Reportage

Le parole di Maurizio Serra possono aiutarci ad introdurre una figura complessa e sfaccettata come quella malapartiana: lo scrittore pratese è definito dal curatore della sua biografia «uno degli interpreti più singolari del ventesimo secolo» 1 . Curzio Malaparte è in effetti un autore del tutto singolare, unico nel panorama letterario novecentesco: personaggio pieno di ombre e sfumature, testimone storico per sua natura sfuggevole ed intrinsecamente bugiardo. Collocarlo in una corrente o in una categoria definita è impresa quasi impossibile, ma è forse proprio qui che risiede parte del suo fascino peculiare; l'essere tutto e il contrario di tutto, l'essere costantemente 'altro'. La complessa personalità di un scrittore poliedrico come è stato Malaparte (fu narratore, giornalista, saggista, ufficiale, poeta, regista) riserva innumerevoli ed innegabili difficoltà di 'decodifica' agli occhi di lettori e studiosi. Proprio questa difficoltà mi ha spinto ad approfondire lo studio su questo autore, che forse più di altri riuscì a cogliere le profonde inquietudini del Novecento, soprattutto di quella tragica prima metà sconvolta dai due conflitti mondiali.

"Converged" reportage. "Dzienniki kołymskie" by J. Hugo-Bader as media hybrid

The article analyses the relation between the process of media convergence and hybridization of contemporary reportage. The integration of old and new media in a single journalistic report of hybrid character is being analysed here. The author presents this phenomenon using "Dzienniki kołymskie" by J. Hugo-Bader as an example. It is a work which oscillates between travel diary and travel reportage, it was first published in sections on an Internet press portal. Additionally, the specific character of multimedia journalism and the poetics of digital reportages are commented on in the article.

This essay seeks to explore the tensions in the paradoxical location of 'non-fiction'-or the de-hyphenated 'nonfiction', as we prefer-as a literary/artistic category, one that is built upon a negation. The opposition set up in the term by the operation of the 'non' upon the 'fiction' suggests a steadfast binary. However the friction between the two sides of this binary, and the inherent resistance embodied in the close proximity and conjoining of the two parts, accounts for much of the energy and interest in contemporary nonfiction writing. Here we bring together etymologies and theoretical topographies to problematize the intriguing situation of 'nonfiction now'.

Giuseppe Rizzo esordisce con L’invenzione di Palermo (2010), che racconta la Sicilia degli emarginati- barboni, zingari, ladri – senza volontà di denuncia ma evitando al tempo stesso pietismi; i personaggi abitano una Palermo distopica, ‘scarto’ della creazione del mondo, nella quale povertà, violenza, dolore sono affrontati con vitalismo e leggerezza, e descritti tramite un linguaggio che alterna turpiloquio, neologismi, e concretezza materica. Il mondo degradato ed invivibile della periferia palermitana è percepito in tutta la sua evidenza tramite una  lettura sinestetica ed avvolgente, che intende superare stereotipi culturali e strumentalizzazioni politiche. Con il secondo romanzo, Piccola guerra lampo per radere al suolo la Sicilia, del 2013, il progetto di “riscrivere” l’immaginario dell’isola è definito con maggiore chiarezza: si racconta la vicenda goliardica di tre studenti fuori sede, nativi di un paesino siciliano, Lortica, dal clima soffocante e mafioso, che decidono di tornare per sbeffeggiare gli omertosi e finiscono per scardinare il sistema, fermando la spirale di violenza e facendo breccia nel silenzio colpevole degli abitanti.
La Sicilia dei luoghi comuni letterari e sociali,  della gattopardesca inerzia, dell’assurdo pirandelliano, dell’indugio godereccio e gastronomico alla Camilleri, dell’antieroe mafioso, è contestata e ‘smontata’ secondo una linea che, sul piano saggistico, sarà ripresa da Gaetano Savattieri ( Non c’è più la Sicilia di una volta, 2017): il paese, brutto, stagnante, pericoloso, è un Inferno in terra, che i tre attivissimi protagonisti riescono allegramente a sdrammatizzare,  affrontando lo squallore quotidiano con un approccio al tempo stesso distante e partecipe, e riuscendo infine ad intaccare il sistema mafioso grazie ad una doppia beffa che ammicca al teatro, in particolare all’asse oppositivo di matrice classica gioventù/ vecchiaia. Non è una soluzione, ma piuttosto la scelta, letteraria anch’essa, di un mondo possibile, contro il paradigma vittimario e, sull’altro versante,  in opposizione ad un’epica della mafia che tanta letteratura, teatro e cinema hanno diffuso.

