Global ETD Search

1	Les écrans dans la ville / Screens in the city Crépet, Juliette 26 November 2016 (has links) Les écrans dans la ville sont les nouveaux écrans d'affichage numériques exposés depuis le début des années 2000 dans les villes industrialisées. Les marches quotidiennes dans la ville révèlent qu’ils sont qualifiables d’écrans d’ambiance. Ils montrent un rapport d’iconicité avec les œuvres picturales, dont les mises en place dans l’espace s’apparentent à une mise en exposition muséale. Intégrés dans la dynamique de la vie citadine, ils se fondent dans le contexte de vie, où leurs esthétiques formulent un climat moral et affectif. Mais ces écrans d'expositions de l’image ne peuvent être étudiés comme de l’art, ni comme des éléments d’ambiance, car ils sont avant tout des médias de communication. Cette thèse pose la question de savoir comment les écrans dans la ville, disposés dans le décor de vie des citadins, assurent la fonction de communiquer un message. Le dispositif est tout d’abord défini selon une étude historique de son origine. Ensuite, une méthodologie d’analyse est construite d'après la classification d’un relevé photographique international, et les résultats d’un entretien basé sur l’activité d’un citadin. Elle est appliquée à une enquête de terrain par observation directe dans 14 types de lieux parisiens (institutions et entreprises ; postes et banques ; agences de télécommunications ; services de transport ; agences immobilières ; supermarchés ; boulangeries ; nouveaux commerces ; confiseries ; tabacs ; bars ; lieux culturels ; parvis ; restaurants). L’enquête montre en définitive, que la mise en exposition de l'écran et de son image consiste à être la mise en présence d’une communication, opérant comme un outil de valorisation de lieu. / Screens in the city are the new digital displays, they have been shown in industrialized cities since the beginning of the 2000s. As one walks through the city, they create a certain ambience. Digital display relate in an iconic manner to the images, whose displays in space seems to be like a museum exhibition. Incorporated into the dynamics of urban life, those screens merge with the context of living, where their aesthetics shape a moral and emotional atmosphere. But those digital displays cannot be studied as art, nor can they be studied as pure elements of ambience, because they are, first of all, a media of communication. This research seeks to find out how digital screens in the city, displayed in the life décor of the inhabitants, undertake the function of communicating a message. The apparatus of the screen is first defined following a historical study of its origin. Then, a method of analysis is constructed based on the classification of an international photographic transcript and the results of an interview of one inhabitant. This method is applied to a field study through direct observation within 14 Parisian spaces (institutions and firms; post-offices and banks; telecommunication agencies; transportation services; real estate agencies; supermarkets; bakeries; new shops; candy stores; tobacco shops; bars; cultural venues; forecourts; restaurants). The results of the inquiry show that the display of a screen consists of the exhibiting and materialization of a communication, operating as a tool for space valorization. Écran d’affichage Ville Exposition Histoire des médias Pratique de l’image Digital display City Ambience History of media Image practices
2	The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition Poos, Francoise January 2016 (has links) This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises today about 10.000 objects from the 1920s to the mid 1970s. Made in Luxembourg or by people from Luxembourg, the movies, and even more so the film stills as a condensed version of the archive, represent the nation, yet as an ensemble they remain contained, making a close examination possible. I consider in this context that images are not however only indexical referents, but also, and especially, bundled objects existing materially in the world, entangled in a complex tissue of social interactions and practices, tensioned between document and art work and interwoven with shifting institutional aspirations. Drawing on the work of Ingold, I characterize this as a meshwork, in which everything is connected and visual objects evolve organically, subject to internal and external influences. Thus, this thesis observes the private family films as they meet and mesh with the public institution CNA where they develop new agency as historical documents, as works of art or triggers of collective memory. It explores the filmed material in relation to the national and institutional politics of the CNA’s emergence, the shifting culture of curatorial intention and ambition for the collection, the hierarchies of information within CNA. By making visible the lines, the connections and the nodes of this meshwork, as well as its patterns of disruption and fracture, this study highlights the varying interactions with Luxembourg’s Amateur Film Collection in particular, and, more generally, the performative nature of family photographs and films as they are used to construct images of nationality. The small scale of Luxembourg as a nation-state presents a demonstrable case study of the ecology of images in national identity building and makes an unusually grounded contribution to the wider debate about the ways in which images strengthen a sense of belonging, and how archives and museums use photography and film to construct and articulate visions of nationhood. 700
