de l\u2019authenticit\u00e9.<\/em><\/h3>\nAu cours de l\u2019hiver 2018-2019, le conflit social des Gilets jaunes s\u2019est accompagn\u00e9 d\u2019un conflit de repr\u00e9sentations. Alors que la r\u00e9ponse gouvernementale s\u2019efforce de favoriser un spectacle de la violence, repris par les grands m\u00e9dias, une contre-information s\u2019\u00e9labore par le biais des r\u00e9seaux sociaux, en s\u2019appuyant tout particuli\u00e8rement sur la force documentaire des vid\u00e9os et des photographies autoproduites. Gr\u00e2ce \u00e0 la valeur de preuve visuelle, une autre image s\u2019impose et change la vision du conflit\u00a0: celle d\u2019un d\u00e9ferlement in\u00e9dit de violences polici\u00e8res. L\u2019analyse des m\u00e9canismes \u00e0 l\u2019\u0153uvre pendant cette crise confirme l\u2019\u00e9rosion du pouvoir des \u00e9lites et le d\u00e9placement vers l\u2019autom\u00e9diation, devenue ici le principal outil de la formation de l\u2019opinion.<\/p>\n
Andr\u00e9 Gunthert<\/strong> est enseignant-chercheur, ma\u00eetre de conf\u00e9rences \u00e0 l\u2019EHESS, historien des cultures visuelles. Sp\u00e9cialiste d\u2019histoire de la photographie, il a fond\u00e9 la revue \u00c9tudes photographiques<\/em> (1996-2017), vou\u00e9e \u00e0 encourager une approche scientifique du m\u00e9dium. Animateur du Laboratoire d\u2019histoire visuelle contemporaine et du site collaboratif Culture visuelle<\/em> (2009-2014), il participe au d\u00e9veloppement\u00a0des \u00e9tudes visuelles francophones.<\/p>\nApr\u00e8s avoir enqu\u00eat\u00e9 sur les d\u00e9buts de la photographie, la r\u00e9volution de la photographie instantan\u00e9e, l\u2019\u00e9dition illustr\u00e9e et le photojournalisme, il est parmi les premiers \u00e0 avoir \u00e9tudi\u00e9\u00a0 la transition num\u00e9rique, d\u00e9crivant\u00a0 le nouveau partage des images et leurs usages conversationnels.\u00a0 Ses travaux r\u00e9cents, dont il publie r\u00e9guli\u00e8rement des extraits sur\u00a0son carnet de recherches, L\u2019image sociale<\/em>, portent sur les usages narratifs des images et sur le paradigme documentaire.<\/p>\nIl a notamment publi\u00e9 La Fabrique des images contemporaines<\/em> (avec Christian Delage et Vincent Guigueno, \u00e9d. du Cercle d\u2019art, 2007), L\u2019Art de la photographie, des origines \u00e0 nos jours<\/em> (avec Michel Poivert, Citadelles-Mazenod, 2016), L\u2019image partag\u00e9e. La photographie num\u00e9rique<\/em> (Textuel, 2015).<\/p>\n","protected":false},"excerpt":{"rendered":"18h \u2014 amphi A Le combat des images et la crise des Gilets jaunes. Un renversement de l\u2019authenticit\u00e9. Au cours de l\u2019hiver 2018-2019, le conflit social des Gilets jaunes s\u2019est accompagn\u00e9 d\u2019un conflit de repr\u00e9sentations. Alors que la r\u00e9ponse gouvernementale s\u2019efforce de favoriser un spectacle de la violence, repris par les grands m\u00e9dias, une contre-information […]<\/p>\n","protected":false},"author":11,"featured_media":18967,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[78],"tags":[17,58],"class_list":["post-18999","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-conference","tag-lecture-en"],"acf":[],"yoast_head":"\n
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