451:: "Henri Cartier-Bresson"; Gilles Mora: "Le grand jeu" (The Great Game'); Anne Baldassari's interview with Pierre de Fenoyl; Eric Bullot: "Esthétique du discontinu" ('Discontinuous aesthetics'); Patrick Roegiers: "Mais où est passé le chat de Steinberg?" ('But where did Steinberg's cat go?'); Jean Arrouye: "Le temps d'une photographie" (Time in a photograph); Gabriel Bauret: "Parcours d'une bibliographie" ('Browsing a bibliography'); Micheline Lo: "Suite espagnole n°9;
224:
The magazine emerged in a lively decade for the medium and its critique, breaking with strong traditions of the Beaux Arts in France which had hindered photography's acceptance as a legitimate subject of art historical research until the late 1970s, when the first courses on the history of
446:
diverse essays included one by
Cartier-Bresson himself, L'instant décisif ('The Decisive Moment') followed by; Christian Phéline's "Meurtres dans un jardin français" ('Murders in a French Garden'), Jean Kempf "A propos d'Henri Cartier-Bresson"; Jean-Claude Lemagny: "Le dessin d'Henri
388:. The journal was thematic, particular examples being an issue on "L'Acte photographique" (1982), another on "L'OEuvre photographique" (1985), both being the proceedings of two important conferences that the magazine organised at the Sorbonne, with other issues devoted, one to
236:
This late academic attention to the medium (as compared to North
America, and other European countries), arriving in the early 1980s, meant that the field of photographic studies in France incorporated perspectives and methodologies outside traditional art history, including
209:
and published by
Laplume and the Association de critique contemporaine en photographie (ACCP), was a review of critical and theoretical works on contemporary photography, the first of this period in France from 1981 to 1990, earlier than and running contemporary with,
892:
Barthes articles "The
Photographic Message," "Rhetoric of the Image," and "The Third Meaning,", translated and collected in The Responsibility of Forms: Critical Essays on Music, Art, and Representation , trans. Richard Howard (New York: Hill and Wang, 1982),
399:
Nominally trimestrial, it started with four issues in 1981 and 1983, and was sometimes interrupted; there were no editions published in 1987 or 1991; only two in 1984, 1988, and 1989; one in 1990; and only two in 1994, its final year.
411:
drew on the writings of its founders and others who reflect on photography whether as a central or incidental concern, critics, historians, philosophers and artists from all countries; Anne
Baldassari, Angelo Schwarz, Henri Van Lier,
438:
In 1985, an historical issue devoted, for the first time, to the work of Robert Frank was conceived as a gesture of admiration for, and complicity with, this artist, but also to set forth the critical capacity of the artist.
983:
Bibliothèque nationale (France), Lemagny, J.-C., Paris (France)., & Mois de la photo (Festival). (1984). La photographie creative: Les collections de la
Bibliothèque nationale : 15 ans d'enrichissement. Paris:
359:
as a break with the French tradition of "the beautiful image"; an aesthetic of the banal everyday image as an "amplifier of existence" that exposes the fictitious and self-documentary power of photography, for which the
840:
Symptomatic of a dissolution of interest in photography as a unitary medium in favour of postmodern plurality, and the rise of new and digital media, it was decided to cease after ten years, in 1990.
852:
was resumed for an unrelated publication starting July/September 2010 which is the magazine of l'Union des
Photographes Professionnels, and revamped in 2017. It had run to issue 15 in January 2020.
902:
Pierre
Bourdieu, with Luc Boltanski, Robert Castel, Jean-Claude Chamboredon, and Dominique Schnapper, (1965) Un art moyen: Essai sur les usages sociaux de la photographie, Paris: Minuit
871:
Philippe Dubois, « De l'image-trace à l'image-fiction », Études photographiques , 34 | Printemps 2016, mis en ligne le 01 juin 2016, consulté le 04 janvier 2021. URL :
435:
reviewed creative photography from examples drawn from the work of photographers, without neglecting the historical, social or aesthetic conditions of reception of their work.
