Calenda - Histoires d鈥檃lbums photographiques

<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="fr" lang="fr"> <head> <meta http-equiv="Content-type" content="text/html; charset=utf-8" /> <meta http-equiv="Content-language" content="" /> <link rel="shortcut icon" type="image/x-icon" href="favicon.ico" /> <title>Calenda - Histoires d鈥檃lbums photographiques</title> <link rel="stylesheet" type="text/css" href="https://static-origin.openedition.org/openbarre_/styles/main.css?date=2018-11-06" /> <link rel="stylesheet" type="text/css" href="css/screen.css" media="screen, print" /> <link rel="stylesheet" type="text/css" href="css/print.css" media="print" /> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <meta name="twitter:card" content="summary" /> <meta property="og:type" content="article" /> <meta name="twitter:site" content="@calendaSHS" /> <meta property="og:url" content="https://calenda.org/1206315" /> <meta property="og:title" content="Histoires d鈥檃lbums photographiques" /> <meta property="og:description" content="Ce numéro de Photographica souhaite susciter des réflexions à la fois sur l’histoire des albums photographiques et sur la manière de les lire et de les étudier. Quelles sont les manières d’appréhen..." /> <meta property="og:image" content="https://calenda.org/images/favicon_150x150.png" /> <meta name="DC.rights" content="https://creativecommons.org/publicdomain/zero/1.0/" /> <meta name="viewport" content="width=device-width, initial-scale=1, shrink-to-fit=no"></head> <body> <div id="ob-breadcrumb" class="ob-breadcrumb-calenda"> <div class="container"> <a href="search">Accueil</a><a href=""><span>Histoires d鈥檃lbums photographiques</span></a> </div> </div> <div id="wrapper"> <div id="content"> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <h2 id="pageTitle" class="title_as_rss"><a href="search">Accueil</a><a href=""><span>Histoires d鈥檃lbums photographiques</span></a></h2> <div class="colwrapper"> <div id="icon" class="column"> <h2><a href="search?primary=ftype&ftype=40">Appel 脿 contribution</a><span><a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a></span></h2> <div id="tabledates"> <h2>Dates</h2> <div class="list_dates"> <div class="unique_date highlight"> <div class="day"><a href="search.html?primary=fdate&fyear=2025&fmonth=02&fday=01">01</a></div> <div class="month"><a href="search.html?primary=fdate&fyear=2025&fmonth=02">f茅v</a></div> <div class="year"><a href="search.html?primary=fdate&fyear=2025">2025</a></div> </div> </div> </div> <div id="listcategories"> <h2>Cat茅gories</h2> <ul> <li><a href="search?primary=fsubject&fsubject=214">Anthropologie sociale</a></li> <li><a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=215">Anthropologie culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=280">脡tudes visuelles</a></li> </ul> </div> </div> <div id="document" class="column"> <div id="main"> <div class="titles"> <h1 class="origt"><a href="1206315">Histoires d鈥檃lbums photographiques</a></h1> <h2 class="origt">Bound Histories</h2> <p class="origd">M茅moire, mat茅rialit茅, lecture(s)</p> <p class="origd altertitle">Memories, Materialities, and Meanings of Photo Albums</p> </div> <div class="mapuce2">*  *  *</div> <p id="pubdate"> Publi茅 le mardi 19 novembre 2024 </p> <div id="texte"> <div id="resume"> <p class="intitule">R茅sum茅</p> <div class="tabMenu"><a href="#resume-1206315-fr" hreflang="fr" class="active">Fran莽ais</a> <a href="#resume-1206315-en" hreflang="en">English</a> </div> <div id="resume-1206315-fr" class="tabContent" lang="fr" xml:lang="fr"> <p style="text-align: left;">Ce numéro de <a href="https://journals.openedition.org/photographica/"><em>Photographica</em></a> souhaite susciter des réflexions à la fois sur l’histoire des albums photographiques et sur la manière de les lire et de les étudier. Quelles sont les manières d’appréhender ces albums photographiques ? Faut-il en faire la « biographie sociale » ou encore « culturelle » au sens où l’entendaient les anthropologues Arjun Appadurai et Igor Kopytoff ? En quoi représentent-ils un objet d’enquête des plus riches pour l’histoire de la photographie et que nous révèlent-ils des pratiques photographiques ?