Unmasking Of North-East India - a review of Anil Yadav's book, "Is That Even A Country, Sir!: Journeys In Northeast India By Train, Bus And Tractor", translated by Anurag Basnet from the Hindi original, "Wah Bhi Koi Des Hai Mahraj".
First published in print on Sunday, 05-November-2017 in National Herald On Sunday.

The author introdusces reportage as a general genere, and then discusses comics reportage in relation to both other forms of this genere and to fiction comics. The roles of the author and the narrator are discussed throught several examples. Finally, the material aspect of reportage comisc is presend as an important componet in making them more "realistic".

Ce séminaire se plongera dans les journaux, les revues et les reportages radio qui ont marqué la période donnant suite à la naissance de la sociologie, l’époque considérée comme « classique ».
De Berlin à Chicago en passant par Prague et Vienne, nous examinerons différentes traditions du reportage et du feuilleton, des années 1920 et 1930 jusqu’à aujourd’hui, qui ont une valeur pour la sociologie . Nous – étudiants de troisième année du baccalauréat et de première année de la maîtrise – trouverons inspiration pour une sociologie qui se veut empirique et réflexive, mais aussi élégante et amusante.
Pour ce faire, nous lirons plusieurs petits textes pour en analyser la démarche des auteurs. Il s’agit de réfléchir à d’autres formes d’écriture sociologique et de se les approprier. Une attention toute spéciale sera accordée à la ville, thème important de la sociologie naissante.

Ved hjelp av spesielt hjerneforskning og flere psykologiske disipliner, samt mange års erfaring med klienter, forsøker forfatterne å forklare hvem mannen er og hvem han kan bli. Kanskje kan denne boka bidra til en tiltrengt åndelig, maskulinistisk revolusjon.

Appliquant la théorie des champs de Pierre Bourdieu, Maggetti retrace l'histoire du champ littéraire romand débutant à partir des années 1840 avec les révolutions radicales, en passant par son autonomisation, achevée à la fin des années 1880, par la présence d'institutions stables, jusqu'à sa distinction nette du centre parisien représentée par Charles Ferdinand Ramuz.

W obecnej dobie podróżowanie stało się codzienną praktyką wielu ludzi.
Przemierza się kraje i kontynenty w celach turystycznych, w poszukiwaniu pracy,
z powodów rodzinnych i zapewne z wielu przyczyn tutaj niewymienionych. Ale
jeszcze kilkanaście lat temu posiadanie paszportu było dla Polaka swoistym przywilejem. Do nielicznego grona szczęśliwców, dla których wrota Europy i świata
stały otworem, należeli sprawozdawcy sportowi. Z racji zawodowych obowiązków
podążali do miejsc niejednokrotnie odległych i egzotycznych, poznawali nowe kultury i obyczaje. Bywając na Zachodzie, mieli możność konfrontowania siermiężnej, rodzimej codzienności z kolorowym światem wolnych ludzi. Do grona takich podróżników należał Bohdan Tomaszewski...

'Wale Oni and Oluseye Babatunde analyze the content of three newspapers (Vanguard, Nigerian Tribune and New Nigeria) to determine their coverage of the public opinion on the bail jump saga of the erstwhile governor of Bayelsa Sstate, Diprieye Alamieyesigha. The choice of the newspaper is informed by their perceived biases torwards the course of their regions. Vanguard, an eastern-bloc newspaper, Tribune, a western bloc newspaper and New-Nigeria, a core northern Newspaper. The authors found out that the selected newspapers’ coverage of the report shows subjectivity in the quantity of news report meted on the subject and reveal shades of public opinion bias toward their ethnic/region ideology.

Facts – language – subjectivity. Stylistic peculiarities of Ryszard Kapuściński’s reportages

The book discusses stylistic manifestations of subjectivity in the reportages of Ryszard Kapuściński, observed on three levels of linguistic organization of speech: in the lexical-semantic layer, in syntax and in text structure. The observed changes in the vocabulary employed by the journalist at the successive stages of his work, the specific nature of textual profiling of selected concepts, the idiom-based wordplays, innovative sentence structures, unusual ways of shaping the textual frame, and intentional disruptions of cohesion were treated here as manifestations of the author’s individual attitude to linguistic convention and to the genre of reportage. The peculiarities of Kapuściński’s style were considered against the background of the Polish linguistic worldview as well as the historical and biographical factors affecting the shape of his documentary narration.

