Press Program July 21, 2017 #Visapourlimage2017 Exhibitions
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EDITORIAL Can there be too much coverage of a conflict? The question may seem disrespectful, but it still needs to be asked, and answered. Page The program at Visa pour l’Image this year 4 features three exhibitions on the battle EXHIBITIONS for Mosul: Laurent Van der Stockt for Le Admission free of charge, Monde, Alvaro Canovas for Paris Match, and Lorenzo Meloni for Magnum Photos, every day from 10 am with Meloni having a more general approach to 8 pm, Saturday, presenting the collapse of the caliphate. The September 2 brutality of the attacks and the geopolitical , issues involved are so critical that the battle to Sunday certainly deserves attention, and extended September 17 attention. So there are three exhibitions: of a total of 25, three are on the battle for Mosul. As André Gide said: “Everything has already Page been said, but as no one was listening, it has 30 to be said all over again.” At Visa pour l’Image, our ambition is to show EVENING SHOWS and see the whole world, and so we have Monday, September wondered why, of the thirty or so armed 4 to Saturday, conflicts around the world, only a small September 9, 9.45 pm number are covered by a large proportion at Campo Santo of photojournalists. Of the many stories submitted and reviewed by our teams, a few dozen, either directly or indirectly, have VISA D’OR been on Mosul. And for the first time ever in AWARDS the history of the festival, the four nominees & All the awards for the Paris Match Visa d’or News award are on the same subject: Mosul. -
TRANSMISSION Pour L'image
Transmission pour l’image 2013 3 DAYS MONDAY, TUESDAY Transmission pour l’Image is a forum for meeting and discussing, and most & importantly it is for “transmission” from one generation of photojournalists - those behind the adventure of Visa pour l’Image with us - to the next generation. WEDNESDAY Transmission is not a course on how to “take photos” – quite the opposite. It SEPTEMBER is the photographers and picture editors who will take the time to talk about 2, 3 & 4, 2013 their work and the choices they have made, who will explain how they have produced, chosen, published and sold their pictures. Transmission is here so that young photojournalists can take on and carry on the values that are the basic principles which Visa pour l’Image has always Direct contact believed in. The first ten applicants will have the privilege of being part of this full- time experience over three days, listening, speaking and learning with the Talking to people professional participants. Hearing their JÉRÔME DELAY STANLEY GREENE chief photographer/Africa for photographer, NOOR photo experiences Associated Press agency Jérôme Delay is based in Johannesburg, and Stanley Greene has worked as a has been covering international news for photojournalist throughout the world, thirty years. reporting on war and poverty in Africa, the former Soviet Union, Central America, Asia and the Middle East, but is best known for JON LEE ANDERSON his work on the war in Chechnya. Stanley is a staff journalist with The New Yorker founding member of NOOR photo agency. Jon Lee Anderson has covered war zones including Afghanistan, Iraq, Uganda, Israel, FOR INFORMATION El Salvador, Northern Ireland, Lebanon, and JON JONES & REGISTRATION Iran. -
Telling Stories to a Different Beat: Photojournalism As a “Way of Life”