</p> </div> <div id="resume-1206315-en" class="tabContent hidden" lang="en" xml:lang="en"> <p id="docs-internal-guid-32c0cdfd-7fff-4655-f465-cbb6ae06b153" dir="ltr" style="text-align: left;">This special issue of <a href="https://journals.openedition.org/photographica/"><em>Photographica</em></a> aims to foster reflections on both the history of albums and the ways in which they can be read and studied. What are the different ways of understanding photo albums? Should they be considered as objects with a “social” or a “cultural biography” in the sense of the anthropologists Arjun Appadurai and Igor Kopytoff? In what ways do they represent one of the richest objects of investigation for the history of photography, and what do they reveal about photographic practices?</p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div class="tabMenu"><a href="#annonce-1206315-fr" hreflang="fr" class="active">Fran莽ais</a> <a href="#annonce-1206315-en" hreflang="en">English</a> </div> <div id="annonce-1206315-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1 dir="ltr">Argumentaire</h1> <p dir="ltr" style="text-align: left;">Les articles publiés par Philippe Broussard dans <em>Le Monde</em> à l’été 2024 à propos d’un album de Paris sous l’Occupation entre 1940 et 1942 retrouvé dans une brocante l’ont montré : les albums photographiques peuvent être le point de départ de récits ou d’enquêtes. Certains ont fait l’objet d’histoires particulières ces dernières années. Ainsi l’ouvrage de Tal Bruttmann, Stefan Hördler et Christoph Kreutzmüller, Un album d’Auschwitz, ou encore l’ouvrage publié par Clémentine Vidal-Naquet autour d’un album fabriqué pour un anniversaire de mariage en 1919, sur les ruines de la Grande Guerre. Si les albums sont des sources d’histoire et de microhistoire, on peut se demander ce que peut en dire, de son point de vue, l’histoire de la photographie.</p> <p dir="ltr" style="text-align: left;">Or sur ce point, force est de constater, comme le soulignait Kathrin Yacavone dans un récent article, que les albums ont longtemps été délaissés et ont sans doute été l’un des objets les moins théorisés de la photographie. Ainsi, dans Un art moyen paru sous la direction de Pierre Bourdieu en 1965, qui pourtant étudie les usages sociaux du médium photographique, l’index ne contient pas d’entrée « Album ». Entre les années 1960 et 1980, au moment de l’essor du marché de la photographie ancienne, de nombreux albums ont été désossés et vendus en planches séparées, leurs photographies détachées ; certains le sont encore aujourd’hui sur les marchés aux puces ou chez les marchands. Conscient de ces pratiques, le monde patrimonial en France s’est mobilisé autour de cette question en 1996, en organisant un colloque sur “L’album photographique”, qui pour la première fois articulait les questions de respect de l’intégrité de ces albums et leur conservation matérielle, pour en faire l’histoire, une initiative qui a eu peu de suite. Aujourd’hui, à l’heure du « tournant matériel » dans l’histoire de la photographie, les albums de photographies de famille ou amateures présentent un regain d’intérêt pour les chercheurs et chercheuses, qui se penchent davantage sur les images dites « ordinaires ». On pourrait aussi faire l’hypothèse que cette attention renouvelée découle de la disparition de l’album des pratiques quotidiennes dans un environnement numérique ; à moins que celui-ci ne se soit plutôt transformé ?</p> <p dir="ltr" style="text-align: left;">Dès ses origines ou presque, l’histoire de la photographie s’inaugure, pour ainsi dire, par un album photographique. Hippolyte Bayard, inventeur d’un procédé photographique sur papier dès 1839, en est le producteur, et cet album qu’il appelait son « cahier d’essais » aujourd’hui conservé dans les collections de la Société française de photographie est sans doute l’un des premiers albums photographiques jamais réalisé. Quant à la pratique de l’album, elle se développe à partir du moment où l’on abandonne le daguerréotype et où les tirages papier sont majoritairement adoptés, c’est-à-dire dans le courant des années 1850, s’inspirant aussi du modèle de l’estampe.