The analysis of the exponents of “deliberate style” at the lexical-semantic, syntactic and textual levels shows clear trends in the way Ryszard Kapuściński shaped his discourse. One of these tendencies was to highlight the direct participation of the narrator–author in the presented events. A second trend was for the author to disclose that other people’s statements had a significant impact on his reportages. In passages of a polyphonic character found in mottos to the texts, as well as in parts of the narratives incorporating words spoken by the characters, the narrator goes out of the role of a guide to the presented reality, becoming just another “witness of history” and one of its many interpreters. A third trend in Ryszard Kapuściński’s writings – which mainly shows in the lexical-semantic layer – is the author’s reflective and often also critical attitude to the categorization schemes and axiological models established in the Polish language. His dialogs with linguistic convention show that the narrating self has two closely linked aspects: he has his own unique experiences and an individual worldview, but on the other hand, he is a custodian of cultural knowledge, which forms the basis of the process of conceptualization and verbalization of the actual events. These findings point to the complicated and dynamic nature of the relationship between subjectivization and intersubjectivity of documentary texts.

Based on an analysis build upon the narratological principles and the categories fiction/non-fiction, as well
as on a range of specific comparisons with other authors (Leonardo Sciascia, Truman Capote, Emmanuel Carrère and Primo Levi), this essay explores the way the hybrid form of the text Gomorrah works and
considers its “literary” characteristics as the key of the book’s success. The comparison with In Cold Blood
and L’Adversaire allows to emphasize the different ways the text functions and the effects regarding the
presence (or absence) of the first-person narrator within the merely seemingly homogenous genre (the nonfiction
novel). The process of the “expansion of meaning”, a proper characteristic of every great poetic
work, is intensified in Gomorrah by means of the construction of a special hybrid form, where
autobiographical narration and the factuality of data are interwoven to form a single logic, which is capable
of involving the reader emotionally and to induce an active reflection on the subject.
                                                             
Tramite un’indagine che si richiama a postulati di narratologia e alle categorie di finzionalità/non finzionalità, e
attraverso una serie di raffronti mirati con opere di altri autori (Sciascia, Capote, Carrère e Primo Levi), il saggio
esplora il funzionamento della forma ibrida del testo di Gomorra e le sue caratteristiche “letterarie”, in quanto
chiavi del successo del libro. Il confronto con In Cold Blood e con L’Adversaire permettono di evidenziare,
all’interno di un genere (il non-fiction novel) soltanto apparentemente omogeneo, funzioni ed effetti differenti
legati alla presenza (o assenza) del narratore in prima persona. Il processo di “espansione di significato”, caratteristica
propria di qualsiasi grande opera poetica, viene potenziato in Gomorra dalla costruzione di una forma
ibrida particolare, nella quale narrazione-testimonianza e fattualità dei dati si intrecciano in un’unica logica,
capace di coinvolgere emotivamente il lettore e di spingerlo alla riflessione.

Latin America journalism, throughout history, has been snugly knitted to the rich literature tradition of the region.
In the 19th century – the century of the de-colonisation struggle with the Spanish crown – Latin American writers
began experimenting with hybrid forms of narrative. It was a quest for new ways of story telling; a hybrid form –
the crónica – where story telling became a parallel journey taken by the novelist impatient to engage his or her
writing with the new post colonial conditions. Since these early days, the crónica – or the chronicle – was
embraced with aesthetic commitment and ideological conviction by some of the most celebrated novelists in the
region. In the crónica – paraphrasing Cuban poet Alejo Carpentier – the journalist and the novelist turn out to be
the same person.
The exponents of the new crop of Latin American journalistic crónica – the central theme of this paper – could
well be described as a post-literary boom generation of writers who – like their predecessors of the 19th century
– are impatient to engage their writing with the 21st century post dictatorship conditions.
The new cronistas don’t discard any stories, as long as they are part of the Latin American realism, in the sense
of Zola’s realism instead of García Márquez’s magic realism. All of these stories have three literary nexuses; they
read as fiction, they are true tales and they are overpoweringly socially progressive. This paper seeks to review,
examine and perhaps propose pointers toward the conceptualization of the crónica, as a literary long form of
journalism that has a distinctive Latin American diacritic, form and social undertaking.

The objective of this thesis is to explore and critically examine conflict photography in terms of the contested site of production and its reception. Primarily, it examines the rapport between conflict photography and its ability to represent the truth behind the image. Building on the works of influential writers engaged with photography in both a wider context and that of conflict photography, this thesis explores the nature of the printed image through a semiotic reading, the historical context and practical usage of the photograph. The analysis of this thesis highlights the contested site and evolving position of the image in two major latter 20th century conflicts: Vietnam and the First Gulf War. By engaging with dominant world publications like Newsweek and Time Magazine as well as the iconic image in conflict this paper underscores the contested veracity of the image, showing it to be a rather than the truth. Included in the scope of this thesis is the nature of the embedded image versus its surrounding text and advertisements. What is shown and what is not shown is also examined, including issues of propaganda and responsibility. Considered too is the impact or lack thereof of the image on the reader, and by extension the usefulness of images of conflict. This thesis concludes by underscoring the limits of photography as a tool of truth and communication despite the veracity of its indexical nature.