Bond University DOCTORAL THESIS Telling stories to a different beat: Photojournalism as a “Way of Life” Busst, Naomi Award date: 2012 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. Telling stories to a different beat: Photojournalism as a “Way of Life” Naomi Verity Busst, BPhoto, MJ A thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy School of Media and Communication Faculty of Humanities and Social Sciences Bond University February 2012 Abstract This thesis presents a grounded theory of how photojournalism is a way of life. Some photojournalists dedicate themselves to telling other people's stories, documenting history and finding alternative ways to disseminate their work to audiences. Many self-fund their projects, not just for the love of the tradition, but also because they feel a sense of responsibility to tell stories that are at times outside the mainstream media’s focus. Some do this through necessity. While most photojournalism research has focused on photographers who are employed by media organisations, little, if any, has been undertaken concerning photojournalists who are freelancers. -
David Douglas Duncan's Changing Views on War: an Audio-Visual
SENT NBSONE ED 177 577 CS 205 214 AUTHOR Politowski, Richard TITLE - David Douglas Duncan's Changing Views'on War: An Audio-Visual Presentation. PUB DATE 78 NOTE 25p.; Paper presented at the AnnualMeeting of the Associaticn for Education in Journalism(62nd, Houston, Texas, August 5-8, 1979) EDRS PRIC2 MF01/PCe1 Plus Postage. DESCRIPTORS *Changing Attitudes; *MultimediaInstructionC Photographs; Slides; *War IDENTIFIERS *DuncaA (David Douglas) ABSTRACT This paper is the script for a slldepresentation abcut photographer Davld Douglas Duncanand his view of war. It is intended to be used with slides madefrom pictures Duncan took during World War II, the Korean War, and the warin Viet Nam and published in various books and periodicals. Itdiscusses a shift in emphasis to be seen both in the pictures and inthe text written ky Duncan in which he increasingly portrayed thesuffering and death of war. It concludes by saying that Duncan in hispictures did not oppose war it. general but opposed the sentiventalizing orglorifying of war. (T43) **************************************e.******************************* Reproductions supplied by EDRS are the best that canbe made from the original document. *********************************************************************** S CIIPARTMENTOR /ALM. OUCATION s we NATIONAL INSTITUTEOR EDUCATION HAS SEEN RHSSO. THIS DOCUMENT FROM DUCED EXACTL YAS RECEIVED OROANaATIOt. ORIGIN- THE PERSON OR CPINiONS MING IT POINTSOT VIE*OR NE( ESSARIL 'TFPRE sT ATI D DO NOT INSTIT.11$ st NT OFIC lAt NATIONAL Out A .ON POS1ON OR POl It LIN rft. DAVID DOUGLAS DUNCAN'SCHANGING VIEWS ON WAR Lu . ) anaudio-4sua1presentation by Richard Politowski Michigan StateUniversity PERMISSION "O ILE PRODUCATHIS MATERIAL HAS BEEN GRAN D BY ElchArsLEolitowski 0 THF ELAICATIONALRI ';OURGP; iNf AT ON C.1 t1 T 1 It RIC, Copyright 1978 V) David Douglas Duncan'sChanging Views on War SLIDES TEXT It's the wounded thatwreck 1. -
Photojournalism
ASSOCIATION VISA POUR L’IMAGE - PERPIGNAN Couvent des Minimes, 24, rue Rabelais - 66000 Perpignan tel: +33 (0)4 68 62 38 00 e-mail: [email protected] - www.visapourlimage.com FB Visa pour l’Image - Perpignan @visapourlimage PRESIDENT RENAUD DONNEDIEU DE VABRES rd VICE-PRESIDENT/TREASURER PIERRE BRANLE AUGUST 28 TO SEPTEMBER 26, 2021 COORDINATION ARNAUD FELICI & JÉRÉMY TABARDIN ASSISTANTS (COORDINATION) CHRISTOPHER NOU & NATHAN NOELL PRESS/PUBLIC RELATIONS 2e BUREAU 18, rue Portefoin - 75003 Paris INTERNATIONAL FESTIVAL OF tel: +33 (0)1 42 33 93 18 e-mail: [email protected] 33 www.2e-bureau.com Instagram & Twitter@2ebureau DIRECTOR GENERAL, COORDINATION SYLVIE GRUMBACH MANAGEMENT/ACCREDITATIONS VALÉRIE BOURGOIS PRESS RELATIONS MARTIAL HOBENICHE, DANIELA JACQUET ANNA ROUFFIA PHOTOJOURNALISM FESTIVAL MANAGEMENT Program subject to change due to Covid-19 health restrictions IMAGES EVIDENCE 4, rue Chapon - Bâtiment B - 75003 Paris tel: +33 (0)1 44 78 66 80 e-mail: [email protected] / [email protected] FB Jean Francois Leroy Twitter @jf_leroy Instagram @visapourlimage DIRECTOR GENERAL JEAN-FRANÇOIS LEROY EXECUTIVE DIRECTOR DELPHINE LELU COORDINATION CHRISTINE TERNEAU ASSISTANTJEANNE RIVAL SENIOR ADVISOR JEAN LELIÈVRE SENIOR ADVISOR – USA ELIANE LAFFONT SUPERINTENDENCE ALAIN TOURNAILLE TEXTS FOR SCREENINGS, PRESENTATIONS & RECORDED VOICE - FRENCH PAULINE CAZAUBON “MEET THE PHOTOGRAPHERS” MODERATOR CAROLINE LAURENT-SIMON BLOG & “MEET THE PHOTOGRAPHERS” CO-MODERATOR VINCENT JOLLY PROOFREADING OF FRENCH TEXTS & -