</p> <p dir="ltr" style="text-align: left;">Mais c’est surtout en parallèle de l’essor de l’industrie du portrait, et avec la vogue du portrait carte-de-visite de Disdéri après 1854, que se déploie la fabrication des albums. Ainsi, sur le marché français dans les années 1840, on trouve des fabricants d’albums (pour le dessin et l’estampe) chez les papetiers comme Contier au 6 rue de Montmorency et Delarue, 60 rue du Faubourg Saint-Honoré à Paris, ou encore chez des fabricants de portefeuilles qui proposent à leur clientèle carnets de bal, agendas et albums. Pourtant, il faut attendre le milieu des années 1850 pour voir apparaître une rubrique « albums » dans le Bottin commercial. On fait alors intensément commerce des albums photographiques : dans le Moniteur de l’exportation, on trouve plusieurs annonces de négociants recherchant ce type d’articles à exporter, qui vers l’Angleterre, qui vers l’Asie : ainsi en 1863 un certain Gombrich « fait des achats considérables en albums photographiques, vues stéréoscopiques et bijoux dorés, en solde et au cours, pour ses acheteurs de Chine ».</p> <p dir="ltr" style="text-align: left;">La popularité de l’album est remarquable à travers des aires culturelles et géographiques variées. En France, la bourgeoisie qui les achète y verse les photographies de famille, mais aussi les portraits des personnalités du moment. Dans les albums s’entassent ainsi des galeries de contemporains : hommes politiques, militaires, artistes, comédiens et comédiennes, cantatrices et actrices, danseuses. Ces objets témoignent de la fortune de nouvelles consommations du portrait – on pense par exemple à la « Galerie des Américains illustres » de Mathew Brady exposée à New York dans les années 1850 – et témoignent également de nouveaux rapports à la photographie, par exemple du fait qu’il est désormais possible de connaître les visages de ses contemporains, dans le moindre détail. Au-delà du portrait de studio, les “albums-collecteurs” d’images photographiques publicitaires connaissent parallèlement un important succès : l’album contemporain européen de Justin Lallier tiré à 50 000 exemplaires en 1865, mais aussi l’album des contemporains des Grands magasins du Printemps (1865), le Figaro Album (1875) ou encore les albums des chocolats Felix Potin (vers 1900). Entre les années 1860 et le début du XXe siècle, « les albums sont de véritables vestiaires bourgeois », écrit Manuel Charpy, marqués par une certaine rigidité des corps et des postures, une recherche de maintien et de dignité. La forme de ces albums est à l’image des portraits bourgeois : gros fermoirs de métal, tranche dorée, couvertures rigides en cuir, en écaille, etc.</p> <p dir="ltr" style="text-align: left;">Pourtant, ce n’est pas seulement en liaison avec le commerce du portrait que l’album connaît son ascension. On vend par exemple dès les années 1860-1870 au Japon des albums de photographies de « paysage et coutumes » destinés à une riche clientèle de voyageurs. Le développement de la photographie amateur et l’arrivée de la carte postale à la fin du XIXe siècle donnent également lieu à une nouvelle frénésie d’albums, alors que Kodak propage un nouveau vocabulaire visuel reposant aussi bien sur la consommation que sur la nostalgie.</p> <p dir="ltr" style="text-align: left;">À l’ère contemporaine, les albums photographiques ne disparaissent pas. Au contraire, comme l’écrivait l’anthropologue Richard Chalfen, avec les boîtes à chaussure, ils sont l’un de deux contenants majeurs de conservation des photographies de famille et de la sphère domestique : fêtes, anniversaires, moments importants qui rythment la vie, événements ou voyages. Au-delà des albums de famille, dans la continuité du XIXe siècle et tout au long du XXe siècle coexistent toutes sortes d’albums photographiques : albums commerciaux ou industriels, albums d’atelier, albums d’exposition, albums de modèles et publicitaires, albums de souvenirs et de voyage. </p> <p dir="ltr" style="text-align: left;">Il y aurait beaucoup à dire de l’exposition de cette variété d’albums photographiques, de leur partage et des pratiques collectives qui les entourent (comment sont-ils exposés et consultés par le public ?). Le geste de collecter des photographies au sein d'albums évoque encore la pratique du scrapbook, opérant un relais entre des usages professionnels et intimes, et rapprochant des démarches aussi bien populaires qu’expertes. Ainsi, les albums sont partout : on en trouve dans toutes les familles ou presque, ainsi que chez les collectionneurs, dans des musées, des archives ou des bibliothèques. Ils forment un ensemble non-fini, en mouvement et hétérogène.