956:"La pensée, l'émotion", in Michals (D.), Photographier de 1958 d 1982, Paris, musée d'Art moderne de la ville de Paris, 1982, pp. III-VII. Dits Ecrits tome IV texte n°307
455:: "HBC, une vision lyrique du monde" ('HBC, a lyrical vision of the world'); Henri Cartier-Bresson and Gilles Mora: Conversation; and concluding with a letter to
355:
An editorial desire was to promote another type of photography freed from the aesthetic and informative requirements of the image alone, identified by
1134:
288:(1971 onward); and encouraged publications on the medium in France of this decade of the 1980s; the book (translated from Italian) by Franco Vaccari,
1038:
Alain
Bergala, "Vingt-cinq ans après : dialogue", Raymond Depardon et Alain Bergala, New-York, Ecrit sur l'image, Cahiers du cinéma, 2006, p. 10
192:, published between 1981 and 1994, was a French magazine devoted to photography with the goal of promoting criticism of contemporary photography.
805:
1154:
1129:
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Fernandez, C. G. (1986). La photographie, le néant: Digressions autour d'une mort occidentale. Paris: Presses universitaires de France
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François
Soulages et al., (1986) Photographie et inconscient: Séminaire de philosophie, octobre 1985–janvier 1986, Paris: Osiris, 1986
273:
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1149:
1139:
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Warren, L. (2005). Encyclopedia of Twentieth-Century Photography, 3-Volume Set. United States: Taylor & Francis. P.1274
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Denoyelle, F. (2019). Arles Les Rencontres de la Photographie, Une histoire française. (n.p.): Art Book Magazine Éditions.
265:
658:: introduction to a photographic method / ed. Pierre-Eric BaĂŻda, Patrick Bertholdy, Michel CĂ©gretin (co-edition Laplume)
364:
provides the critical apparatus; a place for a dialogue between text and photography around questions of identity and
212:
346:
published directly in French (there was no American edition) in 1990, ten years after Roland Barthes' seminal book,
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230:
1047:
Gilles Mora et Claude Nori, L'Été dernier. Manifeste photobiographique, Écrit sur l'image, L'Étoile, 1983, p.11
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The founding of the journal arose from a meeting in a restaurant on rue Froidevaux in Paris by Claude Nori,
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photography collection and establishment of its Cabinet de la Photographie in 1981; contemporary with the
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443:
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Roche, D. (1982). La disparition des lucioles: (réflexions sur l'acte photographique). Paris: L'Étoile.
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Schaeffer, J.-M. (1987). L'image précaire: Du dispositif photographique. Paris: Éditions du Seuil.
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For ten years, through monthly meetings, internal debates, dissensions and thematic issues
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Krauss, R. (1990). Le Photographique. Pour une Théorie des Ecarts. Parijs: Editions Macula
585:
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269:
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Guibert Hervé. (1981). <<L'>>Image fantôme Texte imprimé. éditions de Minuit
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82:
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Lier, H. . (1983). Philosophie de la photographie. Paris: Les impressions nouvelles
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301:
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Vaccari, F. (1981). La photographie et l'inconscient technologique. Paris: Créatis
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Gaëlle Morel, "La figure de l'auteur," Études photographiques , no. 13 (July 2003)
73:
Claude Nori, Laplume: Association de critique contemporaine en photographie (ACCP)
1020:
Barthes, R. (1981). La chambre claire: Note sur la photographie. Paris: Gallimard
929:
Gaëlle Morel, "Entre art et culture," Études photographiques , no. 16 (May 2005)
655:
448:
381:
268:, to promote photography on a national scale, resulted in the foundation of the
452:
49:
Photography aesthetics and history, computer art, cinematography, videography
416:, Jean Arrouye, Olivier Revault d'Allonnes, Arnaud Claass, Philippe Dubois,
246:
238:
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came out in the first quarter of 1981, published with Contrejour editions.
154:
1072:. Laplume: Association de critique contemporaine en Photographie.
1066:
Mora, Gilles; Arrouye, Jean; Cartier-Bresson, Henri (1986).
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Les cahiers de la photographie, n°18. Henri Cartier-Bresson
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http://journals.openedition.org/etudesphotographiques/3593
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which covered the full duration of photographic history.