PHOTOJOURNALISM EDITORIAL Can There Be Too Much Coverage of a Conflict? the Question May Seem Disrespectful, but It Still Needs to Be Asked, and Answered
ASSOCIATION VISA POUR L’IMAGE - PERPIGNAN © LAURENT VAN DER STOCKT Couvent des Minimes, 24, rue Rabelais, 66000 Perpignan FOR LE MONDE/ Getty ImaGeS ReportaGe SEPTEMBER 2 Tel: +33 (0)4 68 62 38 00 Mosul, Iraq, March 19, 2017 e-mail: [email protected] - www.visapourlimage.com FB Visa pour l’Image - Perpignan TO 17, 2017 @Visapourlimage PRESIDENT JEAN-PAUL GRIOLET VICE-PRESIDENT / TREASURER PIERRE BRANLE COORDINATION ARNAUD FÉLICI ASSISTANTS (COORDINATION) ANAÏS MONTELS & JÉRÉMY TABARDIN PRESS / PUBLIC RELATIONS 2E BUREAU 18, rue Portefoin - 75003 Paris Tel: +33 (0)1 42 33 93 18 e-mail: [email protected] www.2e-bureau.com DIRECTOR SYLVIE GRUMBACH MANAGEMENT / ACCREDITATIONS VALÉRIE BOURGOIS PRESS MARTIAL HOBENICHE, CLÉMENCE ANEZOT TATIANA FOKINA, CAMILLE GRENARD, DANIELA JACQUET FESTIVAL MANAGEMENT IMAGES EVIDENCE 4, rue Chapon - Bâtiment B 75003 Paris Tel : +33 (0)1 44 78 66 80 e-mail: [email protected] / [email protected] FB Jean Francois Leroy Twitter @jf_leroy Instagram @visapourlimage DIRECTOR GENERAL JEAN-FRANÇOIS LEROY EXECUTIVE DIRECTOR DELPHINE LELU COORDINATION CHRISTINE TERNEAU ASSISTANT LOUIS MARTINEZ SENIOR ADVISOR JEAN LELIÈVRE SENIOR ADVISOR – USA ELIANE LAFFONT SUPERINTENDANCE ALAIN TOURNAILLE TEXTS FOR EVENING SHOWS, EVENING PRESENTATIONS & RECORDED VOICE SONIA CHIRONI EVENING PRESENTATIONS PAULINE CAZAUBON “MEET THE PHOTOGRAPHERS” MODERATOR CAROLINE LAURENT-SIMON PROOFREADING OF FRENCH TEXTS & CAPTIONS BÉATRICE LEROY BLOG & “MEET THE PHOTOGRAPHERS” MODERATOR VINCENT JOLLY COMMUNITY MANAGER KYLA WOODS -
Press Photo Awards and Is a Recipient of the Eugene Smith Humanistic Grant
IMAGES OF A CHANGING WORLD A FILM BY HELEN DOYLE Frameworks Images of a Changing World A film by Helen Doyle Produced by Nathalie Barton and Ian Quenneville Québec, Canada, 2013, HD, colour, stereo, 90 min. Original idea, researched, written and directed by Helen Doyle Photography Nathalie Moliavko-Visotzky Sound Olivier Léger Edited by Dominique Sicotte Visual Effects Guy Lessard Music Nigel Osborne Sound Design and Editing Benoît Dame Catherine Van Der Donckt Sound Mix Philippe Attié Produced by Nathalie Barton Ian Quenneville Produced by InformAction With the financial participation of Gouvernement du Québec (Crédit d’impôt cinéma et télévision - Gestion SODEC) Canada Media Fund Telefilm Canada and the Rogers Group of Funds under the Theatrical Documentary Program Canadian Film or Video Production Tax Credit SODEC Société de développement des entreprises culturelles – Québec and with the collaboration of Radio Canada ARTV Filmoption International Frameworks Images of a Changing World A film by Helen Doyle Produced by Nathalie Barton and Ian Quenneville Very short synopsis Bombarded by thousands of images every day, are we still able to truly see them, especially those of conflict and its aftermath? Helen Doyle takes us on a quest for the meaning of images and discovers a vast palette of contrasting images which shock and compel. Short Synopsis (125 words) Frameworks is a quest for the meaning of images. Bombarded by thousands of images every day, are we still able to truly see them, especially those of conflict and its aftermath? In a constantly changing field, creators of images are developing new visions of the photographic art form and looking for new strategies to capture our attention with significant images. -