</p> <p style="text-align: left;">Ce qui rassemble des objets aussi divers, c’est bien le format album, des pages reliées entre deux couvertures. Parce qu’il offre au regardeur plusieurs feuillets avec des photographies mises en pages et choisies pour être conservées, parfois avec des légendes et des annotations, l’album apparaît comme un code à déchiffrer. À la différence de l’image unique, l’album est un objet complexe, espace de mise en scène tout autant que de collecte. C'est aussi en tant que format médiatique, qui organise des photographies autour de différents motifs narratifs, thématiques ou idiosyncratiques, que ce numéro souhaite considérer l'album. En ce qu'il rassemble et englobe des objets photographiques -- souvent variés, comme des tirages, des coupures de presse ou des pages de magazines, des reproductions -- au sein d'une même reliure, l'album construit également un discours sur la photographie. Ainsi, se pencher sur l'album ou les albums de photographies pourra représenter une occasion de questionner ce que l'assemblage d'images et leur agencement fait à la photographie. L'album est à ce titre aussi un support privilégié pour observer les rapports qui se tissent entre écrit(s) et photographies.</p> <h1 id="docs-internal-guid-58b15b4a-7fff-9b29-167e-16f67ef3d31e" dir="ltr">Axes possibles pour les articles</h1> <p dir="ltr" style="text-align: left;">- études monographiques et micro-historiques portant sur un album photographique particulier ; réflexions méthodologiques et méthodes d’enquête sur les albums ; </p> <p dir="ltr" style="text-align: left;">- études de la matérialité des albums photographiques et/ou ethnographies des pratiques ; analyses des gestes de leur fabrication (découpage, collage, commentaires…) ; l’album comme objet de souvenir intime ; les liens entre matérialité de l’album et émotions</p> <p dir="ltr" style="text-align: left;">- études sur des albums photographiques témoignant de pratiques de collecte marginalisées et/ou de groupes marginalisés ; analyses des albums comme sources pour l’écriture de contre-histoires ;</p> <p dir="ltr" style="text-align: left;">- propositions de typologies d’albums photographiques destinés à la sphère privée ou publique, aux pratiques individuelles ou collectives de la photographie ; étude des usages des albums dans différentes sphères et différents contextes, ou à travers ceux-ci : mémoriels, documentaires, pédagogiques, d'inventaire…</p> <p dir="ltr" style="text-align: left;">- analyses des albums photographiques comme clés pour comprendre l’évolution de la photographie familiale et/ou de la photographie amateure ; mais aussi l’histoire de la photographie commerciale et industrielle (albums de modèles, albums de souvenir touristiques, etc.) ;</p> <p dir="ltr" style="text-align: left;">- propositions pour une histoire sociale, culturelle ou économique des albums photographiques, de leur fabrication, de leur production et de leur réception ; sociabilités liées aux albums photographiques ;</p> <p dir="ltr" style="text-align: left;">- réflexions sur la disparition des albums papier et l’émergence de nouveaux albums ; pratiques contemporaines des albums photographiques, y compris sur les réseaux sociaux ;</p> <p dir="ltr" style="text-align: left;">- mises en perspective historiographiques et/ou théoriques à propos des albums photographiques ; exposition et patrimonialisation des albums photographiques</p> <p dir="ltr" style="text-align: left;">Le comité de rédaction de <em>Photographica</em> sera sensible à la dimension méthodologique et réflexive des articles proposés.</p> <h1 dir="ltr">Modalités de soumission et calendrier</h1> <p dir="ltr" style="text-align: left;">Les propositions devront inclure votre nom et votre affiliation, un résumé de 300 à 400 mots, ainsi qu’un court CV.</p> <p dir="ltr" style="text-align: left;">Elles sont à envoyer à l’adresse suivante : <strong>redaction@photographica-revue.fr. </strong></p> <h3 dir="ltr">L’appel est ouvert jusqu’au 1<sup>er</sup> février 2025.</h3> <ul> <li dir="ltr">Les auteur.es dont les propositions seront retenues seront avisé.es début mars 2025.</li> <li dir="ltr">Les articles, de 30 000 à 35 000 signes (espaces et notes compris), seront à envoyer pour le 1er juin 2025.</li> <li>Parution de la revue Photographica (n°12) : printemps 2026.