The book goes into detail about his theories on the 'Studium' and 'Punctum' of a photograph. It is simultaneously an inquiry into both the nature and the essence of photography as well as a eulogy to his late mother. His studies are in-depth and personal.
It is simultaneously an inquiry into both the Punctum studium essay and the essence of photography as well as a eulogy to his late mother. His studies are in-depth and personal. Barthes focuses particularly on one photograph of his mother which was taken when she was five years old. Barthes mother passed away inand Barthes who had lived with her most of his life had lost the most important person in his life.
Barthes provides two terms for directing an analysis on any photograph. These terms are the studium and punctum. The studium is identified by Barthes as a kind of general interest in the image. It tells the viewer about the historical context, where the photograph was taken and how the photograph is viewed.
Barthes writes that the studium means that he can enjoy the photograph as a political testimony, historical document, cultural testament to the gestures, settings, figures, faces of an earlier time Camera Lucida, pp. Roland Barthes, Camera Lucida, pp.
Through studium and punctum Barthes can read and identify the contextual and the personal within the photograph. But no punctum stands out so personal for Barthes as the family photographs of his mother; with her death so recent in his mind.
Pouring over photographs of his mother and analysing them expresses Barthes desire to know and recognise his mother. The image of his mother as a young child makes Barthes confront the connection between photography and death.
There is no superimposition here: Barthes ultimately associates photography with death. Photography is a medium in which we experience the reality of death in the modern world. Perhaps because we choose to look back on photographs of those we loved when they are no longer with us.
We do this to look back on, to remember, to see them visually stood there.
A time and space forever captured in a moment, that can stay with us forever, and never leave us. But to look back and remember prolongs the pain and refreshes the memory that they are gone. Roland Barthes personal analysis of the vernacular photographs of his mother is the reason for choosing my particular photograph.
Firstly I will explain the contextual detail stadium of this photograph to my knowledge. Although without knowing this detail I would not be able to recognise the setting of the photograph as it is a lot different now.
Like my nan it appears that my Auntie Francis is a collector of Ornaments too. The photograph was taken on a special occasion marking a celebration of an anniversary for my Auntie Francis, and Uncle Bob; you can just about tell my Nan is wearing a dress for the event.
This establishes occasions and perhaps time, as i never remember my nan wearing a dress. The punctum of this photograph, however is what sets it aside from any other family photo that i may have in our family album.
Yes the photo would still mean a lot to me if she was still alive and I had found it, but the meaning is more expressive with the fact she is now gone.
It also highlights everything I remember about her. A kind, warm hearted lady; which can be represented by the glow of her cheeks.2 The drama of dance is shown in the studium photo of a ballerina in black and white, “Dance (1)”.
Since the image is so simplistic, it lacks details for the eye to latch onto making it. In this episode we explore what he means by Studium and Punctum and how you can look for it in your own photography. [Podcast]Roland Barthes, Studium and Punctum.
This element which will disturb the studium I call punctum; for punctum is disputation, computus, comedy of errors, soliloquy, essay, bulletin, evangeliary. Barthes contrasted the punctum with the studium denoting a general approach to a photograph that is conditioned by historical and cultural experiences and is not categorically different from how other art forms are approached.
memory, with the potential of ‘making the punctum studium without In this essay I am therefore concerned primarily with the way in which Seiffert urges us. But even among those which have some existence in my eyes, most provoke only a general and, so to speak, polite interest: they have no punctum in them: they please or displease me without pricking me: they are invested with no more than studium.