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Photo souvenir

著者: Philippe Koudjina; Paul Cohen; Martijn van Haalen; VPRO.; First Run/Icarus Films.
出版商: Brooklyn, NY : First Run/Icarus Films, [2007]
版本/格式:   DVD视频 : 法语查看所有的版本和格式
数据库:WorldCat
提要:
"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  再读一些...
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详细书目

提及的人: Philippe Koudjina
材料类型: 录像
文件类型: 视觉资料
所有的著者/提供者: Philippe Koudjina; Paul Cohen; Martijn van Haalen; VPRO.; First Run/Icarus Films.
OCLC号码: 183329274
语言注释: In French with English subtitles; credits in English.
注意: Produced as a documentary in 2006.
制作人员: Producer, director and camera, Paul Cohen; director and sound, Martijn van Haalen; editor, Gys Zevenbergen; executive producer, Estelle Bovelander.
描述: 1 videodisc (54 min.) : sd., col. ; 4 3/4 in.
详述: DVD; stereo.
责任: VPRO TV and CPS Films present ; a film by Paul Cohen, Martijn van Haalen.

摘要:

"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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链接数据


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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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