Roland Barthes and the Moving Image

October ◽  
1981 ◽  
Vol 18 ◽  
pp. 41 ◽  
Author(s):  
Dana B. Polan
Keyword(s):  
Roland Barthes ◽  
Moving Image

scholarly journals Kolmas merkitys toiseen

2016 ◽  
pp. 6-22
Author(s):  
Jukka-Pekka Kilpiö
Keyword(s):  
Roland Barthes ◽  
Moving Image ◽  
Verbal Representation ◽  
The Third ◽  
Medial Complex

The Third Meaning Squared. Kinekphrasis in Contemporary Finnish Poetry In this article I develop the concept of kinekphrasis to designate a particular form of intermediality, speci cally, the verbal representation of cinema or other form of moving image. Kinekphrasis builds upon ekphrasis, the classical rhetorical term that today generally refers to texts about static artworks, such as paintings and statues. Representing the medial complex of cinema, however, sets a distinct sensorial and semiotic challenge to a text and brings about a form of intermediality di erent from the traditional ekphrasis. I exemplify kinekphrasis with a reading of contemporary Finnish poetry, namely, individual poems by Pauliina Haasjoki and V. S. Luoma-aho, and one book-length work, Karri Kokko’s Töllötin (“The Tube”, 2010), the most extensive kinekphrasis in Finnish literature. In addition, I analyze Marko Niemi’s digital, animated version of Töllötin, which uses Kokko’s text and so adds yet another layer to the medial process. In representing lms and television, the texts foreground what Roland Barthes termed “the third meaning” (le troisième sens): all those excessive elements, details, and digressions that cannot be reduced to any narrative or symbolic functions.

Longing for Depth

2016 ◽  
pp. 480-498
Author(s):  
Rachel Joseph
Keyword(s):  
Roland Barthes ◽  
Symbolic Meaning ◽  
Moving Image ◽  
Still Image ◽  
The Past

This chapter explores the work of Busby Berkeley in relationship to Roland Barthes’ theory of the “punctum.” Cinema’s return to performance through screendance suggest moments of excess within the moving image that gesture toward a dismantling of the screen and reveal a desire for live theater. Barthes theorized that the photographic still image provides, in certain cases, a “punctum,” which he defined as a moment of pricking or wounding that occurs in the viewer beyond the symbolic meaning of the photograph, bringing the past into a performed moment of affective presence. Examination of some of Berkeley’s greatest screened-stage choreographic sequences in films such as Footlight Parade reveals how the bodies within Berkeley musicals both position themselves as excess and create quite literal holes in the screen in which the viewer’s eye is invited to go deeply inward. The cinematic use of the punctum restores this corporeal absence to presence through screendance within the frame of the stage.

Memory and the Moving Image

2010 ◽  
Author(s):  
Isabelle McNeill
Keyword(s):  
Moving Image

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Roland Barthes in Harmony: the writing of Utopia

Paragraph ◽  
1988 ◽  
Vol 11 (2) ◽  
pp. 127-142 ◽  
Author(s):  
Diana Knight
Keyword(s):  
Roland Barthes

Notes on Loving a Mourner (with Roland Barthes and Others)

Paragraph ◽  
2017 ◽  
Vol 40 (2) ◽  
pp. 211-227
Author(s):  
Matt Phillips
Keyword(s):  
Sigmund Freud ◽  
Ethics Of Care ◽  
Roland Barthes ◽  
Melanie Klein ◽  
Personal Observation ◽  
Late Work ◽  
Point Of Departure

This essay examines the place of love in grief, staging a relation between a mourner and her lover. Taking as its point of departure Freud's observation that mourning leads to a ‘loss of the capacity to love’, it considers the effects bereavement might have on the bereaved's relations with those that love them, and the possibilities, pitfalls and ethics of care in such a context. This is explored largely through a reading of Roland Barthes's late work (both as a writer of grief and a theorist of love), as well as ideas drawn from Sigmund Freud, Melanie Klein, Sara Ahmed, Hamlet and personal observation. Love and care are thought through alongside notions of ‘tact’, ‘benevolence’ and ‘parrying against reduction’ in late Barthes.

Accuracy of Smooth Pursuit Eye Movement and Perception Rate of a False Contour While Pursuing a Rapidly Moving Image

2011 ◽  
Vol E94-A (2) ◽  
pp. 542-547
Author(s):  
Yusuke HORIE ◽  
Yuta KAWAMURA ◽  
Akiyuki SEITA ◽  
Mitsuho YAMADA
Keyword(s):  
Eye Movement ◽  
Smooth Pursuit ◽  
Moving Image ◽  
Smooth Pursuit Eye Movement

ANALISIS VISUAL PADA SAMPUL DEPAN MAJALAH DESAIN GRAFIS “CONCEPT” EDISI ULTAH PERDANA (Sebuah Kajian Semiotika)

DeKaVe ◽  
2013 ◽  
Vol 1 (2) ◽  
Author(s):  
Prayanto WH
Keyword(s):  
Graphic Design ◽  
Roland Barthes ◽  
Specific Design ◽  
Design Work ◽  
Design Elements ◽  
Semiotic Approach ◽  
Short Time ◽  
Content Information ◽  
Magazine Cover

Magazine is one of the forms of mass media that has fungsikomunikasi to convey information to mass audiences. The cover is an important element because it is through cover / cover one can guess the contents of the magazine, as well as further interested to know further information contained therein. On a magazine cover consists of drawings and writings are arranged in such a way that looks interesting and has meaning Press publications, especially magazines, today's not enough just to rely on the quality of news or manuscript, although verbal aspect is very important. It must be recognized that the visual aspects (design) as the cover / envelope has crucial role to capture the prospective reader. For the cover of a magazine is a window that shows the content information, can be either a text or photographs, illustrations, and design elements. The function of a magazine cover is to attract, dazzle prospective readers, by way influence the thoughts flow in a short time. So it's no wonder much current the magazine publisher who made the cover of such a way as to attract the attention of prospective readers. Thus the task of designers to magazine cover to create designs that attract the attention of the reader becomes increasingly severe. This study tries to analyze a visual on the front cover Magazine Graphic Design 'Concept' birthday inaugural edition by using the Roland Barthes' semiotic approach. As Roland Barthes (1984), any simple "design work (magazine cover)" continue to play in management of the sign. So that will generate a message (image) specific. Design cover, usually contains the elements of the sign in the form of objects, context of the environment, people or other beings who provide meaning to objects, and text (of writing) that reinforce the meaning.Keyword: cover, magazine Concept, semiotics

Nature and the Wonders of the Moving Image: John Ott's Postwar Popular Science Filmmaking

Film History ◽  
2019 ◽  
Vol 31 (3) ◽  
pp. 27
Author(s):  
Williamson
Keyword(s):  
Popular Science ◽  
Moving Image
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