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Ci-dessous, les différences entre deux révisions de la page.

--- oeuvres:les_amoureux_de_l_hotel_de_ville [2016/07/12 15:47] – Virginie Savard
+++ oeuvres:les_amoureux_de_l_hotel_de_ville [2016/08/03 11:58] (Version actuelle) – Virginie Savard
@@ Ligne 18: / Ligne 18: @@
 VESTBERG, Nina Lager, « Photography as Cultural Memory : Imag(in)ing France in the 1950s », //Journal of Romance Studies//, vol. 5, n° 2 (été 2005), p. 75-90. +++ Article de revue
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+**Abstract**\\
+This article explores how memory, whether construed as personal, collective or cultural, may be mobilized in and through mass-disseminated 'documentary' photography. Drawing on Halbwachs's models for the production of memory and informed by Georges Perec's concept of 'fictive memory', it argues that the work of so-called humanist photographers like Robert Doisneau and Willy Ronis can be said to have structured visual cultural memory in and of France in the postwar period. Philippe Delerm's novel //Les Amoureux de l'Hôtel de Ville// (1993) is enlisted as a symptom of the extent to which an image like Doisneau's //Le Baiser de l'Hôtel de Ville// has provided a public site of convergence for the personal memories of many, while the text written by Didier Daeninckx for Ronis's book //Belleville-Ménilmontant// (1999), is brought to bear on the importance of revision, narrative and imagination in the construction of a photographic work of memory.
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