This was an undergraduate submission for DIT from 2009 and as such was not originally prepared for a wider audience, so please excuse occasional  typographical errors.
Chapter 3, Part 1 was delivered as a paper at Photography and International Conflict at the Clinton Institute (UCD) in 2009.

The Polish reporter and writer Ryszard Kapuscinski achieved international fame by the time of his death in January 2007. Less well known outside his home country is that Kapuscinski represents only one example of a larger tradition characterised as a “Polish school of reportage,” which has become an influential part of Poland’s cultural and political heritage. Before him there was Marian Brandys, writing just after the war, and alongside him Hanna Krall, who helped
launch a special section for reportage in Gazeta Wyborcza after the fall of one party rule in 1990. Krall, recipient of many international awards, has been translated into 15 languages; the generation that followed—which includes Anna Bikont, Mariusz Szczygieł and Wojciech Tochman—is not yet so widely
known. But the tradition is still strong.
    If there is a Polish school, the question arises: why this type of writing, and why this country? Communist censorship provided writers with years of practice in the literary game of disguising universal meanings in the detail of the text. In addition, repression creates outsiders, and being an outsider on some level is a prime qualification for the production of literature. However, while other countries experienced the same conditions, their writers responded with different strategies, such as magical realism in fiction and experimental drama. An exploration of the factors which encourage literary journalism in Poland may help us understand its condition, and significance, in other countries and cultures.

Artykuł (Wy)czytać świat z reportaży – wokół edukacji globalnej stanowi próbę zaprezentowania ważnych zagadnień społecznych omawianych w reportażach, które mogą być wykorzystywane na lekcji polskiego w szkole ponadpodstawowej. Analizowane reportaże Wszystkie dzieci Louisa autorstwa Kamila Bałuki oraz Porwane. Boko Haraam i terror w sercu Afryki Wolfganga Bauera z pewnością umożliwiają nie tylko krytyczną refleksję, ale także wychowywać lepszych obywateli w „globalnej wiosce”.

Pers Indonesia mengalami dua rezim pemerintahan. era orde Baru pada masa pemerintahan Presiden Soeharto dan era Reformasi pasca Soeharto. Keduanya memiliki dinamika pers yang berbeda. Pada orde Baru, terutama pasca Peristiwa Malari, Pemerintah Indonesia menjadi pemegang hegemoni dominan. Pemerintah dalam konteks penelitian ini, Presiden, memiliki pengaruh kuat terhadap perusahaan pers dan jurnalis sebagai aktor di dalamnya. Sebaliknya, pada era Reformasi dengan kebebasan pers, dominasi beralih dalam media itu sendiri. dalam arti, jurnalis sebagai subordinat pada hegemoni pemilik media sekaligus pemerintah. Proses reportase jurnalis mengalami perubahan, tidak hanya sebagai dampak dari kebebasan pers tetapi juga pers sebagai sebuah industri. Sejumlah penelitian dan publikasi menyoroti perubahan era orde Baru ke era Reformasi yang terjadi pada tataran regulasi pers Indonesia dan implikasinya pada pemberitaan. Sementara itu, penelitian ini berupaya mengungkap lebih jauh bagaimana perubahan reportase jurnalis dari sudut pandang jurnalis di lingkungan terdekat Presiden atau jurnalis kepresidenan pada dua era pemerintahan, Presiden Soeharto dan Presiden Joko Widodo.

The Indonesian press has survived two regimes of government: the New Order era during the reign of President Soeharto and the post-Soeharto Reform era. The press dynamics in the two periods are different. In the New Order, especially after the Malari incident, the government held the dominant hegemony. The President wielded a powerful influence on the media companies and journalists as the actors. By contrast, in the Reform Era which is typidfied by freedom of the press, the dominance shifts to the media themselves. In this situation, journalists are the subordinates of media owners and even the government. The news reporting process is changing, as a result of not only the freedom but also industrialization of the press. A number of studies and publications highlight the changes of the New Order Era to the Reform Era that took place in the press regulations and their implications on the news. This research seeks to reveal further how press coverage in changes from the perspective of journalists close to the president or journalists posted in the presidential palace in the era of Soeharto and Joko Widodo.

