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Enduring for more than five years, the Great Irish Potato Famine, an apparently intractable humanitarian catastrophe characterised by substantial population displacement, widespread starvation and mass mortality throughout the island of Ireland, produced multiple crises for the emerging structures of modernism. Prevailing ideological concepts surrounding social organisation, the limits of governmental intervention, economic orthodoxy, as well as religious and moral responsibility in response to distant suffering, were all challenged by the advent of a disaster of this magnitude within the boundaries of a modem state. Yet, this subsistence crisis occurred during a decade of technological innovation that saw the advent of both pictorial journalism and the emergence of photography within the metropolitan core. Thus, the Famine was the first time that middle class viewers were confronted with images of distant suffering through the auspices of the newly formed illustrated press. In particular, the Illustrated London News published numerous images depicting the effects of starvation and suffering throughout the continuing subsistence crisis. These images have been associated with influencing British public opinion in regard to the appropriate response towards this humanitarian crisis and can also be directly linked to the visualisation of suffering today. While photography was not used to directly depict the ravages of starvation in a manner akin to photojournalistic representations of distant suffering, it was utilised by members of the aristocratic elite in the post-Famine decade to represent the land and people in a manner that responded to official attempts to impose modem structures upon Ireland. Therefore, although the Famine remains unrepresented photographically, this initial attempt to visualise distant suffering within modernity had a profound impact upon the development of representative strategies that resonate today.

Les coopérations de plus en plus proches et fréquentes entretenues par des photojournalistes et des ONG humanitaires soulèvent des réactions diverses. En même temps que l’on célèbre les bénéficies du témoignage photojournalistique pour faire avancer des causes humanitaires, on soupçonne les photojournalistes de perte d’indépendance ou de brader leur profession. L’objectif de la recherche est de comprendre les conditions de ce rapprochement, dans un contexte de critique et d’incertitude. À partir de l’analyse de 17 entretiens auprès de photographes et du personnel de l’humanitaire, et de documents liés aux expositions photo-humanitaires, nous avons exploré l’hypothèse selon laquelle, pour construire ensemble, les acteurs de ces deux mondes doivent se mettre d’accord sur la base de valeurs communes. L’objectif des acteurs est de sauvegarder la cohérence de chaque monde et de pouvoir argumenter leurs choix d’une manière qui puisse être considérée comme acceptable face aux critiques. Notre approche consiste à restituer les contraintes matérielles et discursives auxquelles font face ces professionnels quand ils coopèrent ensemble. Nous montrons comment le photographe est reconnu pour son attachement à des causes sociales, pour son engagement sur le long terme et pour les risques qu’il entreprend, devenant ainsi un personnage du récit humanitaire. En effet, les ONG humanitaires proposent la création d’espaces qui contribuent à la légitimation du photojournalisme comme profession spécifique. De manière paradoxale, en légitimant ce photojournalisme, le risque est rendre flous les contours de la profession, en lui accordant un sens nouveau, en dehors de la presse / The increasing, close and regular cooperation between humanitarian NGO and photojournalists raises diverse reactions. As some people will extol the virtues of photojournalistic testimony to promote humanitarian causes, other will make claims of photographs having relative little independence or making a negative impact on their own professional group's economy. The purpose of our research is to understand the conditions that make possible this cooperation in a context of criticism and uncertainty. The hypothesis is that in order to build on and move forward, actors involved in the cooperation have to agree on the basis of common values. Their purpose is to protect the coherence of their world and to support their choices with arguments that can be considered as acceptable. We base our analysis on the content of 17 interviews to both photographers and humanitarian workers, as well as of documents related to photo-humanitarian exhibitions. Our approach, comprehensive and axiological, allows us to highlight the material and discursive constraints that these professionals face when they create together. Our study shows that photographers are recognized for their engagement to social causes, for their long-term commitment and for the risks they undertake, becoming eventually characters of the humanitarian narrative. Indeed, NGO workers make considerable efforts to create spaces that contribute to the legitimization of photojournalism as a specialized profession. The paradox is that, by legitimizing this kind of photojournalism, this regular cooperation to make unclear the outlines of the profession, redefining this practice in a way that doesn’t include the press

Basé sur des documents authentiques rares et inédits, ce travail a pour but d’étoffer une nouvelle image de la Révolution russe via les revues satiriques de l’époque. Ces revues sont de véritables œuvres d’art révolutionnaires qui interrogent la liberté de la presse et l’art durant une période charnière en Russie. Il s’agit d’une témoignage direct de cette année révolutionnaire, véhiculé par des artistes avant-gardistes libérés de la censure, et qui vont, au fil des semaines, composer une image originale de l’année 2017 et des deux révolutions russes de février et d’octobre au travers des couvertures illustrées. Afin de conserver la dynamique chronologique des événements, les revues ont été mises en parallèle avec les témoignages écrits d’époque, de personnalités diverses telles que Claude Anet, Pierre Pascal, Maxime Gorki, Maurice Paléologue, ou encore John S. Reed. Tous ont accompagné les bouleversements révolutionnaires à leur manière et constituent l’écho historique de ces revues satiriques illustrées qui nous permettent de plonger au cœur même du quotidien des révolutions russes caractérisant une nouvelle image de la Révolution, mouvante, singulière et remarquable. / Based on rare and authentic documents, this work endeavors to elaborate a new image of the Russian Revolution through satirical magazines of the time. These illustrated reviews are genuine works of art that question freedom of the press and art itself during a transnational period in Russia. They serve as a direct testimony of this revolutionary year, providing an original image of the two Russian revolutions of February and October and featuring on the review’s front cover week after week avant-garde artists freed from censorship of the press. In order to preserve the chronological dynamic of the events, satirical reviews are coupled with historical testimony of various writers such as Claude Anet, Pierre Pascal, Maxime Gorki, Maurice Paleologue, and John S. Reed, among others. All of them had supported the revolutionary turmoil in their own way and constitute an historical echo of the illustrated satirical reviews allowing us to plunge into the heart of daily life during the two Russian revolutions, and thus creating a new image of the Revolution, set in motion, single-minded, and noteworthy.