... protagonist) that productively learns from and contributes to a sensual, humanistic, and epistemic perception. Combining analyses of Ozu's films (by Noël Burch, Gilles Deleuze, David Desser, and Donald Richie) with film theories (by Roland Barthes, Walter Benjamin, Mary Ann Doane, and Jean Epstein), I trace...

... meaning-bearing, and wholly explicable in terms of this function. The semiological image is only incidentally sensed, seen; it is fundamentally to be “read.” It is this dominant set of epistemological assumptions that Roland Barthes’s Camera Lucida3 sets out to deny...

... Barthes, will soon be published. Thierry Kuntzel is currently mahng videotapes, worhng with the Groupe de Recherches Images. He has had several group exhibitions in Paris. He also heads the Atelier Critique of the National Audio-visual Institute (INA), Paris. His tapes include: (1979) Nostos I...

... by Sharon Willis. University of Illinois Press, 1987. And the Winner Is : The History and Politics ofthe Oscar Awards by Emanuel Levy. Ungar, 1987. $19.50. Criticism and Truth by Roland Barthes. University of Minnesota Press, 1987. $10.95. Conversations with Losey by Michel Ciment, Methuen...

... the same way that Barthes wrote about the interweaving of voices in the text, Kuntzel’s article is, on one level, quite literally that-a network of citations from narrative theory, psycho- analysis, film theory, art history. If Kuntzel succeeds in demonstrating a certain obviousness about...

... prehensible roundness, cause my reading to slip? An obtuse angle is greater than a right angle . . . ; the third meaning also seems to me greater than the pure, upright, secant, legal perpendicular of the narrative, it seems to open up the field of meaning totally, that is infinitely. —Roland Barthes, “The...

... the neck of a battered horse. Or the “pity” Barthes saw in this gesture that seemed to him the very essence of feeling as both uniquely individual and the degree zero of identity); the mother, the primal body of affect, the affect coming from things themselves, flat and irreducible. On...

... Mademoiselle Guillotine (Ca- gliostro, Dumas, Oedipe, et la Rholution Franaise) (both published by La Diffirence, 1990). Rida Bensmai’a teaches theory of literature, film and francophone literature Brown University. His is author of The Barthes Effect: Introduction to the Reflective Text...

... with Foucault, LCvi-Strauss, Barthes, Metz, Rosolato, Laplanche and Pontalis, and others. An edition of the interviews alone, including a second interview with LCvi-Strauss, has been published. Paris: 10/18 U.E.G., 1978. L’analyse du film. Forthcoming, Paris: Editions de l’Albatros...

... working in Paris for the past five years. She has written reviews and articles for several feminist publications. Her Master’s thesis, written while studying with Roland Barthes at the Ecole pratique des hautes etudes, is an analysis of swearwords soon to be published under...

...: Selected Writings) edited by Theresa Hak Kyung Cha. Essays by Barthes, Vertov, Baudry, Deren, Huillet and Straub, Kuntzel, Augst, Vernet and Metz. Tanam Press. New York, 1981. Figures of Desire: A Theory and Analysis of Surrealist Film by Linda Williams. University...

... approached from the viewpoint ofRoland Barthes- and Sylvie Pierre> in their work on the photogram: the search for the way in which film ac- cedes to significance. In the examples they discuss, this significance is intimately linked to the photographic nature of the filmic image: the ef- fect of presence...

...: Lecture de Barthes . Paris: Fayard, 1974 . Thierry , Kuntzel “The Film-Work.” Enclitic , Vol. 2 , 3-1 (Spring, 1978 ); “Le travail du film.” Communications 19 , ( 1972 ) Thierry , Kuntzel “Le Défilment: A View in Close Up.” Camera Obscura / 3-1 (Fall, 1977 ); “Le défilement...

... reflections about subject matter and rhetorical presen• tation that dominated even the best American film writing at the time) is simultaneously indebted to the prestige of Levi-Strauss's structural anthropology and to Roland Barthes's Mythologies. Their suspicion of surfaces...

...-disappearance.­ — Roland Barthes, The Pleasure of the Text But I do believe the melancholia evoked by a dying image may produce not dread but a loving regard. — Laura U. Marks, “Loving a Disappearing Image” On the twelve-­by-­twelve cover photograph for the 2009 Ao Trang calendar (fig. 1), a young...

..., at most, imperfectly occupied. This is the meaning of Roland Barthes’s claim that “the reader is without history, biography, psychology; he [sic] is simply that someone who holds together in a single field all the traces by which the written text is constituted” (Barthes 1977a, 148...

...,” Roland Barthes describes the relationship between the wrestler as spectacle and the public as spectators. He argues that, like an audience at a suburban cinema theater, spectators come to the scene without outside notions in order to absorb the spectacle as a pure and...

... example of the horse’s gallop . . So, historically, but also formally, the long-exposure photograph would be opposed to that of the snapshot which was to become the essential material of cinema. Roland Barthes, for whom every photograph is in the final analysis a pose...

... photographic image whose mute space Roland Barthes described in similar terms: “it cannot say what it shows.” The narrator of Steve Fagin’s videotape tells us that the fathers of Gustave (Flaubert) and Raymond (Roussel) never spoke: “At least their mothers spoke to them. A tongue taken from an...

... very well appreciated by Fernando Torm, her (presumed) lover. (' 'He has seen it a hundred times. ") The film ends with a 'real performance', a series of imitations of stills from G.W. Pabst's Pandora's Box or Lulu. The other performers are)ohn Erdman, ShirleySoffer, Epp Kotkas,)ames Barth...