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The Theatricality of the Punctum : Reviewing Roland Barthes ’ Camera Lucida
| Content Provider | Semantic Scholar |
|---|---|
| Author | Wilson, Harry Robert |
| Copyright Year | 2017 |
| Abstract | It was in 2012, whilst developing a performance about falling, that I was first introduced to Roland Barthes’ concept of the punctum: the emotionally bruising, affective detail of a photograph that breaks through the field of signification (studium) to prick or wound the viewer. I was researching photographs of bodies caught in the act of falling when I came across Andrea Fitzpatrick’s compelling article on art after 9/11. Fitzpatrick (2007) adopts Barthes’ dual terms of studium and punctum to analyse the ‘movement of vulnerability’ in Richard Drew’s controversial Falling Man photograph, which depicts a man leaping from the World Trade Center. Through a comparison with Yves Klein’s Leap Into the Void (1960) Fitzpatrick manages to explore a crisis of subjectivity and the rupture of meaning in images of falling (85–86). |
| File Format | PDF HTM / HTML |
| Alternate Webpage(s) | https://www.performancephilosophy.org/journal/article/download/126/196 |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