</li> </ul> <h1 id="docs-internal-guid-b21d02b1-7fff-0e05-057d-ebd3f2aa744f" dir="ltr">Direction éditoriale du dossier</h1> <ul> <li dir="ltr" role="presentation">Carolin Görgen, maîtresse de conférences en Civilisation américaine, art américain, Sorbonne Université</li> <li dir="ltr" role="presentation">Alice Morin, historienne de la photographie et des médias, International Fellow Kulturwissenschaftliches Institut Essen</li> <li dir="ltr" role="presentation">Marie-Eve Bouillon, historienne de la photographie, chargée d’études documentaires, Archives Nationales de France</li> </ul> </div> <div id="annonce-1206315-en" class="tabContent hidden" lang="en" xml:lang="en"> <h1>Argument</h1> <p dir="ltr" style="text-align: left;">In the summer of 2024, a series of articles in the French daily newspaper <em>Le Monde</em> explored a photo album of occupied Paris between 1940 and 1942. A random flea market find, the photo album would become the point of departure for an investigation into forgotten histories undertaken by journalist Philippe Broussard. In recent years, photo albums have been the subject of inquiry of numerous historians, from Tal Bruttmann, Stefan Hördler and Christoph Kreutzmüller’s Un album d’Auschwitz to Clémentine Vidal-Naquet’s study of a 1919 wedding anniversary album, assembled amid the ruins of World War I. If albums represent sources for a multitude of histories and microhistories, we want to take stock of the ways in which photo history has engaged with the medium.</p> <p dir="ltr" style="text-align: left;">Photo albums have long been neglected and certainly count among the least theorized objects of the photo historical discipline, as Kathrin Yacavone pointed out in a recent article. Hence, in Pierre Bourdieu’s seminal survey on the social uses of photography – Photography: A Middle-brow Art of 1965 – there is no “album” entry in the index. Between the 1960s and 1980s, as the flourishing art market became interested in nineteenth-century photographs, albums would be dismantled and detached pages sold as individual prints, some of which can still be found at flea markets or photo dealers today. Keenly aware of these practices, French heritage institutions took action in 1996 on the occasion of the symposium “The Photographic Album,” which provided the first platform for discussing the integrity of albums, their material conservation, and the complex histories they contain. Yet the initiative had little follow-up. In recent years, as scholars have turned their attention to so-called “vernacular” images and practices, there has been a renewed interest in photo albums, notably those assembling family photographs and amateur images. One possible explanation for this renewed interest – as part of the material turn in our discipline – might be that photo albums have all but disappeared from our everyday lives, or at any rate have significantly shifted in the age of digital photography.</p> <p dir="ltr" style="text-align: left;">From early on, the history of photography was inaugurated, so to speak, by photo albums. Hippolyte Bayard, inventor of one of the first paper-based processes, was its producer, and the album which he called his Cahier d'essais (now in the collections of the Société Française de Photographie) is one of the first proper photo albums ever produced. Over the course of the 1850s, once daguerreotypes were gradually abandoned and paper prints became common, the practice of making albums spread more widely, around the same time as other print products were popularized with other printing techniques.  </p> <p dir="ltr" style="text-align: left;">The marketing of albums significantly took off along with the growth of the portrait industry – and not least Disdéri’s fashionable carte-de-visite portrait 1854. On the French marketplace in the 1840s, album makers (for drawings and prints) could be found in paper mills such as Contier and Delarue in Paris, or at wallet manufacturers who offered their customers carnets de bal, agendas and albums. But it wasn’t until the mid-1850s that an “album” section appeared in commerce directories, such as the Bottin commercial. Photo albums gradually became a trade. In the Moniteur de l'exportation, we find several ads by merchants seeking album merchandises to export to England and as far as Asia: in 1863, for example, a certain Gombrich “made considerable purchases of photographic albums, stereoscopic views and gilded jewelry, on sale and at market price, for his buyers in China.”