University of Southampton Research Repository
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Ambassador Donald R. Heath, the U.S. Embassy in Saigon and the Franco-Viet Minh War, 1950-1954 by Alexander David Ferguson Thesis for the degree of Doctor of Philosophy August 2018 UNIVERSITY OF SOUTHAMPTON Abstract FACULTY OF HUMANITIES History Doctor of Philosophy AMBASSADOR DONALD R. HEATH, THE U.S. EMBASSY IN SAIGON AND THE FRANCO-VIET MINH WAR, 1950-1954 By Alexander David Ferguson This thesis provides the first scholarly analysis of the U.S. Embassy in Saigon from the American decision to support France’s war against the Viet Minh with military and economic assistance in 1950 to Ngo Dinh Diem’s appointment as prime minister of Vietnam in 1954. -
WHEN CIVILIANS ARE TARGETS What Will It Take to Stop the Carnage?
Winners of the Overseas Press Club Awards 2017 Annual Edition DATELINE WHEN CIVILIANS ARE TARGETS What will it take to stop the carnage? DATELINE 2017 1 President’s Letter / dEIdRE dEPkE here is a theme to our gathering tonight at the 78th entries, narrowing them to our 22 winners. Our judging process was annual Overseas Press Club Gala, and it’s not an easy one. ably led by Scott Kraft of the Los Our work as journalists across the globe is under Angeles Times. Sarah Lubman headed our din- unprecedented and frightening attack. Since the conflict in ner committee, setting new records TSyria began in 2011, 107 journalists there have been killed, according the for participation. She was support- Committee to Protect Journalists. That’s more members of the press corps ed by Bill Holstein, past president of the OPC and current head of to die than were lost during 20 years of war in Vietnam. In the past year, the OPC Foundation’s board, and our colleagues also have been fatally targeted in Iraq, Yemen and Ukraine. assisted by her Brunswick colleague Beatriz Garcia. Since 2013, the Islamic State has captured or killed 11 journalists. Almost This outstanding issue of Date- 300 reporters, editors and photographers are being illegally detained by line was edited by Michael Serrill, a past president of the OPC. Vera governments around the world, with at least 81 journalists imprisoned Naughton is the designer (she also in Turkey alone. And at home, we have been labeled the “enemy of the recently updated the OPC logo). -
2019 PRO. WEEK 02.09 Au/To 07.09 EDITORIAL JEAN-FRANÇOIS LEROY Paris, April 29, 2019
PRELIMINARY PROGRAM JULY 23, 2019 FESTIVAL 31.08 au/to 15.09 2019 PRO. WEEK 02.09 au/to 07.09 EDITORIAL JEAN-FRANÇOIS LEROY Paris, April 29, 2019 Mexico, Venezuela, Egypt, Libya, Algeria, North Korea, China, Russia, Syria, Bangladesh and Hungary are countries with a sad reputation for violations of freedom of the press, and unfortunately the list does not stop there. We could add Malta, and even Northern Ireland after the recent murder of Lyra McKee for which the New Irish Republican Army admitted responsibility. And there’s the case of Myanmar where the former symbol of resistance to the military junta and Nobel Peace Prize laureate (an award, with hindsight, now regretted) Aung San Suu Kyi failed to support the two Reuters journalists whose seven year sentence was upheld on appeal despite evidence that the arrest of Wa Lone and Kyaw Soe Oo, who were investigating a massacre of Rohingya civilians, was set up by the police.* Any number of other examples can be found of journalists killed, injured or imprisoned, and every year the figures are shocking. All their names deserve to be cited. In France too we can see reporters targeted, attacked by demonstrators and police without any major public outcry. Causes and professional ethics must be defended; journalists’ sources must be protected. One day the European Union, or even the United Nations will have to reach agreement on the definition of a journalist. Conditions for issuing press cards change from country to country, and there should be a standardized approach so that all journalists have the same rights, which means, of course, that they have the same duties. -
