If your main activity is audiovisual (TV, radio, audiovisual press agency, audiovisual web media) or photographic (photo agency, press photographer), your contact will be the Audiovisual Press Office:Audiovisual press or photography: presseaudio@festival-cannes.frAudiovisual Web Media - all digital media (Video & Image): mediaweb-audio@festival-cannes.frTel: +33 (0)1 53 59 61 88
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Sharon Tate's legacy has long been tied to the gruesome tragedy that was her death. It's now been more than 50 years since the shocking Manson Cult killings and her passing. Here, we remember the actress and the life that she lead in photos.
Besides her native French, Deneuve speaks fluent Italian and English and has some knowledge of Spanish, though she does not fluently speak the language. Her hobbies and passions include gardening, drawing, photography, reading, music, cinema, fashion, antiques and decoration.[24] According to a 1996 article published by The New York Times, Deneuve is a practising Roman Catholic.[31]
Deneuve has been married once:[32] to photographer David Bailey from 1965 to 1972,[6] though they separated in 1967.[33] She has lived with director Roger Vadim,[34] actor Marcello Mastroianni,[6] cinematographer Hugh Johnson,[35] and Canal+ tycoon Pierre Lescure.[6]
Shortly thereafter, her best friend Miranda encouraged her to compete in Miss Ondine, a minor Cairo beauty pageant which she entered on the assurance that it was just for fun and that her mother would not find out. When Iolanda unexpectedly won second prize and Miranda won second runner-up, they were photographed and published in newspapers Le journal d'Égypte and Le progrès égyptien. The next day when her mother found out, she forcibly cut Iolanda's hair short. Eventually, her mother relented and Iolanda left her job to start modelling for Donna, a Cairo-based fashion house.[7]
Ces Kroniks, à rebours des généralités et des idées reçues, nous plongent dans la réalité sociale, politique des actrices et acteurs de la Pédagogie sociale.Elles nous font partager le vrai quotidien de ces enfants, de ces jeunes et de leurs familles.
Thomas Bérard, photographe social, conçoit la photo comme un moyen de rendre visible ce qu'on ne voit pas forcément à l'oeil nu, comme les relations affiliatives et sociales.
Tous les supports sont les bienvenus : crochet, tricot, broderie, patchwork, peinture, sérigraphie, impression laser sur tissu, photos, vinyle, etc. Il est préférable que le projet soit réalisé sur une base textile, mais le papier est également acceptable, en poids de 180 à 300 grammes.
MAI: Feminism & Visual Culture invites authors with expertise in visual and cultural studies, as well as in related disciplines, to contribute to our new focus issue on photography and resistance. The issue will be co-edited with Dr Kylie Thomas, a Marie Skłodowska-Curie, Research Fellow at the Netherlands Institute for War, Holocaust and Genocide Studies.
We are particularly interested in contributions that critically illuminate the lives and work of women and non-binary photographers, particularly those who have drawn on the insights and practices of intersectional feminism and anti-racism.
How women and non-binary photographers made use of the medium as a form of resistance came into clear view at the time of the Second World War. One example of photographers working at that time was Claude Cahun, whose photomontages reinvented the human form and refused normative conceptions of the body.
Another visual activist, Zanele Muholi has used photography as a way not only to honour the lives of LGBTQI+ Black Africans, but also as a form of advocacy in campaigns against homophobic hate crimes (Baderoon 2011; Lewin 2019).
By no means has such work been limited to the West. For example, Her Pixel Story in Kashmir, the Thuma Collective in Myanmar, and the Kaali Collective in Bangladesh are contemporary photography collectives making use of the medium to resist repressive regimes.
In South Africa, the 1980s saw Lesley Lawson, Deseni Moodliar, Zubeida Vallie and Gille de Vlieg joining Afrapix, the anti-apartheid photography collective. Many of their images drew attention to the vital role played by women in the struggle for freedom in South Africa (Lawson 1985; Comley, Hallett & Ntsoma 2006).
However, the ways in which women and non-binary artists, writers, (art) historians, thinkers and activists have made use of photography as a form of resistance remain under-researched. Therefore, to contribute to the field of feminist studies, this focus issue of MAI intends to honour female resistance in photography and critically engage with such work via contemporary and historical analysis.
academic research articles (6000-8000 words)interviews (1000-3000 words)creative writing (poems, short stories, creative responses, max 3000 words)video essays (5-10 min + a brief supporting statement 800-1000 words)photographs, visual/audiovisual or interactive artAll articles will be peer-reviewed.
We welcome articles of up to 8000 words or more experimental pieces (including poetry, photography, stories, polemic) of up to 5000 words from a wide range of disciplines or inter/disciplinary perspectives. The deadline for work is Friday 14th September 2018 and pieces should be sent to i.m.eloit@lse.ac.uk and c.hemmings@lse.ac.uk in the first instance. If you are planning to submit, please look at the Feminist Theory formatting guidelines to ensure your writing conforms to house style. 2ff7e9595c
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