Laporan ini memaparkan hasil kunjungan Kuliah Kerja Lapangan (KKL) yang telah dilaksanakan oleh Mahasiswa Sastra Inggris 2015, Fakultas Ilmu Budaya, Universitas Jenderal Soedirman pada 11 Mei 2018 di kantor berita The Jakarta Post, Jl. Palmerah Barat 142-143, Jakarta. Laporan ini menguraikan proses pembuatan berita yang informatif dan berkualitas dalam harian berita The Jakarta Post sebagai media massa. Hasil dari laporan ini menyimpulkan bahwa The Jakarta Post memiliki serangkaian proses dimulai dari pemilihan reporter, pengembangan potensi dan keahlian, dan proses penulisan berita yang sistematis dan teliti. The Jakarta Post selain mengedepankan mutu berita yang dapat dipertanggungjawabkan, juga memiliki sumber daya manusia yang berkualitas.

La strada è uno degli elementi fondamentali che compongono il mosaico del viaggio, i tanti percorsi disegnati dell'uomo non sarebbero esistiti se non fosse stata ideata la strada. Lo scambio, il commercio, le idee, gli incontri e scontri non sarebbero stati possibili senza la progettazione delle strade. L’invenzione della ruota, attorno al 3000 a. C., oltre a rappresentare il primo passo nella rivoluzione tecnologica dei trasporti, impose l’avvento di due nuovi elementi: l’addomesticamento del cavallo e la creazione della strada.

Capital punishment was common practice in the early decades of colonial Australia: the malefactor swinging from the end of a hangman's noose a well-known sight. Crimes of antisocial behaviour, food and forgery were of central concern to the early colonists, with the criminal act most likely to result in an executioner plying his craft being the stealing of food. The first person hanged in the new colony, for the theft of butter, peas and pork provisions, was young Thomas Barrett, executed one month and one day after the arrival of the First Fleet in New South Wales. Murder quickly followed crimes motivated by greed, hunger, and slovenliness, with punishment for such acts also quickly applied by administrators. Yet, the very brutal murder, in Sydney in August 1803, of Constable Joseph Luker – the first officer of the law to be slain in the pursuit of his duty in Australia – went largely unpunished due to a lack of evidence and a twist of fate. This paper discusses the death of Constable Luker and how his story was written, and offers a brief analysis of the non-death of those considered responsible for such a violent crime in the context of the colony's punishment systems.

“Their disappointment is concealed from the nosy reporters”
The Poetics of Literary Journalism in Reportage

This article centers on an eye-witness reportage, “Myrskyn silmässä” (“In the Eye of the Storm”), written by Miira Lähteenmäki and published in the Finnish magazine, Image, in 2000. The reportage deals with the S26 demonstrations against the World Bank and the IMF, which took place in Prague in September 2000.

I regard this work of reportage as a piece of nonfiction, a “third” genre between fiction and fact. My aim is to compare the reportage and its implied reader to literary journalism on the one hand, and to traditional news journalism on the other hand. I apply methods from both media and literary studies. The
methods include analysis of 1) the actual speakers and the actors who are subjects of speech, 2) the diegetic and mimetic features and their functions, and 3) types of speech presentation in the text.

By these means I find that the reportage gives its reader critical tools to weigh the information it presents, thereby shifting much of the responsibility for interpretation from the reporter-narrator to
the reader. I conclude that the self-reflexive and interpretative reporter-narrator of “Myrskyn silmässä” is more typical of literary journalism than of traditional news journalism. "

Dit hoofdstuk schetst in hoeverre objectiviteit is geaccepteerd in de Nederlandse journalistiek en hoe dit proces is verlopen. Ik zal eerst analyseren wat het objectiviteitsregime als samenhangend complex van normen, routines en conventies behelst, en voor welk probleem het een oplossing moet bieden. Vervolgens zal ik op basis van de historische ontwikkeling van de Nederlandse journalistiek beargumenteren dat dit hier pas zeer recent is omarmd en in een vorm die past in de sterk nationaal gebonden journalistieke cultuur. Ten slotte stel ik de vraag of het objectiviteitsregime nog steeds een nuttig instrument is voor de journalistiek om haar plaats in de samenleving te markeren en haar activiteiten te legitimeren, nu digitalisering en de opkomst van internet niet alleen de economische en institutionele context van journalistiek, maar ook haar normen, routines en conventies ingrijpend op de kop zetten. Mijn onderliggend argument hierbij is dat objectiviteit een ‘essentially contested concept’ is: een concept waarvan de inherente waarde wordt erkend, maar dat ook onderwerp is van machtsconflicten tussen verschillende groepen, en dus voortdurend op verschillende manieren wordt geïnterpreteerd en geoperationaliseerd.

