L'art face à l'horreur médiatisée, le tableau pour reprendre la mort

Abstract : The regrettably well-known photographs of the Chinese torture which were so inspiring for Bataille would probably seem outdated today. But now, this sort of pictures are no longer watched on the sly. A few steps to the newstand next door or just a click are enough to get the whole of it : colour death, broadcast live, commented on and analysed. From reality to television the pictures of death go round, use the web and sometimes cling to some mobile phones. From the assassination of JFK to the beheading of Nicholas Berg, little by little, the collection grow and a few years of media provide us with what we can call our occidental background of death.In the same way as the Great Plague marked a transformation of iconography, this new apprehension of death does modify present thinking and artistic production for which the subject, we will show it, is primordial (in the original and essential sense).By viewing the picture as a way common to art and media to express what is inexpressible, there is some question of bringing out a significant series of correlations between these two mediums. By showing to what extent these pictures originate in an identical function and functioning we make the assumption that the media compete with art. Finally, by testing this position it must be possible to analyse nowadays artists'definite choice of a painting which appropriates these pictures to face those of the media.
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Leïla Rezzoug. L'art face à l'horreur médiatisée, le tableau pour reprendre la mort. Art et histoire de l'art. Université Paul Verlaine - Metz, 2008. Français. ⟨NNT : 2008METZ021L⟩. ⟨tel-01752588⟩

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