Roland Barthes - Image - Music - Text: Difference between revisions
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19 Connotation can apply to photo | 19 Connotation can apply to photo | ||
21-22, denotation and connotation can become confused by viewer | 21-22, denotation and connotation can become confused by viewer | ||
23 Objects naturalize the photograph, make it seem spontaneous (makes connotation seem like denotation) | 23 Objects naturalize the photograph, make it seem spontaneous (makes connotation seem like denotation) | ||
25 Text as parasitic to the photo. Text illustrates the photo. | 25 Text as parasitic to the photo. Text illustrates the photo. | ||
27 Connotation works historically | 27 Connotation works historically | ||
27-8 “Signification, in short, is the dialectical movement which resolves the contradiction between cultural and natural man” | 27-8 “Signification, in short, is the dialectical movement which resolves the contradiction between cultural and natural man” | ||
28 photograph is immediately categorized, is all about the way it’s perceived | 28 photograph is immediately categorized, is all about the way it’s perceived | ||
30 Denotation only occurs in traumatic images | 30 Denotation only occurs in traumatic images | ||
31 Gives the exigencies of structuralism | 31 Gives the exigencies of structuralism | ||
=== The photographic paradox === | === The photographic paradox === | ||
What is the content of the photographic message? What does it transmit? From object to photo there is a reduction (proportion, perspective, color) but no transformation: there is no code between object and image. The image is a perfect analogon of reality - that's what defines a photograph. The special status of the photographic image: it is a message without a code. | What is the content of the photographic message? What does it transmit? From object to photo there is a reduction (proportion, perspective, color) but no transformation: there is no code between object and image. The image is a perfect analogon of reality - that's what defines a photograph. The special status of the photographic image: it is a message without a code. | ||
Revision as of 16:17, 13 November 2017
The Photographic Message
Roland Barthes takes the press images as an example of how a photograph is a message. A message with a source of emission, a channel of transmission and a point of reception. But whatever the origin and destination of the message, the photograph is not simply a product or a channel but also an object endowed with a structural autonomy. The structure is not isolated, it communicates with another structure: text. Both structure occupy their own defined spaces.
Most imitative arts:
- Denoted, image of reality itself
- Connoted, what society thinks of it
19 Connotation can apply to photo
21-22, denotation and connotation can become confused by viewer
23 Objects naturalize the photograph, make it seem spontaneous (makes connotation seem like denotation)
25 Text as parasitic to the photo. Text illustrates the photo.
27 Connotation works historically
27-8 “Signification, in short, is the dialectical movement which resolves the contradiction between cultural and natural man”
28 photograph is immediately categorized, is all about the way it’s perceived
30 Denotation only occurs in traumatic images
31 Gives the exigencies of structuralism
The photographic paradox
What is the content of the photographic message? What does it transmit? From object to photo there is a reduction (proportion, perspective, color) but no transformation: there is no code between object and image. The image is a perfect analogon of reality - that's what defines a photograph. The special status of the photographic image: it is a message without a code.