Einst Königsdisziplin des Journalismus ist die Reportage dieser Tage in Verruf geraten. Aufgrund ihrer erzählerischen Verfasstheit wird ihr vorgeworfen, dass sie die Verfälschung von Fakten geradezu forciere, dass sie zu literarisch sei. Tatsächlich hat die Reportage vielfach Eingang in die Literatur gefunden, doch ist sie auch hier nicht nur mit offenen Armen empfangen worden. Linke Intellektuelle der Zwischenkriegszeit haben sich vehement gegen ihre Adaption für die Literatur ausgesprochen - weil sie zu berichtend sei. Dieser doppelten Kritik an der Reportage - als zu berichtend und zu literarisch - wird im Beitrag nachgegangen und danach gefragt, ob die Gebrauchsgattung Reportage in Zeiten von Fake-News und Wahrheitskrise überhaupt noch für irgendetwas zu gebrauchen ist.

The Stakes of Exposure
Anxious Bodies in Postwar Japanese Art
Namiko Kunimoto

The first major English-language study of some of Japan’s most important postwar artists

How would artistic practice contribute to political change in post-World War II Japan? How could artists negotiate the imbalanced global dynamics of the art world and also maintain a sense of aesthetic and political authenticity? While the contemporary art world has recently come to embrace some of Japan’s most daring postwar artists, the interplay of art and politics remain poorly understood in the Americas and Europe. The Stakes of Exposure fills this gap and explores art, visual culture, and politics in postwar Japan from the 1950s to the 1970s, paying special attention to how anxiety and confusion surrounding Japan’s new democracy manifested in representations of gender and nationhood in modern art.

Through such pivotal postwar episodes as the Minamata Disaster, The Lucky Dragon Incident, the budding anti-nuclear movement, and the ANPO protests of the 1960s, The Stakes of Exposure examines a wide range of issues addressed by the period’s prominent artists, including Tanaka Atsuko and Shiraga Kazuo (key members of the Gutai Art Association), Katsura Yuki, and Nakamura Hiroshi. Through a close examination of their paintings, illustrations, and assemblage and performance art, Namiko Kunimoto reveals that, despite dissimilar aesthetic approaches and divergent political interests, Japanese postwar artists were invested in the entangled issues of gender and nationhood that were redefining Japan and its role in the world.

Offering numerous full-color illustrations of previously unpublished art and photographs, as well as period manga, The Stakes of Exposure shows how contention over Japan’s new democracy was expressed, disavowed, and reimagined through representations of the gendered body.

Lorsque Gina van Hoof m'a montré les prises de vues qu'elle avait réalisées au Brésil et qu'elle m'a demandé d'étudier la faisabilité d'un ouvrage qui relaterait l'émigration en 1904 de quelques dizaines de familles juives originaires de Kishinev, capitale de ce qui s'appelait encore la Bessarabie (actuellement Chisinau, en Moldavie) vers le Brésil au début du XXe siècle, je ne me doutais pas de l'étendue des recherches qui s'imposeraient pour pouvoir développer ce projet.

Pochi luoghi hanno raccolto proclami, musica, entusiasmi, amori e drammi come la Piazza del Popolo di Roma. Ha fatto da scenografia a manifestazioni politiche, concerti e raduni dai temi più disparati. Se solo i sampietrini, tipico selciato romano, potessero parlare, racconterebbero molti aneddoti allettanti.

Parution: 5 novembre 2019
ISBN: 9782763745787
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Résumé
Le cinéma et la presse ont toujours possédé un grand nombre d’affinités électives, de même qu’ils ont toujours été en compétition. Leurs canaux de diffusion et leurs plateformes ne cessent de se croiser, depuis les actualités filmées du début du XXe siècle jusqu’au journalisme participatif du Web 2.0. Leurs matériaux et leur langage connaissent également des hybridités et des échanges foisonnants, que le journalisme investisse petit et grand écrans ou que le cinéma absorbe la matière journalistique. De nouveaux genres cinématographiques – tels le reportage cinématographique et le film-enquête –, et genres journalistiques – telle la critique cinématographique – en sont nés. À ces remédiations s’ajoutent les représentations réciproques, le cinéma ayant continuellement mis à l’épreuve le journalisme, le journalisme ayant participé à l’avènement comme à l’institutionnalisation du cinéma. À travers les alliances et les rivalités, les correspondances et les contradictions, les simultanéités et les renversements, ce volume propose ainsi d’explorer la redéfinition continuelle de nos médias et de leurs identités.
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Table des matières
INTRODUCTION : Richard Bégin, Thomas Carrier-Lafleur et Mélodie Simard-Houde, Cinéma et journalisme : les affinités médiatiques

