La hantise du précédent en photographie. Généalogies médiumniques et formes de revenances dans la photographie industrielle by Pierre LANNOY

“…To give an artistic dimension to his photographs, the photographer needs to build and hold a personal look at the world. …”
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Tehrik-i-Taliban Pakistan: considerations 3 years after the school attack in Peshawar by Rachel Campos, Priscila Lima Pereira

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Eggleston : la ville à l'épreuve de la démocratie by Géraldine Chouard

“…This article analyses the representation of cities as seen by contemporary American photographer Eggleston, whose work is here approached in terms of four defining characteristics: signaletics, eccentricity, kineticity, and dialogality. …”
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Donald Barthelme’s “Report” and Michal Rovner’s Decoy series, or the Ongoing Art of Telling It Slant by Sandrine Dechaume

“…This article examines how two contemporary artists, American writer Donald Barthelme and Israeli filmmaker and photographer Michal Rovner use overexposure in order to denounce forms of televisual “brain damage.” …”
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VOGUE-rs by Lila Neutre

“…Through a twofold approach, as a photographer and a sociologist, Lila Neutre questions the voguing phenomenon both as it was and as it is now. …”
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« Cancer Alley » ou la décompression du paysage pétrochimique. La collaboration de Richard Misrach et de Kate Orff by Matthieu Duperrex

“…This paper addresses the collaboration between photographer Richard Misrach and landscape architect Kate Orff, which gave way to various creative exhibitions as well as the book, Petrochemical America (2012). …”
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Révéler les traces du toxique by Benjamin Lysaniuk, Anaïs Ondet, Léa Prost

“…The photographer's expression refers to a deep commitment to highlight victims that we do not hear and to focus on landscapes that we no longer notice.…”
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Jejich osudy jsou tak rozdílné, a přesto tak podobné. Komparace životopisných vyprávění dvou žen, které se věnují umělecké profesi by Lenka Krátká

“… Comparing two life stories (one woman-photographer, one woman-painter), the author handles the topic of limits and possibilities of art production in Czechoslovakia/Czech Republic as they were experienced before and after year 1989. …”
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Smoke (Paul Auster et Wayne Wang, 1995) : une œuvre à la croisée des arts by Delphine Letort

“…Paul Auster’s first encounter with the cinema points out the convergence between aural writing and cinematic writing, evoked through the double figure of the writer and that of the tale-teller/photographer in both the film and the short story.…”
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Le renouveau de l’approche documentaire, exemple d’une archive collaborative : Susan Meiselas, Kurdistan (1991-2009) by Clara Bouveresse

“…Between 1991 and 2009, American photographer Susan Meiselas (born 1948), a member of Magnum Photos, collected a photographic archive of the Kurdish people, presenting images, evidence and stories in a book, a travelling exhibition and a participatory website. …”
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Ipse vidit: fotografia antropologica ottocentesca e possesso del mondo by Alberto Baldi

“…The picture is therefore far away from its alleged aseptic nature and therefore forcefully enters into the dyadic relationship between the photographer and the photographed subject in a complex game of dependences, subservience, arrogance, reciprocal individual gains that end up in enlarging and above all distorting the documentation purposes and outcomes that we try to mark out within this contribution.  …”
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Curiosités de l’observation photographique by Yogan Muller

“…Is this the purpose of a photographic observatory ? To answer these questions, it is necessary to reflect on the belief in a so-called mechanical photographic image and to look at what has become of this belief in science and subsequently in art. …”
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L’univers esthétique des photographies de Cy Twombly et le renouvellement du regard sur son œuvre by Chiara Agradi

“…Cy Twombly’s photographic oeuvre includes a huge number of Polaroids, printed using the dry-print technique and Fresson process. …”
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Le temps, le mouvement et l’immobilité dans les œuvres littéraires et photographiques de Claude Simon by Joanna Kotowska-Miziniak

“…The present paper is the first in the series devoted to the study of the temporal dimension of the literary and photographic works of Claude Simon, Nobel Prize-winning author (1985). …”
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Research of organisation specifics of shooting process in the creation of an audiovisual product by Yu. V. Vorontsova, A. Yu. Mazur

“…The photographic act itself is an immediate transformation of the present referent into a petrified past. …”
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Nathan Lyons: In Pursuit of Magic at the George Eastman Museum (Rochester, NY), retrospective or exhibition? by Bruno Chalifour

“…Whereas Lyons photographed in black-and-white for over fifty years, a great space in this exhibition was dedicated to his recent digital color work. …”
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His Master’s Voice: Sound Devices in Bram Stoker’s Dracula by Maria Parrino

“…One year after the publication of Dracula (1897), the English photographer Francis Barraud was commissioned a painting from his picture of a dog looking at and listening to a cylinder phonograph. …”
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Photographie et écologie aux États-Unis: l’image à contre-emploi by François Brunet

“…A traditional and powerful connection links landscape art and environmental consciousness in North American art, classically embodied in artists such as Thomas Cole in painting and Ansel Adams in photography, and reinforced since the 1970s by various photographic projects animated with militant environmentalist purposes. …”
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The American Landscape: from an Ideological to an Ecological Object in Oxbow Archive by Joel Sternfeld by Helena Lamouliatte

“…American photographer Joel Sternfeld (born 1944) published Oxbow Archive in 2008, a book comprising 77 photographs that were taken over the course of a year and a half, between July 2005 and March 2007, and depicting a place called the East Meadows, located on the East side of the Connecticut river bend. …”
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Immagini migranti, immagini in-discriminanti Latenze e valenze nell’uso di foto e filmati in ambito migratorio by Alberto Baldi

“…They gathered from the urban contexts where they settled down, all the necessary and technological know-how to convey, sometimes autonomously, as an amateur photographer or film maker, the winning image they wanted to send back home and project on the village walls on occasion of one of their “well planned” trips back. …”
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