Lex-ICON : traiter l’image comme un texte/ traiter le texte comme une image

Call for papers for an international conference on the relation between words and images in litterature and art. The conference will be held at Université de Haute Alsace, from 7 to 9 June 2012.

Even if it is not specifically on photographs, I find dealing with different approaches always very stimulating.

Définir/Devenir Une image d’archives

Call for papers for a conference reflecting on photos and archives.

Définir/Devenir

une image d’archives

Proposition de Colloque International

Université Libre de Bruxelles

15-16 Novembre 2012

Les images dites d’archives ont envahi notre environnement visuel, par le cinéma et la télévision, par la presse, par la muséographie ou les manuels scolaires. Toute historiographie relative à ces nombreux usages et à leurs migrations et recyclages partirait du principe théorique que toute image du passé constitue un gisement documentaire que l’on peut qualifier d’archives. Dans les domaines cinématographique et télévisuel, hormis l’art de la reprise exercé dans un jeu dialectique entre passé et présent par des réalisateurs comme Resnais, Farocki, Marker ou encore Ophuls,  la notion d’image d’archives apparaît également le plus souvent comme un terme générique, consubstantiel à sa référence au passé. Et par ailleurs, on ne compte pas les projets de recherche en Histoire contemporaine, en Arts ou en Sciences de l’information et de la Communication fondés sur l’exploration de fonds d’archives audiovisuelles qui s’abstiennent de tout questionnement sur le caractère spécifique des documents en question.

Or, le devenir archive de l’image photographique ou cinématographique ne va pas de soi. Si l’image n’a pas toujours été pensée à titre conservatoire, certaines logiques communicationnelles, telle la logique télévisuelle du direct qui produit des documents éphémères, semblent contredire la vocation archivistique de l’image. L’objectif de ce colloque est donc d’interroger la notion d’images d’archives, et plus précisément, d’identifier les processus – stratégies, médiations, enjeux et objectifs –  qui concourent à conférer à l’image le statut d’archive. En d’autres termes, qu’est-ce qui fait qu’une image devient document d’archives, et son corollaire, qu’est-ce qui fait que certaines images échappent à cette qualification ?

Cette réflexion épistémologique part de l’hypothèse que l’image d’archives n’existe pas en tant que telle mais comme un élément discursif fondé sur une promesse de satisfaction mémorielle,  incarnant une trace, un témoignage oculaire médiatisé, qui par contiguïté rend compte d’un moment donné ou d’un événement passé. Partant, l’image d’archives se donne à voir comme un élément émanant d’un contexte spatio-temporel distinct de celui de sa reprise, elle autorise un regard rétrospectif sur un objet ou un événement, déterminé par l’intention du réalisateur et censé être compris comme tel par le spectateur.

L’énoncé de cette hypothèse est le fruit, relativement récent, d’un processus réflexif sur l’image en général et sur les rapports entre histoire et médias. Deux axes nous apparaissent prioritaires : d’une part la nécessaire généalogie du savoir sur la notion d’archives, sur les enjeux et débats qui ont traversé cette problématique constitutive de la naissance de la photographie et du cinéma. Cette réflexion interdisciplinaire interrogera également les différentes fonctions que l’on peut attribuer à l’image d’archives (monument, document, empreinte, traces, stock-shot…). D’autre part, nous voulons aborder le devenir archivistique de l’image dans une perspective qui questionne et croise les pratiques de la « prise », de l’archivage, et de la “reprise” (réemploi, citation, détournement…) au sein de champs à la fois complémentaires et distincts : cinéma, télévision, arts plastiques, marketing, historiographie, muséographie…

En contrepoint du colloque, ces questions seront soumises à des artistes, chercheurs et autres professionnels de l’image à l’occasion d’une exposition sur et avec des images d’archives.

Comité d’organisation : Irene di Jorio (ULB), Vincent Lowy (UDL), Julie Maeck (FNRS/ULB), Valérie Pihet (Sciences Po Paris), Matthias Steinle (Paris 3) et Axel Tixhon (FUNDP).

Comité scientifique : Christian Bonah (UDS), Thomas Elsaesser (Université d’Amsterdam), Danielle Leenaerts (ULB), Sylvie Lindeperg (Paris 1), Pierre Sorlin (Paris 3 / Istituto Parri-Emilia Romagna de Bologne), Jacques Walter (UDL).

La date de remise des propositions de communication (une page environ) est fixée au 15 janvier 2012.

Adresse : imagedarchives@gmail.com Les langues du colloque sont le français et l’anglais.

Call for papers- The Great War in the illustrated press

Maybe not that original but interesting anyway, especially for the comparative approach.

The Great War in the illustrated press

Call for Paper

A symposium organized by the OPIIM, LabSIC, MSH-Paris Nord, and University of Paris-XIII,

June 5th, 6th, 7th 2013.

      The year 2014 will commemorate the anniversary of the beginning of the Great War. This will be an opportunity to review our most recent knowledge about this event. One could assume, considering the amount of books published on the matter, that everything has already been said during the last twenty years concerning the cultural history of the Great War, leaving but few uncharted areas. However, as far as the iconography is concerned, there are only a few studies that have contributed to such historiographic developments, if we except those published by Laurent Véray on animated images, from news bulletins (1993) to fiction movies (2011). In the case of illustrated press, this fact is particularly striking. Although this field has benefited from more recent approaches (Beurier, 2007), it still lacks a broader, European point of view (Tomassini, 2007). It also lead to very few comparative works as it has been the case for the 1870 war (Martin, 2006). Yet, the illustrated magazines conveyed images of the war that were shared by European societies both during and after the conflict. This symposium aims at seizing the opportunity of this anniversary to shed new light on the European and American illustrated press, including its function and its influence on the cultural representations of the nations before, during and after the war.