PREMIÈRE PARTIE: Le Cinéma écrit par le journalisme

CHAPITRE PREMIER: Karine Abadie, Les Nouvelles littéraires et le cinéma. Comment le sujet « cinéma » investit un journal littéraire
CHAPITRE 2: Evelyne Coutel, Popular Film face à la féminité. Une étude des éditoriaux (1926-1937)
CHAPITRE 3: Thomas Carrier-Lafleur, Voir l’Amérique, écrire le cinéma. La mécanique du reportage hollywoodien chez Blaise Cendrars et Joseph Kessel

DEUXIÈME PARTIE: Le Journalisme vu par le cinéma

CHAPITRE 4: Grégoire Halbout, «Love Is News». Newspaper pictures et romcom à l’âge classique hollywoodien
CHAPITRE 5: Toufic El-Khoury, Les Newspaper comedies des années 1930-1940. La représentation des médias écrits et la transmission mimétique du désir dans le cinéma hollywoodien classique (1931-1943)
CHAPITRE 6: Baptiste Creps, L’œuvre de Dieu, la part du diable. Le mythe du journaliste au tournant des années 1980 dans le cinéma américain
CHAPITRE 7: Sandrine Lévêque et Denis Ruellan, Métier d’homme, métier de femme ? Le sexe (et le genre) du journalisme au cinéma

TROISIÈME PARTIE: Le Cinéma comme journalisme

CHAPITRE 8: Mélodie Simard-Houde, Le «Tourneur de manivelle» ou l’entrée d’un reporter technicien dans l’imaginaire médiatique
CHAPITRE 9: Johanna Cappi, Les Combattants de l’insolence (1984). Une enquête filmée de Christophe de Ponfilly dans le conflit soviéto-afghan
CHAPITRE 10: Fabien Landron, Mafia, Sicile et cinéma. Ré-élaboration(s) formelle(s) du film-enquête dans les films de Pierfrancesco Diliberto (La Mafia uccide solo d’estate, 2013 et In Guerra per amore, 2016)
CHAPITRE 11: Laurent Pineault, Témoin 2.0 et humiliation. Le cas des vidéos de fail
QUATRIÈME PARTIE: Le Cinéma contre le journalisme
CHAPITRE 12: Jeremy Hamers, L’Alternative «Television». Enzensberger, vom Bruch et le (non-)montage
CHAPITRE 13: Katarzyna Lipinska, Krzysztof Kieślowski. Auteur-documentariste sous le communisme polonais
CHAPITRE 14: Xavier Bittar, Les Revues clandestines cinématographiques (1943-1944). Entre engagement politique et recherche de légitimité

