Tuesday, September 6, 2005
Barthes - The Photographic Message (1961)
Press photographs. Barthes refers to several such photographs in this essay from 1961. He was concerned with contending orders of connoted and denoted meanings operable in the reading of photographs. The "photographic paradox," as he puts it, involves the double structure of contending linguistic orders (connotative, denotative) and the photograph as analogon, "a message without code" (17). Paradoxically, the press photograph bears a "continuous message" sustained in the two significant structures (of which "only one is linguistic"...either accompanying text or description). Barthes calls the relationship between the image and the text "contiguous" rather than "homogenous" (16). And so the photograph must be read with some awareness of these variations, which lead to variations in meaning. Barthes: "What can at least be done now is to forecast the main planes of analysis of photographic connotation" (20).
The "planes of analysis" or "connotation procedures" read much like a taxonomy, and they come in two groupings: a first set (trick effects, pose, objects) and a second set (photogenia, aestheticism, syntax). The first set "is produced by a modification of the reality itself" (21).
- Trick effects: photo-doctoring--exploits the analogue, the power of
Senator Millard Tydings and Communist leader Earl Browder (shown)
Pose: possibility of double structure (denoted::connoted) in the posed (ex. Kennedy praying). How much is positioned?
Objects--placed for connotative effect; a meaning, but not a power (from a "stock of stereotypes")
- Photogenia--an inventory of effects; embellishments, aesthetic qualities
of technique-production ("lighting, exposure, printing") (23)
Aestheticisim--remediation; a photograph of a painting (24)
Syntax--multiple images, supra-segmental and concatenations (24)
Text and image (25-27)
In this section of the essay, Barthes works on the impact of accompanying text on photograph. Text can contribute (-1-) as a parasitic quickening (this is a historical reversal of the photo as merely illustrative of the text). The text (a caption, perhaps) can be (-2-) "innocented" by the denotation of the photograph (26). But it's not possible, according to Barthes, for the words to duplicate the image; text can, however, "amplify" the image, "retroactively project" onto the image, or even "contradict" the image.
And finally, on "Photographic Insignificance" Barthes works up a set of contending connotations in the photograph--a set we need "to elucidate fully the mechanisms of reading" (28): cognitive (28), perceptive (29), ideological or ethical (29) and political (30).
Connoted code: "The code of the connoted system is very likely constituted either by a universal symbolic order or by a period rhetoric, in short by a stock of stereotypes (schemes, colours, graphisms, gestures, expressions, arrangements of elements)" (18).
On description: "To describe consists precisely in joining to the denoted message a relay or second-order message derived from a code which is that of language and constituting in relation to the photographic analogue, however much care one takes to be exact, a connotation: to describe is thus not simply to be imprecise or incomplete, it is to change structures, to signify something different to what is shown" (18-19).
Note: This is the first of a series of write-ups/note-strings for an independent study reading list (690: New Media and Visualization). I can tell now that my future notes will need to be somewhat more succinct. Before the end of the week: Barthes - "Rhetoric of the Image" and "The Third Meaning" and Benjamin - "The Work of Art in the Age of Mechanical Reproduction"--all groundwork. Unfortunately, I'm not very skillful at rendering these notes into entries-for-readers; hope that will improve with practice.Posted by Derek Mueller at September 6, 2005 9:30 PM to Reading Notes