3	Gender – Bilder – Sanaa. Eine Ethnographie Linke, Irina 29 August 2017 (has links) Diese Studie erkundet den Zusammenhang von Gender und Bilderpraktiken in Sanaa vor dem Hintergrund der globalen Zirkulation von Bildern. Von Geschlechtersegregation gekennzeichnet und an der Peripherie globaler Bilderproduktion liegend, bietet sich der Jemen für die Erforschung des Spannungsfelds von Bildern und Gender an. Betrachtet wird insbesondere, wie Jemenitinnen öffentliche Bilder entschleierter Frauen auf eigene Vorstellungen von Sittsamkeit und Unsichtbarkeit beziehen und wie öffentliches Erscheinen von Frauen verhandelt wird. Ein filmischer Zugang führt zur Betrachtung der performativen Dimension von Bildern. Gefilmte Mikrosituationen werden nach einem hermeneutischen Verfahren interpretiert, das sich am Prozess-, Interaktions- und Diskursverlauf der gefilmten sozialen Praxis orientiert. Sprache wird kontextualisiert und zu Bildern in Bezug gesetzt. Befunde zur Rolle des Umgangs mit Bildern bei der Geschlechterkonstitution offenbaren drei zentrale Themen. Erstens sind Bilderpraktiken von Frauen dynamische und konflikthafte Prozesse, in denen Frauen genderspezifische Räume und Rollen aushandeln. So werden beispielsweise jemenitische Frauen, die im Fernsehen erscheinen, dem Anderen zugeordnet, visuelle Elemente öffentlicher Bilder von Frauen werden heruntergespielt. Zweitens gefährden Bilder die Geschlechtersegregation. Indem das Verbot für Frauen, sich zu sehen zu geben, auch Bilder umfasst, wird das subversive und transgressive Potenzial von Bilderpraktiken deutlich. Es wird deutlich, dass sich hinter früheren wissenschaftlichen Befunden zum islamischen Bilderverbot teilweise genderbezogene Blickverbote verbergen. Drittens folgt die Suche jemenitischer Frauen nach dem eigenen Bild einer Dialektik von Sichtbarkeit und Unsichtbarkeit, denn oft erreichen Frauen öffentliche Sichtbarkeit durch die Repräsentation von Unsichtbarkeit. Diese Ergebnisse verdeutlichen die Notwendigkeit performativer Ansätze bei der Erforschung von Bildern und Medienpraxen. / This ethnographic study explores the intersection of gender and image usage in Sanaa, Yemen, against the background of the global circulation of images. Yemen is a gender-segregated society at the periphery of image production and provides a powerful context in which the phenomena of this intersectionality can be captured and analyzed. Of particular relevance is the means by which Yemeni women relate public images of unveiled women to their requirement of modesty in front of men outside their close families. Within this setting, the negotiation of women’s public appearance is studied. A filmic approach leads to a consideration of the performative dimensions of images. Filmed micro-situations are interpreted according to a hermeneutic method, informed by the procedural, interactive and discursive aspects of social practice. Using this methodology, spoken language is contextualized and related to image practices. Findings on the role of image practices in gender constitution concern three main themes. First, image practices are found to be dynamic and conflictual as gender-specific social spaces and roles are negotiated. For example, Yemeni women who appear on TV are often attributed to the Other, and on the level of language, visual elements of public images of women are downplayed. Second, images pose challenges for gender segregation. As prohibitions on women allowing themselves to be seen in person extend to their images, the subversive and transgressive potential of image practices become apparent. Interestingly, this reveals that some prohibitions on images in the Islamic context discussed by previous researchers are in fact gendered restrictions on looking at women. Finally, the search of Yemeni women for an image of self follows a dialectic between visibility and invisibility. Often those women who reach public visibility do so by representing invisibility. This work demonstrates the need for performative approaches to the study of images and media practices. Gender Bilder Jemen Sanaa dokumentarfilmischer Zugang direct cinema Performance Frauen Geschlechtertrennung visuelle Kultur Blick Bilderpraktiken Ethnographie Medienethnologie Unsichtbarkeit Sichtbarkeit Selbstbilder Fremdbilder sozialer Raum Phänomenologie Übersetzung jemenitische Medien Satellitenfernsehen Bilderverbot gender images Sanaa Yemen visual culture performance documentary filmmaking direct cinema visuality eye image practices gender segregation media anthropology social space transnational TV Yemeni media phenomenology invisibility visibility images of self images of other translation gender performativity embodiment 301 Soziologie, Anthropologie LC 96335 LB 44355 LC 13355 LH 61090 ddc:301

1

Page generated in 0.0429 seconds