Czechy to nie tylko knedliki, piwo i Karel Gott -g∏osi∏ Antoni Pawlak we wst´pie do ksià˝ki Andrzeja S. Jagodziƒskiego "Banici (Rozmowy z czeskimi pisarzami emigracyjnymi)". Mariusz Szczygie∏ prawdopodobnie ominà∏ t´ lektur´ podczas swych bohemistycznych poszukiwaƒ. Przeczyta∏ jednak podczas pracy nad swojà ostatnià ksià˝kà "Gottland" z pewnoÊcià multum innych. Sam przecie˝ twierdzi, ˝e stara si´ stosowaç do zasady swojego mistrza, Ryszarda KapuÊciƒskiego: na stron´ tego, co si´ pisze, powinno siṕ rzeczytaç 150 stron tego, co napisali inni. I jego "Gottland" to z pewnoÊcià nie tylko knedliki i piwo, a co wi´cej, nawet nie tylko Gott. Reporta˝e Szczyg∏a rzeczywiÊcie zdradzajà Êwietny warsztat, rzetelnoÊç i podparcie wiedzà êród∏owà, zdobywanà przez autora nierzadko z poÊwi´ceniem, sporym nak∏adem czasu i wysi∏ku w poszukiwaniach zapomnianych -cz´sto celowo -miejsc, wydarzeƒ, ludzi i emocji. Szczygie∏ z wyczuciem operuje wszelkimi mo˝liwymi technikami relacjonowania: raz jest s∏uchaczem, innym razem dynamicznym Êwiadkiem--uczestnikiem; najcz´Êciej stosowanà przezeƒ metodà jest fabularna rekonstrukcja wydarzeƒ, cz´sto korzysta z dialogu, co sprzyja tworzeniu wielop∏aszczyznowych, panoramicznych historii. Swobodny i naturalny styl narracji, z jednej strony, doskonale siṕ rzyswaja, z drugiej -podwaja ju˝ i tak mocne wraenia. Bo te historie nie sà zmyÊlone. Rzeczy, które siẃ ydarzy∏y, naprawd´ by∏y jeszcze straszniejsze. Gottland to paƒstwo, w którego stolicy powsta∏a pierwsza kubistyczna rzeêba ludzkiej g∏owy, w którego stolicy mo˝na zwiedziç muzeum kubizmu i odnaleêç przyk∏ady kubistycznej architektury; Gottland to paƒstwo, w którym nawet ma∏e dziewczynki rysujà kredà na asfalcie kubistyczne portrety (a przynajmniej robi∏y tak za czasów Hrabala). Jego obywatele miewajà, jak si´ okazuje u Szczyg∏a, kubistyczne osobo-woÊci, których nie sposób ujàç przy pomocy tradycyjnych metod. Kubizm bazuje na wiedzy o danym obiekcie; gdy jà zdobywamy, okazuje si´, ˝e aby ów obiekt ogarnàç i przedstawiç, konieczne jest zastosowanie swoistej poliperspektywy -w której ka˝dy element wchodzi w jednoczesne relacje i zale˝noÊci z wszystkimi innymi. Brak niezmiennego punktu odniesienia, gdy˝ obraz jest ciàg∏ym procesem, interferencjà. Obraz pe∏en to zespó∏ wyglàdów uzyskanych z kilku stron. I tak w∏aÊnie skonstruowane sà "kubistyczne reportae" Mariusza Szczyg∏a. Niemal dla ka˝dej prezentowanej postawy mo˝na odnaleêç zaprzeczenie, zwykle jednak pojawia si´ jeszcze coÊ, co relatywizuje oba przypadki i skutecznie rewiduje poczàtkowe czytelnicze sk∏onnoÊci do ich oceny. Opisywane postawy bohaterów, choçby dzi´ki koincydencji wàtków, coraz to zyskujà nowe oÊwietlenia, analogie, kierunki interpretacji. Co ciekawe, owa kompozycja, oparta na napi´ciu pomi´dzy diachronià a synchronià, nie ogranicza si´ tylko do pojedynczych szkiców, ale jest kunsztownie przeprowadzona od deski do deski. Za∏o˝onapozornie -linearnoÊç czasu (ksià˝ka rozpoczyna siŕ okiem 1882, a koƒczy na 2003) staje si´ polem, na którym, niczym skomplikowana uk∏adanka, nabudowuje si´ wieloaspektowy, wielowymiarowy, ale zarazem spójny i syntetyczny obraz Czechów uwik∏anych w histori´ XX wieku. Przekrój ten, oparty na partykularnych historiach ludzkich losów, obna˝a schemat funkcjonowania totalitaryzmu, poczàwszy od skali mikro (choç o Êwiatowym zasi´gu) -kuriozalnej przesz∏oÊci firmy obuwniczej Bata, ∏àczàcej utopijne idee ze sprawnie (po dziÊ dzieƒ) rozwijajàcà si´ produkcjà, poprzez hitlerowski Protektorat Czech i Moraw, a˝ po socjalistycznà Cze-chos∏owacj´. Obna˝a makabryczny system totalitarnego terroru: bezustannà inwigilacj´ -od szklanego gabinetu-windy szefa Baty po wszechobecne "ucho" i podstawianych "przyjació∏"-tajniaków; odnajdujemy tu stosowanà na porzàdku dziennym technik´ Orwellowskich "ewaporacji" -preparowanie kompromitujàcych materia∏ów i "zamilczanie na Êmierç". Czym ró˝ni si´ czechos∏owacka SB wysadzajàca w powie-188 CzasKultury /

After William H. Russell, the Irish reporter for The Times of London and Ferdinando Petruccelli della Gattina, the forerunner of American reportage and correspondent for La Presse – defined by Indro Montanelli as “the most brilliant Italian journalist of the nineteenth century”– the twentieth century saw protagonists Luigi Barzini and Arnaldo Fraccaroli, both war correspondents for Corriere della Sera. These two correspondents are in the focus of this study that seeks to trace the career path, the style and the descriptive accuracy of the most important Italian reporters on that terrible occasion.
Barzini, who had already witnessed some conflicts from 1899 for the newspaper from Solferino street – and continued to describe the wars until 1921 – had a great capacity for work that allowed him to write his articles at night after a day spent at the front. Reports, rich in detail and wrapped in an aura of unmatched descriptions, were written by an exceptional journalist, whose value was confirmed by the major European powers of the time through awards and honorary titles.
During the war Barzini published several essays and memoirs including Scene della grande guerra (1915), Al Fronte (1915) and La guerra d’Italia. Dal Trentino al Carso (1917). The intention of this paper is to show, through the stories of Barzini and Fraccaroli, the intensity of the commitment of the Italian journalists, who were recognized among the most precise and brilliant ones.