Cultural Studies 1 Lecture 6 Barthes and the photg

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Information about Cultural Studies 1 Lecture 6 Barthes and the photg

Published on November 13, 2007

Author: liamgr


Cultural Studies 1:  Cultural Studies 1 Lecture 6 Barthes : Decoding the image The photographic image:  The photographic image The photograph is simulacrum of reality It is a denotation in reduction, a tiny analogue of the real We do not typically look for coding or encoding in examining a photograph It appears as a message without a code ‘The camera doesn’t lie’ Barthes argues that this is not the case that images, like signs, both connote and denote The ‘documentary’ photograph:  The ‘documentary’ photograph A message which totally ‘exhausts its mode of existence’ It pretends purely denotative, documentary objectivity It is typically ‘read’ in the way it is intended as in some sense neutral But it has been worked on, chosen, composed and subjected to professional or ideological norms The photographic paradox:  The photographic paradox Co-existence of 2 messages: One without a code The photograph as analogue of the real One with a code The photograph as an encoded statement with a connoted message, a second meaning Connotation & Denotation:  Connotation & Denotation TITLE:  Buffalo, New York. The wedding of Cecelia Wrazen and Bronislaus Nowak, who work at Ross Heater, makers of condensers for the Navy. They are of Polish descent. He is temporarily deferred from the Army because of his essential work. They will live with her mother Connotation Procedures:  Connotation Procedures Trick effects Pose Objects ‘Photogenia’ (lighting, exposure, printing) Aestheticism Trick effects:  Trick effects The disappearing Commissar More tricks:  More tricks Pose:  Pose Objects:  Objects The study' researchers - the University of Melbourne's Professor Lyn Yates and Deakin University' Dr Julie McLeod. Photo: Gary Medicott Photogenia:  Photogenia Aestheticisation Wounded Soldiers at Khe San (Larry Burrows, 1970?) :  Aestheticisation Wounded Soldiers at Khe San (Larry Burrows, 1970?) The martyrdom of St Stephen (Rembrandt, 1625):  The martyrdom of St Stephen (Rembrandt, 1625) Reading the photograph:  Reading the photograph The reading of a photograph is always historical and depends on the readers’ knowledge and cultural situation Photographic connotation is an ‘institutional’ activity Text & Image:  Text & Image Accompanying text is parasitic on the image The traditional arrangement whereby images serve the text is reversed in the documentary photograph Serves simply to amplify a connotation or stress an intended reading Effect of text on connotation differs according to presentation and proximity A caption differs from a headline in this respect

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