            A research following various lines: 

*Before the war started, we need to look at the visual culture of the pre-war societies. What about the “in-war images”? Is the public used to violence, to what extent and under which visual format? What is the kind of information and images that make you sell more out of one event? To what extent the coverage of preceding wars (1870-1871, Balkans, colonial events) did introduce certain visual habits that reappeared between 1914 and 1918? Besides, magazines enable us to investigate the mental preparation to war. In the case of France, unlike what was long thought, there was no will for revenge. However, to what extent the veneration of the army that dominated illustrated press in the years 1910 can be understood as a psychological preparation? Was it also the case in other European countries?

*Concerning the time span of the Great War, an account is needed on the articles and documents written by the illustrated press on the event. What are the most favourite themes in the various European countries? How do the words and images convey the violence of combats or occupation? How can they be analyzed in terms of gender? How are the colonial soldiers viewed? How important is the part played by the aesthetics of war in photography? What lines can be drawn in terms of chronology? It is also important to understand the links between the illustrated press and the war in the context of a history of the medium. To what extent did the Great War stimulate editorial changes, modifying the magazine’s conception, reversing the common hierarchy between photography and paintings, or creating new practices in journalism (as it has been the case in France)?

*A third period ought to ponder upon the legacy of the war. What is the impact of the latter in the illustrated press of the years 1920, both in Europe and the United States? From a national point of view, what are the contents and representation of the Great War in the magazines that were issued afterwards? Did photography play an important part in the reintegration of soldiers? What representation of the conflict or Nation does it convey? Is there a possibility left to forget about the war, or deny it; or on the contrary, is violence voluntarily shown? Here, the circulation of images is worth a specific study: did the numerous journalistic (Témoignage, 1931) or editorial (Krieg dem Kriege, 1924) publications have an influence on post-war illustrated magazines? How do images circulate? From and up to where? Through which pattern or changes?  Between which countries? Similarly, up to what point the iconographic legacy of the Great War is used without change in the following conflicts (Rif war, civil war in Russia)? How far can it be traced as we close in on World War Two?

Eventually, from the point of view of media history, there subsists an uncharted area concerning the legacy of the Great War in terms of press professional practices. More precisely, it can be wondered why photojournalism had disappeared in France until the end of the 1920s and the issue of the Vu magazine in 1928 by Lucien Vogel. Similar observations can be made in other countries. What happened in the meantime? What became of the magazines that relied on pictures in the war time? How did they evolve to meet their readers’ needs? Did they learn from their war experience in terms of professional and editorial practices? How did famous post war photographers like André Kertesz use their experience of the Great War in their work? Last but not least, it can be asked whether there exists a possible link between information such as delivered by the Great War magazines and journalism today (such as the importance of amateur photographers, or pictures bringing back images of the Great War)?

Contributions on Eastern Europe and/or North America will be particularly welcome.

The articles selected by the scientific committee (30 000 signs) will be published in 2014.

The projects (250 words) must be sent to joelle.beurier@eui.eu and karine.grandpierre@univ-paris13.fr before October 15th, 2011.

CFP Word & Image

The University of Sidney launched a very interesting call for papers on links between verbal and visual communication.

Here it is:

Word and Image, East and West

28-29 October 2011

University of Sydney


In 1991 Mieke Bal defended the verbal and textual aspects of visual artefacts, arguing that a new cultural paradigm exists based on the assumption that “the culture in which works of art and literature emerge and function does not impose a strict distinction between the verbal and the visual domain. In cultural life the two domains are constantly intertwined” (“Reading Rembrandt”, 1991, p. 5).   In the last twenty years the relationship between the visual and the verbal has become a key issue in the humanities in general and, in particular, in the creation of new inter-, multi- or transdisciplinary areas of study. Reaction to the growing presence of images in contemporary culture has, thus, led to a flourishing of publications, conferences and academic courses on the varied interactions between text and image. Yet, a comparative investigation on the way the East and West perceive the interrelation between the visual and the textual still needs particular attention.

The purpose of the symposium is to bring together scholars and researchers from different backgrounds (historical, literary, theoretical or philosophical) in order to discuss and compare the mutual interdependence of words and images, the mixed mediality of the visual and the verbal, and the way they have been interlacing in different geographical and cultural areas, from Europe and the US to the Middle East and the Asia-Pacific region, throughout the years.

Contributions are invited, but not limited to:
– literature and painting
– iconography and narrative
– visual poetry
– writing and photography
– narrative and maps
– mixed-media forms and intermedia texts
– graffiti

Discussions are therefore encouraged on the different modalities one medium has been included in the other in the Western and Eastern cultures, as well as the way the interaction of word and image has contributed to challenge the East/West binary. Contributions are invited to discuss issues of:
– transcription
– juxtaposition
– transposition and translation
– interference
– ekphrasis

We invite proposals for twenty-minute papers in English. Please submit a 500-word abstract and include name, university affiliation, as well as a short paragraph with biographical information by 30 May 2011. Selected contributions will be included in a 2012 Special Issue of the international refereed journal Literature & Aesthetics. Essays (in English) for the issue will be commissioned by 15 November 2011. Commissioned essays are due no later than 1 March 2012.

Enquiries and proposals should be addressed to:   Giorgia Alù: giorgia.alu@sydney.edu.au Francesco Borghesi: francesco.borghesi@sydney.edu.au