado como un fotógrafo intuitivo. Sin embargo, un detenido estudio de sus fotolibros y ensayos fotográficos publicados en las revistas ilustradas, permiten revindicar otra faceta completamente desconocida: su labor como maquetador. A lo largo de su carrera Masats toma conciencia de la edición fotográfica. Desde la solitaria imagen de la noticia de un periódico, al ensayo fotográfico, entendido desde el punto de vista de E. Smith como un conjunto mayor de imágenes que profundizan y trascienden, permitiendo un reflexión más detenida de la historia que se cuenta; hasta llegar al foto libro, considerado como una unidad expresiva, un todo con significación completa: el formato más complejo de todos... Un Masats sofisticado y erudito se nos muestra consciente del montaje, del ritmo, del diálogo entre imágenes, de modo que la suma altera la percepción del conjunto. Un lenguaje que le llevará finalmente a explorar en el mundo del montaje cinematográfico y la dirección de documentales audiovisuales. En una época de auténtica explosión del fotolibro español como la que vivimos, conviene reconocer, recordar y aprender de nuestros antecedentes, de aquellos maestros en el arte de contar historias. The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling. Palabras clave: Fotolibro, narración, edición, diseño, coherencia, autoría, comunicación, ritmo, análisis. Keywords: Photobook, narration, edition, design, coherence, authorship, communication, rhythm, analysis
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Delplancq, Véronique, Ana Maria Costa, Cristina Amaro Costa, Emília Coutinho, Isabel Oliveira, José Pereira, Patricia Lopez Garcia, et al. "STORYTELLING AND DIGITAL ART AS A MEANS TO IMPROVE MULTILINGUAL SKILLS." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end073.

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The use of storytelling and digital art as tools to understand a migrant family’s life path will be in the center of an innovative methodology that will ensure the acquisition of multilingual skills and the development of plurilingual awareness, reinforcing the various dimensions of language (aesthetic and emotional, in addition to cognitive), in a creative, collaborative and interdisciplinary work environment. This is especially important among students who are not likely to receive further language training. It is not yet clear how teachers can explore multilingual experiences of learners, both in terms of language learning dimensions but also related with the multiple cognitive connections and representations, as well as to the awareness of language diversity. The JASM (Janela aberta sobre o mundo: línguas estrangeiras, criatividade multimodal e inovação pedagógica no ensino superior) project involves a group of students of the 1st cycle in Media Studies, from the School of Education of Viseu, who will work using photography, digital art and cultural communication, collecting information pertaining to diversified cultural and linguistic contexts of the city of Viseu (Beira Alta, Portugal), both in French and English, centered on a tradition or ritual of a migrant family. Based on an interview, students write the story (in French and English) of the life of migrants and use photography to highlight the most relevant aspect of the migrant’s family life. Using as a starting point an object associated with religion, tradition or a ritual, students create an animated film, in both languages. This approach will allow the exploration of culture and digital scenography, integrating in an innovative interdisciplinary pathway, digital art, multilingual skills and multicultural awareness. Students’ learning progress and teacher roles are assessed during this process, using tests from the beginning to the end of the project.
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Yang, He. "Analysis of Avedon's Photographic Works." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.140.

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Doerjanto, Dody. "Creating Digital Photographic Painting Arts." In 2nd Social Sciences, Humanities and Education Conference: Establishing Identities through Language, Culture, and Education (SOSHEC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/soshec-18.2018.12.

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Yang, He. "Illusion of Portrait Photography." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.113.

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Yanhua, Zhang, and Lin Jiaogang. "Research on the Expression of Photography Language under Digital Technology." In 2020 5th International Conference on Electromechanical Control Technology and Transportation (ICECTT). IEEE, 2020. http://dx.doi.org/10.1109/icectt50890.2020.00058.

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Suhr, Alane, Stephanie Zhou, Ally Zhang, Iris Zhang, Huajun Bai, and Yoav Artzi. "A Corpus for Reasoning about Natural Language Grounded in Photographs." In Proceedings of the 57th Annual Meeting of the Association for Computational Linguistics. Stroudsburg, PA, USA: Association for Computational Linguistics, 2019. http://dx.doi.org/10.18653/v1/p19-1644.

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Miletitch, Roman, Raphaël de Courville, Morgane Rébulard, Claire Danet, Patrick Doan, and Dominique Boutet. "Eliciting Writing-like Behaviour in Sign Language through Photographic Representation of Movement." In Electronic Visualisation and the Arts (EVA 2012). BCS Learning & Development, 2012. http://dx.doi.org/10.14236/ewic/eva2012.37.

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Zhang, Zhenya. "Applied Study on the Reproduction of Visual Perception in Photographic Creation." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.84.

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Reports on the topic "Photographie – Langage"

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Armstrong, L. F., R. D. Knight, C. E. Logan, W. Parkinson, and D R Sharpe. Keyhole Markup Language Photo Index: an ArcGIS toolbox for packaging georeferenced field photographs and metadata. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2018. http://dx.doi.org/10.4095/306538.

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