</p> <p dir="ltr" style="text-align: left;">Across a variety of geographies and cultures, albums gradually turned into keepsakes for family photographs, merged with portraits of well-known personalities. Albums compiled galleries with portraits of contemporaries: politicians, soldiers, artists, actors, actresses, and dancers – think for example of Mathew Brady’s Gallery of Illustrious Americans on view in New York in the 1850s. The album form bears witness to the success of new consumption practices of portraiture, and cultural changes such as the fact that it had become possible to know the faces of one’s contemporaries, down to the smallest details. At the same time, “album-collectors” of photographic advertising portraits enjoyed great success: Justin Lallier's Album contemporain européen (50,000 copies printed in 1865), the Album des contemporains des Grands magasins du Printemps (1865), the Figaro Album (1875), as well as the Felix Potin chocolate albums (c. 1900). Between the 1860s and the beginning of the twentieth century, “albums were veritable bourgeois dressing rooms,” as Manuel Charpy wrote, marked by a certain physical rigidity and a quest for dignity in the poses. These albums’ material format reflects the image of bourgeois portraits: large metal clasps, gilded edges, rigid leather or tortoiseshell covers, and so on.</p> <p dir="ltr" style="text-align: left;">If photo albums rose to fame in large part thanks to their connections with the portrait trade, yet they were also marked by other new practices. Consider for example the albums of “landscape and customs” photographs that were sold to a wealthy clientele of travelers in Japan in the 1860s and 70s. By the close of the nineteenth century, the emergence of amateur photography and the arrival of the postcard would give rise to a new frenzy of albums, with Kodak providing a new visual vocabulary of consumption and nostalgia.</p> <p dir="ltr" style="text-align: left;">Today, photo albums are much less visible, yet they have not disappeared. On the contrary, as anthropologist Richard Chalfen has suggested, along with shoeboxes, albums are one of two major containers for family and domestic photographs: celebrations, birthdays, important moments in life, events or travel. Not only family albums, but all kinds of photo albums have been around since the nineteenth century and throughout the twentieth century: commercial or industrial albums, studio albums, exhibition albums, model and advertising albums, souvenir and travel albums. </p> <p dir="ltr" style="text-align: left;">Much remains to be said about the ways in which we display and share photo albums, and about the collective practices that surround all these albums – who gets to view them? How are does the public interact with them? The gesture of collecting photographs in albums can also be connected to that of the scrapbook, bridging professional and intimate spheres, likening popular and expert practices. Unsurprisingly then, albums can be found almost anywhere: in most families and among a variety of collectors, in museums, archives or libraries. They form a heterogeneous, dispersed, and unstable whole. </p> <p style="text-align: left;">Perhaps we can better circumscribe albums by focusing on their format: by offering the viewer a sequence of pages of photographs laid out and chosen for preservation in between covers, sometimes with captions and annotations, the album is akin to a code waiting to be deciphered. Unlike the single image, an album is a complex object, a space for staging a collection of photographs. It is also the album as a media format, which organizes photographs around different narratives, thematic or idiosyncratic motifs, that this special issue wishes to explore. By gathering a variety of photographic objects – such as prints, clippings, magazine pages, or reproductions – within a single binding, the album also constructs a discourse on photography. Looking at photographic albums can be an opportunity to question what assembling images and arranging them does to photography. In this respect, the album is also a privileged medium for observing the relationships that develop between the written word(s) and photographs.