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1

Creative Images, Images of (Non)memory... On Being Fascinated by Film Image.

100%
Demby L.
Kwartalnik Filmowy
|
2008
|
issue 64
80-87
EN
In the article the authoress tries to define rules that govern our memory in relation to films. Taking as a starting point Barthes' fascination with a single movie image presented in 'Third Meaning', she asks whether it is possible to remember a film, as a single image, which condenses the whole sense contained in the film itself? Since films to all intents and purposes are moving pictures, then remembering them as single image, would paradoxically, be a form of non-memory, or forgetting. The film as a whole and its proper movement thus become forgotten. The authoress argues that our film memory consists of vibrant and moving mental pictures that contain not only visual elements, but elements of movement, music and rhythm. That is why they do not give a false account of that which is most important in the process of perceiving the film - namely the emotional experience. This 'vitality' inscribed in a single image is associated by her with Barthes' third sense, that is impossible to express in words. The authoress also point to an instance where an entire film had been inspired by a single image that appears in the psyche of the artists (e.g. the death of Potocki, a film operator, in the case of Nikita Mikhalkov's 'A Slave of Love', (1976)). Such initial, intimate images that arise in the film artist's imagination, probably have the greatest impact on the viewer, and are certainly a source of fascination, awakening emotions and self knowledge. And in such manner, thanks to the movie image, the viewer meets the Other, and becomes more aware of his or her own emotions. Fascination with a movie image then is an attempt at gaining self knowledge.
2

In Search of 'Third Sense' - Film Image in Theory (and Practice) of Andrei Tarkovsky - A Contribution to Aesthetics of Roland Barthes

63%
Jakubowski P.
Kwartalnik Filmowy
|
2008
|
issue 64
68-79
EN
Writing on film in his essay 'Third Meaning' and about the photography in 'Camera Lucida', Roland Barthes used the same research categories that function in analogous structure. He treats chosen photograms and photographies as a prism that evokes the substance of what is striking for him, and thus points to the way of seeing that allows us to open up to the state of mind that signals readiness for experience. In the same time Barthes criticizes the means of presentation in respect to the conditions and limitations these means impose on the viewers' possibility to adopt the image. The author argues that these two works by Barthes contsitute a line - both are just the different phases of the same theoretical journey. As a consequence - as he puts - Barthes choses the photographic image and rejects the cinematic one. But the analysis of the causes of such volte shows us that it was not the only way to solve the problem put by Barthes. Through analysis of a fragment of Andrei Tarkovski's 'Mirror' (Zerkalo) and using director's theory of film image, the author suggests the alternative way of thinking.
3

Philosophical Windows and the Predicament of the Real

63%
Sikora S.
Kwartalnik Filmowy
|
2006
|
issue 54-55
6-15
EN
The author tries to show the evolution (or perhaps the spectrum) of attitudes towards the real in today's world (in the debate on the media). He challenges the validity of some of Baudrillard's ideas and shows that in fact in the place of the decline of references appears (at least sometimes) the search of the real, which does not necessarily mean search for representation. One of the most important arguments is Roland Barthes's 'Camera Lucida'; although in the end Barthes does not show the photo of his mother he describes (that would be a poor representation), he constructs a discourse (kind of a theatre), aimed at evoking rather than representing (what is imagined has always been a component of man's reality). In his discussion the author also makes references to the fetish and relics, the recurring concepts in the debate on culture.
4
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Text, trhlina, zkamenělina: k jednomu hrabalovskému motivu

51%
Fulka J.
Česká literatura (Czech Literature)
|
2010
|
vol. 58
|
issue 6
758-767
EN
This article is based on a Hrabal motif from the introduction of his novel Vita nuova (1986), diagonal reading. Unlike most interpretations I argue that this concept need not be bound merely to the motif of the fluency of the text and the absence of punctuation, but also to the motif of the halting of the reading process, which I shall provisionally call a ‘gap’. Comparing Hrabal’s text with passages from Barthes’s Le plaisir du texte (1973), I endeavour to demonstrate that Hrabal has formulated a paradoxical experiment, probably unique in modern literature: he de­mands inattentive reading whereas the modern experimental novel demands attentive reading. (Barthes links inattentive reading with the classical narrative, which he terms the ‘lisible’, readerly). In short, the uniqueness of this experiment consists in Hrabal’s actually writing, as he stated, something that he assumed the reader would not read.
5
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ROLAND BARTHES A VÁCLAV HAVEL JAKO SPIKLENCI LITERATURY – K PRINCIPU LITERÁRNÍ PŘESVĚDČIVOSTI

51%
Češka J.
World Literature Studies
|
2018
|
vol. 10
|
issue 2
69 – 79
EN
The study focuses on the reflection of quasi-argumentative strategies based on narrative. Nevertheless, the narrative perspective is not reflected by the authors, it is even published as a rational argumentation core. In contrast to secret narratives, I build a purposefully composed literary work that reveals the neglected aspects of human existence (using imagination). At the same time, I express the hypothesis in which the persuasiveness of literature lies: the deprivation of the author’s subject, which happens by placing the reader in the imaginary perspective of narration. In the extrapolation I see Roland Barthes and Václav Havel as conspirators of literature (they are hiding literary investment in their essayist contemplation) against Kundera’s straightforward and admitted art of the novel.
6

EXPERIENCE OF PHOTOGRAPHY: ROLAND BARTHES

44%
Sikora S.
Rocznik Historii Sztuki
|
2006
|
vol. 31
53-66
EN
Roland Barthes was interested in photography for all his creative life, but the most important result of his interest was his last book Camera Lucida (1980). The author suggests that the most valuable tropes-contexts for its interpretation are works of M. Proust, W. Benjamin, J-P. Sartre, and the earlier texts by Barthes. The criticism of realistic paradigm of description is now observed in anthropology. It has been argued that the description itself should evoke the described reality. This opens up the possibility of literary experiments, and in this way the Barthes' book should be regarded. The enigmatic description of the photograph of Barthes' mother, the experience of her presence in that unpublished snapshot is supposed to create a framework that helps readers find their own emotions (as only these are real - the feelings of others, when too candid, tend to lapse into sentimentality and kitsch), enter the imaginable… But the crucial is that this going 'beyond reality' (along with J.-P. Sartre) should take into account emotions and actions. This quasi-ritual and emotional (synesthesia) character of the Barthes' 'way' is what the author attempts to demonstrate.
7

SKUTOČNÉ VO FILME A JEHO PÔSOBENIE

38%
Oniščenko J.
Filozofia (Philosophy)
|
2011
|
vol. 66
|
issue 7
655 – 666
EN
The paper examines the relationship between film and reality, which on the author’s view cannot be grasped without taking into account the viewer. For Bela Balazs the viewer is a part of the film world. Jean Epstein goes even further in his substituting an actor for a viewer. Balazs develops the concept of identification while Epstein’s idea is to subvert the viewer’s world of peace and certainties. Benjamin shows that watching a film is a two-way effect. Barthes’ aim is to show the place, from which this effect comes. Lyotard describes another particularity of the film. The stasis represents a situation when the film shows the limits of perception.
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