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Camera Lucida: Reflections on Photography (Anglais) Broché – 15 juillet 1993

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Description du produit

Revue de presse

"Of all his works it is the most accessible in language and the most revealing about the author. And effortlessly, as if in passing, his reflections on photography raise questions and doubts which will permanently affect the vision of the reader" (Guardian)

"I am moved by the sense of discovery in Camera Lucida, by the glimpse of a return to a lost world" (New Society)

"Profoundly shaped the way the medium is regarded" (Geoff Dyer Guardian)

Présentation de l'éditeur

Examining the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind.

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Format: Broché Achat vérifié
I like this book.
The paper they chose and the typo they applied are amiable.
Otherwise there would be only the content make sense.
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Commentaires client les plus utiles sur (beta) 3.8 étoiles sur 5 38 commentaires
1.0 étoiles sur 5 Worst publishing of this book! 11 février 2017
Par Giorgi - Publié sur
Format: Broché Achat vérifié
It is not what I was expected. This book of Barthes is the one of the special and useful books on photography and at this time, the paper of book by this publishing is awful, and the photos on the pages is like a cheap black and white magazine's photo quality. So so sad about it.
I think (and home) the best publishing of this book is hardcover one, with blue cover.
14 internautes sur 16 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Difficult but well worth it 15 novembre 2013
Par T - Publié sur
Format: Broché Achat vérifié
I got this book for an Art History class (History of Photography). I gave myself exactly one week to read this book. It wasn't enough time; this book is incredibly complex for Undergraduate reading. I had to reread the book several times, but thanks to my teacher, TA and fellow students, we managed to break it down and begin actually seeing what Barthes is saying. He wrote this book as an essay not necessarily to teach but more so to explain why he was attracted to photos more than others while looking for his perfect photo of his recently deceased mother. The first part of the book breaks down and explains the different parts of photography. The most important term to remember is punctum (and studium which goes with it) and enimos, or essence. The Second part breaks down his discovery of the Winter Garden photo (which is never seen in the book) and why he is attracted to it, or other words, he uses the terms from Part One to explain the photo.

As a student I highly dislike this book because of its difficult reading, but as an Art Historian, I find it incredibly useful, especially for any students planning on going into Contemporary art, which is highly dominated by the field of photography.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Intriguing and open ended 30 mai 2013
Par W - Publié sur
Format: Broché Achat vérifié
This book never cease to make me think about the role of pictures and the way it seduces our senses and memory that is difficult to explain by words. A lot of people arguing on the Barthes insistence on the aura of the pictures, though it's remaining true since the early invention of photography. I'm intrigued by this essay and continually fascinated by this search for meaning in the object of picture. Highly recommended!
5.0 étoiles sur 5 DOA 26 décembre 2016
Par Albarelli - Publié sur
Format: Broché Achat vérifié
Nice insights into the meaning and difference of photographs. Barthes covers mainly portraits and doesn't analyze landscape or still life photography. Also, he doesn't make any comparisons with paintings, which would have made it more interesting. His final chapter on photography as DOA is profound.
1 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Wonderful tribute to the author's mother, but limited on photography 14 juin 2016
Par Carl - Publié sur
Format: Broché Achat vérifié
Camera Lucida provides a moving and insightful tribute to the author's mother. However, to my mind, the thinking about photography is rather less valuable.

Barthes begins by announcing that the subject compels him to dispense with the compulsion to theorizing that seems endemic to French academic writing. A promising and welcome beginning. But Theory keeps intruding, in the form of jargon (the distinction between Operator, Spectator and Spectrum, which is pretty much dropped shortly after being introduced), various dichotomies (which tend to be introduced for the primary purpose of being subverted), the generation of paradoxes, and the usual rather melodramatic "last word" concerning the inexpressible, the ineffable, and of course Death. Despite his promise to utilize as data his own personal experience of photographs in order to reach the essence of "Photography" [sic], Barthes never manages to get beyond the framework of "representation", "likeness" and "referent", all concepts (dating back to Barthes' early work in semiology) that tend to obfuscate rather than reveal how photographs present themselves to our minds. For the first thing to notice about a photograph is that it does not provide a "likeness" of a thing but rather the thing itself, the difference being that in the photograph the thing doesn't exist (here, now). In other words, the theoretical apparatus surrounding the concept of representation is inherently inadequate to understand what a photograph is, but Barthes relies on it (even if in a negative mode) from start to finish. Also annoying is the preciosity of the writing (its delight in its look and sound, suggesting an aesthete rather than a thinker), and the (again) characteristic striving for brilliance for its own sake. It's easier to appear brilliant when obfuscating than when enlightening, because philosophical and aesthetic truth is discovered not when we learn something new (via fresh information or neologisms) but rather when we are able to recall something we already know, but for some reason are unable to acknowledge. For these reasons, I find Barthes' reflections on photography to be at times very interesting and subtle but of limited value.
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