The 100 Greatest Military Photographs
The 100 Greatest Military Photographs From Military Times Publishing Company, insert to the 25 Sept 2000 issues of Army/Navy/AF Times No. 100 Robert Capa WWII No. 99 U.S. Navy Archives Pearl Harbor No. 98 Jacob Harris WWII No. 97 Ray Platnick WWII No. 96 David Turnley Operation Desert Storm No. 95 Charles Kerlee WWII No. 94 Christopher Morris USS Stark No. 93 Philip Jones Griffiths Vietnam, 1968 No. 92 Christopher Morris Persian Gulf War No. 91 U.S. Army Archives WWII, July 1944 No. 90 William Dinwiddle Rough Riders, 1898 No. 89 Brad Markel Andrews AFB, 1991 No. 88 Philadelphia Public Ledger WWI, Nov 1918 No. 87 Adrian Duff WWI, Sep 1918 No. 86 Stanley Tretick South Korea No. 85 U.S. Army Signal Corps Lt Gen George S. Patton No. 84 Robert Jakobsen Ca National Guard, 1940 No. 83 Wayne Miller WWII, 1944 No. 82 U.S. Army Air Force WWII, 1943 No. 81 U.S. Army Archives WWII, 1944 Paris, France No. 80 Peter Turnley “Highway of Doom” Persian Gulf War, 1991 No. 79 Hank Walker South Korea, 1950 No. 78 U.S. Marine Corps Vietnam No. 77 Steve Elfers Operation Desert Storm No. 76 Steve Elfers Operation Desert Storm No. 75 Bruno Barbey Persion Gulf War No. 74 Alexander Gardner Civil War, 1862 No. 73 Jeff Tuttle Operation Desert Shield No. 72 U.S. Army Archives WWII, 1943 Tarawa Atoll No. 71 Alfred Cooperman WWII, 1943 No. 70 Rich Mason Persian Gulf War No. 69 W. Eugene Smith Saipan, WWII No. 68 Larry Burrows Vietnam, 1966 Plane is a Douglas A–1 Skyraider No. -
War, Women, Vietnam: the Mobilization of Female Images, 1954-1978
War, Women, Vietnam: The Mobilization of Female Images, 1954-1978 Julie Annette Riggs Osborn A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: William J. Rorabaugh, Chair Susan Glenn Christoph Giebel Program Authorized to Offer Degree: History ©Copyright 2013 Julie Annette Riggs Osborn University of Washington Abstract War, Women, Vietnam: The Mobilization of Female Images, 1954-1978 Julie Annette Riggs Osborn Chair of the Supervisory Committee: William J. Rorabaugh, History This dissertation proceeds with two profoundly interwoven goals in mind: mapping the experience of women in the Vietnam War and evaluating the ways that ideas about women and gender influenced the course of American involvement in Vietnam. I argue that between 1954 and 1978, ideas about women and femininity did crucial work in impelling, sustaining, and later restraining the American mission in Vietnam. This project evaluates literal images such as photographs, film and television footage as well as images evoked by texts in the form of news reports, magazine articles, and fiction, focusing specifically on images that reveal deeply gendered ways of seeing and representing the conflict for Americans. Some of the images I consider include a French nurse known as the Angel of Dien Bien Phu, refugees fleeing for southern Vietnam in 1954, the first lady of the Republic of Vietnam Madame Nhu, and female members of the National Liberation Front. Juxtaposing images of American women, I also focus on the figure of the housewife protesting American atrocities in Vietnam and the use of napalm, and images wrought by American women intellectuals that shifted focus away from the military and toward the larger social and psychological impact of the war.