{"id":238,"date":"2025-02-27T00:27:38","date_gmt":"2025-02-26T23:27:38","guid":{"rendered":"https:\/\/noria-research.com\/africas\/?p=238"},"modified":"2026-02-16T12:30:00","modified_gmt":"2026-02-16T11:30:00","slug":"seminaire-seance-n2-l-noubou-noumowe","status":"publish","type":"event","link":"https:\/\/noria-research.com\/africas\/fr\/event\/seminaire-seance-n2-l-noubou-noumowe\/","title":{"rendered":"S\u00e9minaire – S\u00e9ance n\u00b02 – L. Noubou Noumowe"},"content":{"rendered":"\n

\u00c0 propos de L\u00e9onel Noubou Noumowe<\/h2>\n\n\n\n

L\u00e9onel Noubou Noumowe est dipl\u00f4m\u00e9 en histoire et en archivistique. Docteur en histoire de l\u2019Universit\u00e9 de Lorraine, il a consacr\u00e9 sa th\u00e8se \u00e0 l\u2019\u00e9tude de l\u2019\u00e9volution des forces militaires au Cameroun : De la milice coloniale \u00e0 l’arm\u00e9e camerounaise : constellation d’unit\u00e9s et mosa\u00efque militaire, 1914-1972. Approche sociologique et prosopographique<\/em>. Il est actuellement chef du service archives et donn\u00e9es \u00e0 l\u2019Institut National d\u2019\u00c9tudes D\u00e9mographiques (INED).<\/p>\n\n\n\n

Discutant<\/h2>\n\n\n\n

Daniel Foliard est professeur agr\u00e9g\u00e9 et enseigne \u00e0 l\u2019Universit\u00e9 Paris Cit\u00e9. Sp\u00e9cialiste des colonialismes et imp\u00e9rialismes, ses recherches portent sur la construction des savoirs coloniaux et l\u2019histoire de la photographie. Docteur de l\u2019Universit\u00e9 Paris-Sorbonne (2011) et habilit\u00e9 \u00e0 diriger des recherches (2019), il a \u00e9t\u00e9 ma\u00eetre de conf\u00e9rences \u00e0 l\u2019Universit\u00e9 Paris Nanterre (2012-2021) avant d\u2019occuper son poste actuel. Il est l\u2019auteur notamment de Combattre, punir, photographier. Empires coloniaux, 1890-1914<\/em> (La D\u00e9couverte, 2021) et participe au projet Eycon, qui explore l\u2019usage des images dans les contextes coloniaux.<\/p>\n\n\n\n

Retour sur la communication<\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\n
Axe 3 – Conflictualit\u00e9s et violence(s)<\/a><\/div>\n<\/div>\n\n\n\n

Cette communication examine le r\u00f4le de la photographie dans la construction des r\u00e9cits de la guerre de d\u00e9colonisation au Cameroun, en analysant son utilisation comme outil de l\u00e9gitimation et de disqualification par les diff\u00e9rents acteurs du conflit. D\u00e8s les \u00e9meutes de mai 1955, point d\u2019orgue des contestations sociales et politiques pr\u00e9c\u00e9dant la guerre, les images de violence deviennent un support central du cadrage rh\u00e9torique de l\u2019administration coloniale et un moyen de d\u00e9l\u00e9gitimer l\u2019adversaire politique – l’Union des populations du Cameroun (UPC) – \u00e0 travers la mise en sc\u00e8ne de sa \u00ab cruaut\u00e9 photographiquement \u00e9tablie \u00bb.<\/p>\n\n\n\n

1. L\u2019usage colonial de la photographie comme preuve et outil de contr\u00f4le<\/strong><\/p>\n\n\n\n

La photographie est mobilis\u00e9e par le pouvoir colonial pour documenter les enqu\u00eates sur la \u00ab violence politique de l\u2019UPC \u00bb. Les clich\u00e9s de cadavres exhum\u00e9s, de rues barricad\u00e9es ou d\u2019armes saisies servent non seulement d\u2019\u00e9l\u00e9ments de preuve, mais aussi de supports \u00e0 un discours visant \u00e0 criminaliser le mouvement nationaliste. \u00c0 travers ces mises en image, l\u2019administration cherche \u00e0 \u00e9tablir la culpabilit\u00e9 et la dangerosit\u00e9 de l’UPC en l\u2019associant \u00e0 une menace subversive n\u00e9cessitant une r\u00e9pression l\u00e9gitime.<\/p>\n\n\n\n

2. Une contre-offensive visuelle : la photographie au service des nationalistes<\/strong><\/p>\n\n\n\n

Progressivement, l\u2019usage de la photographie s\u2019\u00e9quilibre avec la contre-offensive visuelle des militants nationalistes, qui mobilisent \u00e0 leur tour des images pour d\u00e9noncer la brutalit\u00e9 de la r\u00e9pression coloniale. En capturant les violences exerc\u00e9es par l\u2019administration, ces photographies deviennent un moyen de sensibilisation et de contestation, circulant dans les r\u00e9seaux militants et les m\u00e9dias internationaux. Ainsi, la photographie ne se limite pas \u00e0 un outil documentaire : elle devient un instrument de lutte politique, fa\u00e7onnant les perceptions du conflit.<\/p>\n\n\n\n

3. Images, r\u00e9cits et historiographie : un regard crois\u00e9 sur les usages politiques de la photographie<\/strong><\/p>\n\n\n\n

L\u2019analyse crois\u00e9e des photographies prises aussi bien par le pouvoir colonial que par les nationalistes montre que ces images ne sont pas de simples t\u00e9moignages historiques, mais le produit d\u2019un processus sociotechnique de s\u00e9lection, orient\u00e9 par des imp\u00e9ratifs politiques. En d\u00e9passant la seule dimension visuelle, cette communication propose de d\u00e9centrer le regard pour interroger les usages, les enjeux et le statut des photographies dans les r\u00e9cits de la d\u00e9colonisation du Cameroun. Elle met en lumi\u00e8re la mani\u00e8re dont ces images continuent d\u2019alimenter les imaginaires et l\u2019historiographie du conflit, r\u00e9v\u00e9lant les tensions entre m\u00e9moire, politique et construction du r\u00e9cit national.<\/p>\n\n\n\n

R\u00e9f\u00e9rences bibliographiques<\/h2>\n","protected":false},"author":453,"featured_media":32157,"template":"","project":[14],"region":[86],"class_list":["post-238","event","type-event","status-publish","has-post-thumbnail","hentry","project-seminaire-de-recherche","region-afrique"],"yoast_head":"\nS\u00e9minaire - S\u00e9ance n\u00b02 - L. Noubou Noumowe - Africas<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/noria-research.com\/africas\/fr\/event\/seminaire-seance-n2-l-noubou-noumowe\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"S\u00e9minaire - S\u00e9ance n\u00b02 - L. 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