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Photo souvenir

著者: Philippe Koudjina; Paul Cohen; Martijn van Haalen; VPRO.; First Run/Icarus Films.
出版: Brooklyn, NY : First Run/Icarus Films, [2007]
エディション/フォーマット:   DVD : Frenchすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
"During the social and cultural euphoria of a newly independent Niger in the 1960s, Philippe Koudjina worked as a photojournalist and later opened his own photo studio. For many years, his snapshots of the youth scene in Niamey and his individual and family portraits provided Koudjina with a national reputation and a good living. Today Koudjina has fallen on hard times. He is no longer able to take photos because he  続きを読む
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詳細

関連の人物: Philippe Koudjina; Philippe Koudjina
資料の種類: Videorecording
ドキュメントの種類: 視覚資料
すべての著者/寄与者: Philippe Koudjina; Paul Cohen; Martijn van Haalen; VPRO.; First Run/Icarus Films.
OCLC No.: 183329274
言語注記: In French with English subtitles; credits in English.
注記: Produced as a documentary in 2006.
著作権: Producer, director and camera, Paul Cohen; director and sound, Martijn van Haalen; editor, Gys Zevenbergen; executive producer, Estelle Bovelander.
パフォーマー Featuring Philippe Koudjina.
物理形態: 1 videodisc (54 min.) : sd., col. ; 4 3/4 in.
詳細: DVD; stereo.
責任者: VPRO TV and CPS Films present ; a film by Paul Cohen, Martijn van Haalen.

概要:

"During the social and cultural euphoria of a newly independent Niger in the 1960s, Philippe Koudjina worked as a photojournalist and later opened his own photo studio. For many years, his snapshots of the youth scene in Niamey and his individual and family portraits provided Koudjina with a national reputation and a good living. Today Koudjina has fallen on hard times. He is no longer able to take photos because he is slowly losing his sight to glaucoma, and after having been hit by a car, he must use crutches to get around. His cameras, photographic equipment and a disorganized collection of negatives gather dust in a decaying cupboard, while he begs on the street in order to survive. Photo souvenir features interviews with Koudjina, and contrasts his desperate situation with the fortunes of other African photographers such as Malick Sidibé and Seydou Keita, whose work from the same period has brought them renewed attention and financial rewards. While the film documents the effort by two French photo connoisseurs to organize an exhibition of Koudjina's work in Paris, Photo souvenir reveals the fickle cultural process by which one-time "photo souvenirs" become "photographic art," and whether or not an artistic reputation is made in the western world"--container.

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schema:description""During the social and cultural euphoria of a newly independent Niger in the 1960s, Philippe Koudjina worked as a photojournalist and later opened his own photo studio. For many years, his snapshots of the youth scene in Niamey and his individual and family portraits provided Koudjina with a national reputation and a good living. Today Koudjina has fallen on hard times. He is no longer able to take photos because he is slowly losing his sight to glaucoma, and after having been hit by a car, he must use crutches to get around. His cameras, photographic equipment and a disorganized collection of negatives gather dust in a decaying cupboard, while he begs on the street in order to survive. Photo souvenir features interviews with Koudjina, and contrasts his desperate situation with the fortunes of other African photographers such as Malick Sidibé and Seydou Keita, whose work from the same period has brought them renewed attention and financial rewards. While the film documents the effort by two French photo connoisseurs to organize an exhibition of Koudjina's work in Paris, Photo souvenir reveals the fickle cultural process by which one-time "photo souvenirs" become "photographic art," and whether or not an artistic reputation is made in the western world"--container."
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