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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...
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...
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