1,720,992 research outputs found
Catherine Saouter, dir., Le documentaire : contestation et propagande., 1997
No full textAlfonsi Laurence. Catherine Saouter, dir., Le documentaire : contestation et propagande., 1997. In: Sciences de la société, n°46, 1999. Organisation et qualité. pp. 198-200
Catherine Saouter, Images et sociétés. Le progrès, les médias, la guerre
Get PDFDepuis le 11 septembre 2001, il est de bon ton de s’interroger sur le rôle des médias en temps de guerre. L’approche de Catherine Saouter questionne, de façon intéressante, les processus de médiatisation dans les sociétés occidentales. Elle opte pour une démarche historique autant que sociologique, offrant ainsi une vision rénovée du rôle des images dans la construction des idéologies. Loin de se servir des repoussoirs totalitaires qui ont marqué le xxe siècle, elle se restreint aux seules dé..
LA BD RENCONTRE LE MUSÉE
No full textDu 6 novembre 2013 au 30 mars 2014, pour marquer les quinze ans des éditions La Pastèque, le Musée des beaux-arts de Montréal offre ses cimaises à quinze auteurs de bande dessinée québécois, dans le cadre de l’exposition La BD s’expose au musée. Chaque auteur choisit ainsi une oeuvre dans la collection du musée, à partir de laquelle il réalise une bande dessinée de quelques planches. La transmédialité à l’oeuvre dans ces productions, fondée sur une relation entre oeuvre source et oeuvre but, ou, dans les mots de Genette, entre hypotexte et hypertexte, engage une complexité particulière. À l’écart de l’idée d’adaptation, elle compose plutôt avec l’engendrement de nouvelles propositions poétiques jouant de la citation, de l’emprunt, de l’imitation, de l’amplification, de la remise en contexte, tout en portant un regard réflexif sur les médiums — passer de la peinture au dessin, de la couleur au noir et blanc, etc. —, et sur les médias qui président ontologiquement aux cadres énonciatifs des nouvelles oeuvres. Catherine Saouter analyse ces procédés et montre comment cette rencontre entre bande dessinée et musée, renouvelant les entendements de la notion de récit en images autant que celle d’oeuvre d’art par un travail particulièrement fécond sur le plan de la plasticité, autorise à ratifier la légitimation du genre, qui démontre ici une compréhension longtemps déniée du monde de la création visuelle et narrative.To mark the fifteenth anniversary of Éditions La Pastèque, the Montréal Museum of Fine Arts opened its space to fifteen Quebec comic strip/graphic novel artists as part of the exhibition Comics at the Museum, held from November 6, 2013, to March 30, 2014. Each author chose a work from the Museum’s collection and used it to create a comic strip consisting of a few panels. The transmediality at work in these productions, based on a relationship between the source work and the target work—or, in the words of Genette, between hypotext and hypertext—leads to a very specific kind of complexity. Going beyond adaptation, it involves the generation of new poetic propositions relying on quotation, borrowing, imitation, amplification, and placing in context, while a reflexive look is turned on mediums—movement from painting to drawing, from colour to black and white, etc.—and on the media that preside ontologically over the enunciated frameworks of the new works. This article analyzes such processes and shows how the meeting between comics and the museum, in renewing our understanding of both works of art and narratives consisting of images through a particularly fruitful approach to plasticity, authorizes us to ratify the legitimation of a genre expressing a long-denied understanding of the world of visual and narrative creation.Del 6 de noviembre de 2013 al 30 de marzo de 2014, a fin de subrayar los quince años de la editorial La Pastèque, el Museo de Bellas Artes de Montreal ofreció sus paredes a quince autores de cómics quebequenses, en el marco de la exposición La BD s’expose au musée (El cómic se expone en el museo). Cada autor eligió una obra en la colección del museo, a partir de la cual realizó un cómic de algunas planchas. La transmedialidad que actúa en estas producciones, basada en una relación entre obra fuente y obra objeto, o, utilizando palabras de Genette, entre hipotexto e hipertexto, entraña una complejidad particular. Apartándose de la idea de adaptación, más bien se ajusta al engendramiento de nuevas propuestas poéticas que utilizan la citación, el empréstito, la imitación, la amplificación y la recontextualización, echando a la vez una mirada reflexiva a los médium -pasar de la pintura al dibujo, del color al blanco y negro, etc.- y a los medios de comunicación que velan ontológicamente por los marcos enunciativos de las nuevas obras. El presente artículo analiza estos procedimientos y muestra cómo este encuentro entre el cómic y el museo, renovando tanto los entendimientos de la noción de relato en imágenes como la de obra de arte con un trabajo particularmente fecundo en cuanto a plasticidad, autoriza a ratificar la legitimación del género, que demuestra aquí una comprensión que, durante mucho tiempo, se le denegó al mundo de la creación visual y narrativa
Nous remercions
No full textFrancis Balle Pierre C. Bélanger Simone Bonnafous Brahim Brahimi Marc Hiver Alain Laramée Tristan Mattelart Greg Nielsen Susan Ossman Alain Payeur Christian Pons Serge Proulx Alain Roussillon Catherine Saouter Gina Stoici
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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