映像学
Online ISSN : 2189-6542
Print ISSN : 0286-0279
ISSN-L : 0286-0279
44 巻
選択された号の論文の3件中1~3を表示しています
特集=映像と日常
論文
  • (特集=映像と日常)
    藪 亨
    原稿種別: 研究論文
    1991 年 44 巻 p. 7-9
    発行日: 1991/07/15
    公開日: 2019/07/23
    ジャーナル フリー
  • 『明るい部屋』に寄せて
    浅井 俊裕
    原稿種別: 研究論文
    1991 年 44 巻 p. 14-26,95
    発行日: 1991/07/15
    公開日: 2019/07/23
    ジャーナル フリー

      It is said that NOSTALGIA is the vague and romantic longing for the past or the hometown. The word of NOSTALGIA was, however, technical term of medicine in the derivation of this word. This has the implication which is more earnest desire than simple longing.

      I refer to the NOSTALGIA is remarkable in the creative works of the moderns. I illustrate by example, NOSTALGIA of the contemporary art of Japan, of Andrey Talkofski's "NOSTALGIA", and or "La Chambre Claire" which is the essay on photograph written by Roland Balthes.

      Standing at the end of this decade, one of the leading current of Japanese contemporary art is a theme of daily life and a desire to be united with mother's womb.

      Talkofski's "NOSTALGIA" is story of the sufferer who is attacked with NOSTALGIA.

      "La Chambre Claire" is the story of NOSTALGIA.

      Balthes desires to be one with his LOST MOTHER, and he gets a wisdom of sympathy.

      Like this, NOSTALGIA is the reality of the moderns.

  • 橋本 英治
    原稿種別: 研究論文
    1991 年 44 巻 p. 27-39,95-94
    発行日: 1991/07/15
    公開日: 2019/07/23
    ジャーナル フリー

      Roland Barthes' "La Chambre Claire" is the attempt to realize the essence of photography. But what is puzzling in his article is the fissure between the first and the second halves. He doesn't show us the most important photograph of his mother, saying it is important only for him and of mere indifference to others.

      In this paper, I want to look over these points in view of three different kinds of photography: the so - called photogram, general photography and radiography. Probably the differences come from the intensity of the relation between a photograph and the object it represents. It seems that the characteristics of a photograph that Barthes emphasizes are photogram and radiography. The two emphasize the fact that the object existed in front of the camera, what he calls, "that has been," not the resemblance between a photograph and its object. To Barthes, the resemblance isn't the essence of photography.

      It is difficult to explain the essence of photography that can't be expressed by an analogical image. But the word "haptique," used by Gilles Deleuze in "Logic de la Sensation," gives us a hint of approaching that difficalt question. The meaning of "haptique" is touching with the eye. According to this, the essence of photography is not its visibility but its touchablilty through its appearance. This was put into practice by Barthes, using words not to present an image, as a photograph can, but to present the essence of the object. We have to touch the essence without looking.

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