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Report on the Sorbonne colloquium on photographic work
447:
Cartier-Bresson" ('drawing by Henri Cartier-Bresson');
804:
The European breakaway: Through the collection of the
310:, released in 1982 (from the English original, 1977);
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Photographic history of photography, Henri Van Lier
829:Charles Camberoque : Photographs, 1975 - 1993
225:photography were commenced by Michel Frizot at the
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French journal of photographic criticism and theory
392:, another to Denis Roche, etc. The first issue of
750:20 years of creative photography in France 68/88
818:Jean-Claude Bélégou, Wandering in the far North
883:Roland Barthes (1957) Mythologies Paris: Seuil
344:Le Photographique: pour une théorie des écarts
290:Photography and the technological unconscious
8:
485:Critical approaches to the photographic act
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260:Support from the socialist government of
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284:'s expansion of the collection at the
7:
1099:"LES CAHIERS DE LA PHOTOGRAPHIE #15"
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865:
806:Maison Européenne de la Photographie
610:Robert Frank: photography, finally!
330:, 1984; Gaston Fernandez Carrera's,
25:
715:Patrick Roegiers, The living eye
551:Photographic spaces, the gallery
420:, Alain Fleig, Jacques Clayssen,
272:in 1977, the inauguration of the
1135:1994 disestablishments in France
1084:"Les cahiers de la photographie"
428:, Jean Kempf, Patrick Roegiers.
338:, 1987; and American art critic
334:, 1986; Jean-Marie Schaeffer's
314:'s sole treatise on photography
764:and the photo: The worst signs
322:also in 1982; Henri Van Lier's
850:Les cahiers de la photographie
540:Photographic spaces: the book
409:Les cahiers de la photographie
324:Philosophie de la photographie
201:Les cahiers de la photographie
189:Les cahiers de la photographie
32:Les cahiers de la photographie
18:Les Cahiers de la photographie
1:
1155:Magazines published in France
1130:1981 establishments in France
507:What history of photography?
274:Musée Nationale d'Art Moderne
384:, joined by Denis Roche and
496:Photography and literature
442:In a special issue n.18 on
320:La Disparition des lucioles
264:and its cultural minister,
213:La Recherche photographique
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457:Cahiers de la Photographie
433:Cahiers de la photographie
394:Cahiers de la photographie
362:Cahiers de la photographie
203:, modelled on the earlier
332:La Photographie, le néant
280:'s own in 1978; added to
231:University Paris-Sorbonne
57:trimestrial, intermittent
328:La Photographie Créative
318:(1982); Denis Roche's
121:April 1, 1994
1145:History of photography
574:Humanist photographers
459:from Cartier-Bresson.
103:; 43 years ago
1150:Photography in France
1140:Photography magazines
775:Jean-Claude Bélégou,
681:Henri Cartier-Bresson
562:The photographic act
444:Henri Cartier-Bresson
300:, the translation of
257:(François Soulages).
101:January 1, 1981
669:The accusing image
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386:Jean-Claude Lemagny
326:of 1983; Lemagny's
316:Thought and Emotion
282:Jean-Claude Lemagny
262:François Mitterrand
227:University of Dijon
138:Éditions Contrejour
34:
518:The body observed
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693:Frames / formats
463:Published issues
206:Cahiers du cinèma
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656:Zone System
449:Julien Levy
382:Gilles Mora
116:Final issue
98:First issue
41:Gilles Mora
1124:Categories
1109:2021-01-05
984:Contrejour
856:References
848:The title
844:Resumption
781:The Lovers
632:Territory
453:Ernst Haas
366:subjective
125:1994-04-01
108:1981-01-01
65:21 x 14 cm
46:Categories
836:Cessation
599:Contacts
529:On style
368:writing.
292:in 1981;
266:Jack Lang
247:sociology
239:semiology
180:0294-4081
161:, France)
130:n°30 1994
70:Publisher
54:Frequency
578:Doisneau
474:Content
404:Contents
372:Founding
296:'s 1981
229:and the
166:Language
155:Marmande
151:Based in
588:et al.
468:Number
253:), and
220:Context
143:Country
135:Company
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106: (
90:Founded
78:Founder
779:, and
604:11/12
582:Boubat
169:French
146:France
118:Number
62:Format
38:Editor
1097:UPP.
826:1994
815:1994
801:1992
790:1992
777:Faces
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758:1990
747:1989
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482:1981
471:Year
196:Ethos
893:3–62
654:The
586:Izis
304:'s,
175:ISSN
93:1981
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