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[null,"1.","Record Nr.",null,"UNINA9910131363903321"]
[null,null,"Autore",null,"Vauclare Claude"]
[null,null,"Titolo",null,"Le métier de photographe / / Claude Vauclare, Rémi Debeauvais"]
[null,null,"Pubbl/distr/stampa",null,"Paris, : Département des études, de la prospective et des statistiques, 2015"]
[null,null,"ISBN",null,"2-11-139917-5"]
[null,null,"Descrizione fisica",null,"1 online resource (22 p.)"]
[null,null,"Soggetti",null,"Art"]
[{"$nulls":4},"Business"]
[{"$nulls":4},"emploi culturel"]
[{"$nulls":4},"photographie"]
[{"$nulls":4},"droits d'auteur"]
[{"$nulls":4},"revenus"]
[{"$nulls":4},"marché"]
[{"$nulls":4},"formation professionnelle"]
[{"$nulls":4},"cultural employment"]
[{"$nulls":4},"incomes"]
[{"$nulls":4},"authors rights"]
[{"$nulls":4},"photography"]
[null,null,"Lingua di pubblicazione",null,"Francese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Évalués à environ 25 000, les photographes professionnels font face, depuis une quinzaine d’années, à des changements importants liés à la diffusion des nouvelles technologies numériques, qui ont redéfini les pratiques de toute une profession. La mutation des conditions de création, de production et de diffusion de la photographie s’est traduite par une dérégulation du marché de la photographie et par une fragilisation du cadre juridique qui garantissait auparavant les revenus des photographes.  L’étude est fondée sur une enquête menée auprès d’un échantillon de 3 000 photographes et sur de nombreux entretiens avec des professionnels. Elle présente les caractéristiques sociodémographiques de cette population professionnelle en expansion depuis quinze ans (+ 37%) qui se renouvelle en se féminisant. Elle décrit la diversité des statuts professionnels, juridiques "]
[{"$nulls":4},"et fiscaux qui encadrent l’exercice du métier de photographe et les conditions de l’activité :  positionnement sur le marché, revenus nets d’activité, évolution des techniques photographiques. Enfin, l’étude décrit les représentations que les professionnels ont de leur métier et de son avenir : adaptation nécessaire aux innovations technologiques, concurrence de la photographie en amateur par exemple, et les attentes qu’ils ont exprimées, notamment en termes de simplification des régimes sociaux et fiscaux, d’accès à la formation professionnelle continue et de protection du droit du photographe auteur.  France's 25,000 professional photographers have, over the last 15 years, been facing considerable changes related to new digital technology, which have redefined the practices of the entire profession. The changing ways in which photography is created, produced and disseminated have resulted in a deregulated photography market and a weakening of that legal framework which previously secured photographers' incomes. This study is based on a survey conducted amongst a representative sample of 3 000 photographers…"]
[null,"2.","Record Nr.",null,"UNINA9911041728103321"]
[null,null,"Autore",null,"DeCristo Jemma"]
[null,null,"Titolo",null,"The aesthetic character of blackness : Sounds like us. / / Jemma DeCristo"]
[null,null,"Pubbl/distr/stampa",null,"2025"]
[null,null,"ISBN",null,"1-4780-9453-2"]
[null,null,"Descrizione fisica",null,"1 online resource"]
[null,null,"Classificazione",null,"MUS014000SOC001000SOC052000"]
[null,null,"Soggetti",null,"Nonfiction"]
[{"$nulls":4},"Multi-Cultural"]
[{"$nulls":4},"Music"]
[{"$nulls":4},"Sociology"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","In The Aesthetic Character of Blackness , Jemma DeCristo theorizes the means by which black art liberates the free world but does not and cannot liberate black people. Drawing on Frederick Douglass, W. E. B. Du Bois, and Alain Locke and as well as the aesthetic thought of Immanuel Kant, Friedrich Schiller, Friedrich Nietzsche, and Theodor Adorno, DeCristo critiques the exaltation of black culture and art's saving power by analyzing the violence underneath aesthetic production. She tracks black music's representational and anti-representational capacities in projects of black non/humanization from nineteenth-century abolitionism and the founding of the recording industry to the emergence of black queer blues performers and the rise of the Black Arts Movement of the 1960s. Theorizing the contemporary neoliberalization of black audio-visual spectacle, DeCristo ultimately demonstrates that the voluptuous world of black aesthetics beautifies an anti-black world that wields black art and culture as a weapon against black life."]