... 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...

... 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. It is the fashion, nowadays...

... 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...

... 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, thought the very same thing.” The contrast between Barthes’s view and Deleuze’s theorization is worth reflecting upon. In the chapter...

...-­ as-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...

... and Little Hans. London: Penguin, 1977 . Stephen , Heath “Film and System: Terms of Analysis.” Part I: Screen , Vol. 16 , 3-1 (Spring, 1975 ); Part II: Screen Vol. 16 , 3-1 (summer, 1975 ) Stephen , Heath . Vertige du déplacement: Lecture de Barthes . Paris: Fayard, 1974...

... undivided identity; the animal, limit to the definition of characteristic humanness (Both Terayama and Tanikawa own dogs that we come to care about. Nietzsche also comes to mind, throwing himself onto the neck of a battered horse. Or the “pity” Barthes saw in this gesture that seemed to him...

... 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, the effect...

.... 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, 1985. $16.95. 228 Bond and Beyond: The Political Career...

... narra- tion from the point of view of the heroine. Using Barthes,’ Modleski claims that the first person personal can generally be substituted for the third person personal (“I entered the room” can be substituted for “She entered the room This allows for a close...

..., as I prefer it, “the trial of the subject”-a trial that is not limited to particular statements but which infiltrates every word, every image, every cut of one’s work. CP: Despite your film’s debts to anthropology, it is Barthes rather than Levi-Strauss who seems...

... exercise control within these powerful systems of spectatorship? How can the spectacle look back at the spectator and intervene in the gaze? 70 In his essay “The World of Wrestling,” Roland Barthes describes the relationship between the wrestler as spectacle and the public...

.... In Camera Lucida, Roland Barthes has described photogra- phy as being akin to a prick or a wound, in his words the punctum.9 André Bazin, the champion of anti-Hollywood realism and one of the founders of the Cahiers du cinéma in the 1950s, describes the relationship of the photograph and the object...

... to the 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...

..., achieving a highly reflexive modernist style along with an emotional intensity rare in Brechtian cinema. Roland 138 Barthes, who notes the Brechtian elements in the traditional puppet theater, supplies the clues to Shinoda's revisionist melodrama.i" Barthes describes bunraku as having...

... and Films Although both photographs and films are mechanically reproduced images, they are often perceived as having entirely different functions. We consider photographs to be agents of memory while we tend to view fiction films as pretexts for oblivion. Roland Barthes’s work...

... Nora M. Alter Where is your authentic body? You are the only one who can never see yourself except as an image. —Roland Barthes, Roland Barthes by Roland Barthes I know now that if I make a picture it’s just to speak about what...

... specific question and by the selection of the “most pertinent” codes, examining their step-by-step interrelationship. Here, the play of the codes is much looser, much more in the style of what is unquestionably the tutor-text, S/Z. In much the same way that Barthes wrote about the interweaving...

... or, 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...

... through the temporal estrangement of the past and the present, making explicit the separation between Chadha s life and Sashibala s death.27 For Roland Barthes, the photograph s magical power stems from its claim to reality through the invention of a new space- time category: spatial immediacy...