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Roland Barthes: Camera Lucida - Art History Unstuffed
- https://arthistoryunstuffed.com/roland-barthes-camera-lucida/
- The photograph, for Barthes, “blocks memory” and “becomes a counter-memory.” Barthes was best when he examined the correlation of photography with death. A photograph stopped time and reduced it to a frozen instant. Life went on, the subject changed but the photography stayed the same, even when the person died, the image was left behind.
Roland Barthes: "The Photographic Paradox"
- https://artofcreativephotography.com/essay/the-photographic-paradox-roland-barthes/
- The analogy of reality – reality itself – is for Barthes the denotative message, or the denotation of photography. A connoted message according to Roland Barthes is the introduction of an additional meaning in the original message. That causes, at least in press photography, that the images loses its purely denotative character.
Memory Transmission and Barthes’ Concept of …
- https://helda.helsinki.fi/bitstream/handle/10138/15335/38_61_Pichugin.pdf
- Memory Transmission and Barthes’ Concept of Photography in The Emigrants by W. G. Sebald The main topic that underlies the work of the German writer and journalist W. G. Sebald (1944-2001) is memory: his journalistic and literary works all deal in some way or another with the issues of individual and collective memory and memory transmission.
Memory & Truth: Duras' photographs in "The Lover" and Barthes' …
- https://kevinmichaelreed.com/memory-truth-duras-photographs-in-the-lover-and-barthes-search-for-truth-in-camera-lucida/
- Memory & Truth: Duras' photographs in "The Lover" and Barthes' search for truth in "Camera Lucida". In Margarete Duras’ “L’Amont,” or “The Lover,” she details a story of a love affair between a young girl and her older lover. Set in the Saigon of her childhood, she provides accounts through factual memories, though aged through time, and the eye of her mind, in a …
Photography and Memory – Alex Vasser
- http://alexvasser.org/2017/09/29/photography-and-memory/
- Barthes, Keenan, and Kracauer on Photography and Memory. Roland Barthes wrote that photographs can become a “counter-memory” which most people accept as the memory itself. Siegfried Kracauer’s writing elaborates on this theme when he says, essentially, that photography records space while memory records significance.
4 Ideas from the Photographic Writings of Roland Barthes
- https://www.bhphotovideo.com/explora/photography/tips-and-solutions/4-ideas-photographic-writings-roland-barthes
- Barthes’s most famous work on photography, Camera Lucida, offers a much more intimate approach to the subject compared to his earlier writings. It is the end product of an obsessive quest to understand why certain photographs are able …
Understanding Roland Barthes’ problem with photography
- https://photofocus.com/found/understanding-roland-barthes-problem-with-photography/
- Whichever the case, if you’re in the mood for more learning, the insights of French literary theorist and philosopher Roland Barthes on photography may inspire you. In the latest video above, Jamie Windsor introduces us to “Camera Lucida,” a short book of Barthes’ philosophical musings on photography that was first published in 1980. Among the terms and …
Bates – The Memory of Photography | Identity and Place
- https://scottishzoeidentityandplace.blog/2019/11/21/bates-the-memory-of-photography/
- Memory is a combination of vision, sound, smell and touch – producing the mnemic trace – therefore a photograph is limited. Archives were initially produced on behalf of governments. So – what is chosen to be archived will not be everything, and not be neutral.
Benjamin, Barthes and the Singularity of Photography
- https://academic.oup.com/fs/article/68/4/570/604387
- This meticulously researched and enlightening study will be essential reading for anyone seeking in-depth immersion in the theory, history, and affective content of photography in two of its key explorers. In company with Katja Haustein's Regarding Lost Time: Photography, Identity, and Affect in Proust, Benjamin, and Barthes (Oxford: Legenda, 2012; see French …
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