</p> <h1 id="docs-internal-guid-f1abcd31-7fff-0294-56ce-0c4769201263" dir="ltr">Possible topics for contributions include:</h1> <p dir="ltr" style="text-align: left;">- Monographic and micro-historical studies of a particular photo album; methodological reflections and methods of investigating albums; </p> <p dir="ltr" style="text-align: left;">- The material culture and ethnography of albums; analysis of the gestures involved in their making (cutting, collage, annotations, etc.); the album as an object of intimate remembrance, the link between materiality and emotion </p> <p dir="ltr" style="text-align: left;">- Marginalized practices of album compilation; photo albums as sources for alternative photo-histories, or histories of marginalized groups </p> <p dir="ltr" style="text-align: left;">- Study of the different types of albums within the private or the public sphere, individual or collective photographic practices; study of the uses of albums in or across different spheres and contexts: memorial, documentary, educational, inventory...</p> <p dir="ltr" style="text-align: left;">- Photo albums as a key to understanding family and/or amateur photography, as well as commercial and industrial photography (model albums, tourist souvenir albums, etc.);</p> <p dir="ltr" style="text-align: left;">- Social, cultural and economic histories of photo albums, their production, marketing, and reception; forms of sociability associated with photographic albums;</p> <p dir="ltr" style="text-align: left;">- The “end” of paper-based albums and the emergence of new albums; contemporary photo album practices, including on social media</p> <p dir="ltr" style="text-align: left;">- Historiographical and/or theoretical perspectives on photo albums; the place of photo albums in exhibition and museum collections</p> <p dir="ltr" style="text-align: left;">The editorial board encourages contributors to propose critical and/or reflexive methodologies in their submissions. </p> <h1 dir="ltr">Submission and schedule:</h1> <p dir="ltr" style="text-align: left;">Proposals should include the author’s name and affiliation, a 300-400 word abstract, and a short CV. </p> <p dir="ltr" style="text-align: left;">Proposals must be sent to the following address: <strong>redaction@photographica-revue.fr</strong></p> <h3 dir="ltr">The call for papers is open until February 1, 2025. </h3> <p dir="ltr" style="text-align: left;">Contributors will be notified in early March 2025.</p> <p dir="ltr" style="text-align: left;">Articles of 30-35,000 characters (including spaces and notes) must be submitted by June 1, 2025.Publication of Photographica (n°12): spring 2026.</p> <h1 id="docs-internal-guid-bf9e4cb2-7fff-6d7f-cbb4-e4bc06fa1c6c" dir="ltr">Co-editors</h1> <p dir="ltr" style="text-align: left;">- Carolin Görgen, Associate Professor of American Studies, Sorbonne Université</p> <p dir="ltr" style="text-align: left;">- Alice Morin, Media and Photo historian, Fellow at Kulturwissenschaftliches Institut Essen</p> <p dir="ltr" style="text-align: left;">- Marie-Eve Bouillon, historian of photography, research associate at Archives Nationales de France</p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=213">Ethnologie, anthropologie</a> > <a href="search?primary=fsubject&fsubject=214">Anthropologie sociale</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=213">Ethnologie, anthropologie</a> > <a href="search?primary=fsubject&fsubject=215">Anthropologie culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=280">脡tudes visuelles</a></li> </ul> </div> <div id="eventformats"><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>samedi 01 f茅vrier 2025</li> </ul> </div> <div id="attachments"> <p class="intitule">Fichiers attach茅s</p> <ul> <li><a href="1206335?file=1" target="_blank">Photographica 12_Call for Papers_FINAL.docx.pdf</a></li> <li><a href="1206345?file=1" target="_blank">Photographica 12_APPEL A虁 CONTRIBUTIONS_FINAL.docx.pdf</a></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de r茅f茅rence</p> <ul> <li><a href="https://journals.openedition.org/photographica/">Photographica</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Manon Gomis<br/><em>courriel :</em> redaction [at] photographica-revue [dot] fr</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>芦 Histoires d鈥檃lbums photographiques 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le mardi 19 novembre 2024, <a class="url" href="https://doi.org/10.58079/12pqi">https://doi.org/10.58079/12pqi</a></p> </div> </div> </div> </div> <div id="news" 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