Résultats | Département d’histoire de l'art et d'études cinématographiques

Pinder, K. N. (2002). Race-ing Art History: Critical Readings in Reace and Art History. Routledge. http://www.worldcat.org/oclc/804390860

This comprehensive anthology places issues of racial representation squarely on the canvas. Within these pages are representations of Nubians in ancient art, the great tradition of Westernmasters such as Manet and Picasso and contemporary work by lesser known artists.

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Santos, J. M. C. (2002). Out of Reach: Television, the Public Sphere and Civil Society in the Philippines. Dans Television, Regulation and Civil Society in Asia (p. 131‑147). Routledge. https://worldcat.org/en/title/373875034

In the uprising of 16-20 January 2001, which ousted former Philippine President Joseph Estrada from power, two forces stood out as pivotal: television (specifically the coverage of the impeachment trial which was the centre of public attention) and civil society (which was instrumental in the uprising itself). In this chapter I argue that notwithstanding the central importance of television in this most recent national political change, the regulation of the sector and its long-term associations with crony capitalism have established barriers to civil society finding its voice on television.

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Smith-Shomade, B. E. (2002). Shaded Lives: African-American Women and Television. Rutgers University Press. https://worldcat.org/en/title/1328475167

Since its invention, television has been one of the biggest influences on American culture. Through this medium, multiple visions and disparate voices have attempted to stake a place in viewer consumption. Yet even as this programming supposedly reflects characteristics of the general American populace, television-generated images are manipulated and contradictory, predicated by the various economic, political, and cultural forces placed upon it. In Shaded Lives, Beretta Smith-Shomade sets out to dissect images of the African American woman in television from the 1980s. She calls their depiction "binaristic," or split. African American women, although an essential part of television programming today, are still presented as distorted and deviant. By closely examining the television texts of African-American women in comedy, music video, television news and talk shows (Oprah Winfrey is highlighted), Smith-Shomade shows how these voices are represented, what forces may be at work in influencing these images, and what alternate ways of viewing might be available. Smith-Shomade offers critical examples of where the sexist and racist legacy of this country collide with the cultural strength of Black women in visual and real-lived culture. As the nation's climate of heightened racial divisiveness continues to relegate the representation of Black women to depravity and display, her study is not only useful, it is critical.

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Berlo, J. C., Donnelley, R. G. et Green, C. S. (2001). Transforming Images: The Art of Silver Horn and His Successors. David and Alfred Smart Museum of Art, University of Chicago. http://www.worldcat.org/oclc/1101258728

Silver Horn's art documents the changes in the lives of the Kiowa Indians, as well as changes in Kiowa art itself. The art presented here, shows the bridge he created between ancient Kiowa aesthetics and modern forms of expression that had an impact on younger Native American artists.

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Doxtator, D. (2001). Inclusive and Exclusive Perceptions of Difference. Native and Euro Based Concepts of Time, History, Change. Dans Decentring the Renaissance: Canada and Europe in Multidisciplinary Perspective 1500–1700 (p. 33‑47). University of Toronto Press. http://www.worldcat.org/oclc/1004875698

In 1558, confronted by the differences in the ways Native peoples and Europeans perceived and structured their respective societies, Renais- sance travel writer Andre Thevet asserted that the indigenous popula- tions of North America, unlike Europeans, had neither religion, civility, nor books, and lived like 'beasts without reason' (Thevet [1558] 1878, 134-6). In 1603, writing of the Native groups he encountered, Samuel de Champlain remarked that since each person 'prayed in his heart just as he liked,' they in effect had 'no law among them and do not know what it is to worship God and pray to Him, living as they do like brute beasts' (Champlain 1922-36, 6: 52). In contrast, Native groups, although not always conciliatory, nonetheless sought out ways to incorporate Europeans into existing political and ideological structures, inviting Champlain, Jesuit missionaries, and others to come to live with them and to participate in their way of life (Dickason 1992, 103, 107).A funda- mental element of Rotinonhsyonni1 diplomacy was the political neces- sity to achieve integrations so that, at least ideologically, Europeans and Iroquoians could perceive themselves to be brothers, one and the same people (Jesuit Relations [1610-1791] 1896-1901 [hereafter JR] 27: 253- 61). When Jacques Cartier encountered the Montagnais-Naskapi in 1534, he remarked on their ease of manners in their coming 'freely on board our vessels as if they had been Frenchmen' (Cartier 1924, 76).

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Malik, S. (2001). Representing Black Britain: Black and Asian Images on Television. SAGE Publications, Limited. https://worldcat.org/en/title/643578394

'One of the most important books on race, representation and politics to come along in a decade' - Henry Giroux, Penn State University Representing Black Britain offers a critical history of Black and Asian representation on British television from the earliest days of broadcasting to the present day.

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Battiste, Marie. (dir.). (2000). Reclaiming Indigenous Voice and Vision. UBC Press. http://www.worldcat.org/oclc/699554144

This book seeks to clarify postcolonial Indigenous thought beginning at the new millennium. It represents the voices of the first generation of global Indigenous scholars and converges those voices, their analyses, and their dreams of a decolonized world.

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Santos, L. (2000). A telenovela brasileira: do nacionalismo à exportação. Caravelle. Cahiers du monde hispanique et luso-brésilien, (75), 137‑150. https://doi.org/https://doi.org/10.3406/carav.2000.1262

Rentable produit d'exportation diffusé dans 128 pays, le feuilleton télévisé brésilien fait partie du quotidien de la population depuis une trentaine d'années. Si une grande part de son succès repose sur l'exploitation de « la culture des sentiments », dans sa version la plus moderne, il sait aussi plonger au cœur de la réalité comme l'a démontré entre autres avec brio « Le roi du troupeau » (1986) qui mettait en scène le conflit entre les sans-terre et les grands propriétaires terriens.

Phillips, R. B. (Ruth B. (1998). Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700-1900. McGill-Queen’s University Press. http://www.worldcat.org/oclc/848898666

Indians in northeastern North America produced a variety of art objects for sale to travelers and tourists during the 18th and 19th centuries. This art is of high quality and great aesthetic interest, but has been largely ignored by scholars. This study combines fieldwork, art historical analysis

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Berlo, J. C. (1992). The Early Years of Native American Art History: The Politics of Scholarship and Collecting (vol. 1-1 ressource en ligne (1 texte électronique.)). University of Washington Press. https://worldcat.org/en/title/25508785

This collection of essays deals with the development of Native American art history as a discipline.

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González-Stephan, B. et Universidad Simón Bolívar. (1992). Crítica y descolonización: el sujeto colonial en la cultura latinoamericana. http://www.worldcat.org/oclc/243785186

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Martin, L.-A. et McMaster, G. (1992). Indigena: Perspectives Autochtones Contemporaines. Musée canadien des civilisations. http://www.worldcat.org/oclc/948704076

Catlogue d'exposition avec plusieurs textes.

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Dionne, H. (dir.). (1991). L’Oeil amérindien: regards sur l’animal. Éditions du Septentrion. http://www.worldcat.org/oclc/1046390057

Cette publication a été réalisée à l'occasion de l'exposition "L'Oeil Amérindien, Regards sur l'Animal au Musée de la civilisation à Québec.

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