Podcasts about Camera lucida

Hello everyone. This is Hosein Jalilvand in Geneva with a new episode for Docs in Orbit featuring a conversation with Matthew Lancit about his latest film, Play Dead! (2023). Play Dead!  is a funny, tender video diary on living with diabetes, where Lancit playfully transforms his personal experience and fear of dying into a body horror film, where an invisible disease crawls inside his body. The film premiered in the Camera Lucida sidebar of Dok Leipzig in October 2023 and available to stream on Arte TV in France until 16 March and at Jean Rouch International Festival in May. I hope you enjoy our conversation and his film as much as I did. GUEST BIO: Matthew Lancit is an award-winning Canadian documentary filmmaker currently based in Paris, France. After leaving his advertising job as a director in a New York animation studio to live in Cameroon, Lancit embarked on the making of his first feature-length documentary, Funeral Season (2011) – which has since been chosen for preservation by the Library and Archives of Canada and selected to over 50 international festivals.Lancit is known for his autobiographical films that intertwine his personal life with philosophical subjects. His films are marked by his simultaneously poetic gaze and self-deprecating humor, which sometimes borders on the burlesque.CONTRIBUTOR BIO:Hosein Jalilvand is an Iranian film director-scholar based in Geneva. His films play with the intersections of history and cinema. After completing his bachelor's degree in aerospace engineering, Hosein began pursuing his long interests in cinema with a Master's in Film Studies at the University of Tehran and a Master of Arts in Documentary Film Directing from DocNomads. His short documentary “Song of the Bell” (DocLisboa, 2018) won the best director award in the Green Years competition section. Since then, he has been researching a series of texts about colonialism and its manifestation in wildlife movies while developing a feature documentary on the topic.For show notes, visit docsinorbit.com and be sure to follow us on social media @docsinorbit

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory. Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The camera may not lie, but it can produce very convincing fiction. The wedding photograph and the headshot are just some of the ways our everyday world gets defined through the frozen image. Award-winning playwright Guillermo Verdecchia presents a sound portrait of a very "visual" medium in this 2001 IDEAS episode.

Way back in 2019, Elizabeth and John were already thinking about collaboration. Here they speak with Jared Green and explore The Electro-Library, a podcast he co-created. Elizabeth, Jared and John play snippets from a recent Electro-Library episode on the decidedly non-podcasty topic of photographs, and use it as a springboard to discuss the different aesthetic experiences of radio, television, film, reading, audiobooks, and podcasts. Which are the easiest and which the hardest artworks to get lost in? Would Frankenstein's monster be more popular as a podcaster than as a YouTuber? (The answer to that one seems most likely to be yes). The conversation then turns to the difference between artworks that slide in at the ear and those that come in by eye. What kind of world-building is going on on Recall This Book? Which podcasts are like a Wagnerian gesamtkunstwerk and which are more Schubertian, semi-detached and conversational? Then, in Recallable Books, Jared recommends Barthes's Camera Lucida, Elizabeth recommends the work of Sarah Lewis, and John recommends the Habitat podcast. Discussed in this episode: Lapham's Quarterly The Lover, Marguerite Duras “The Photograph,” Umberto Eco Various audiobooks, John Le Carré Collected Poems, Prose, and Plays, Robert Frost The Most of P.G. Wodehouse, P.G. Wodehouse “The Dead,” James Joyce Fun Home: A Family Tragicomic, Alison Bechdel Camera Lucida: Reflections on Photography, Roland Barthes Aperture 223, “Vision and Justice,” ed. Sarah Lewis The Habitat  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

Way back in 2019, Elizabeth and John were already thinking about collaboration. Here they speak with Jared Green and explore The Electro-Library, a podcast he co-created. Elizabeth, Jared and John play snippets from a recent Electro-Library episode on the decidedly non-podcasty topic of photographs, and use it as a springboard to discuss the different aesthetic experiences of radio, television, film, reading, audiobooks, and podcasts. Which are the easiest and which the hardest artworks to get lost in? Would Frankenstein's monster be more popular as a podcaster than as a YouTuber? (The answer to that one seems most likely to be yes). The conversation then turns to the difference between artworks that slide in at the ear and those that come in by eye. What kind of world-building is going on on Recall This Book? Which podcasts are like a Wagnerian gesamtkunstwerk and which are more Schubertian, semi-detached and conversational? Then, in Recallable Books, Jared recommends Barthes's Camera Lucida, Elizabeth recommends the work of Sarah Lewis, and John recommends the Habitat podcast. Discussed in this episode: Lapham's Quarterly The Lover, Marguerite Duras “The Photograph,” Umberto Eco Various audiobooks, John Le Carré Collected Poems, Prose, and Plays, Robert Frost The Most of P.G. Wodehouse, P.G. Wodehouse “The Dead,” James Joyce Fun Home: A Family Tragicomic, Alison Bechdel Camera Lucida: Reflections on Photography, Roland Barthes Aperture 223, “Vision and Justice,” ed. Sarah Lewis The Habitat  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Way back in 2019, Elizabeth and John were already thinking about collaboration. Here they speak with Jared Green and explore The Electro-Library, a podcast he co-created. Elizabeth, Jared and John play snippets from a recent Electro-Library episode on the decidedly non-podcasty topic of photographs, and use it as a springboard to discuss the different aesthetic experiences of radio, television, film, reading, audiobooks, and podcasts. Which are the easiest and which the hardest artworks to get lost in? Would Frankenstein's monster be more popular as a podcaster than as a YouTuber? (The answer to that one seems most likely to be yes). The conversation then turns to the difference between artworks that slide in at the ear and those that come in by eye. What kind of world-building is going on on Recall This Book? Which podcasts are like a Wagnerian gesamtkunstwerk and which are more Schubertian, semi-detached and conversational? Then, in Recallable Books, Jared recommends Barthes's Camera Lucida, Elizabeth recommends the work of Sarah Lewis, and John recommends the Habitat podcast. Discussed in this episode: Lapham's Quarterly The Lover, Marguerite Duras “The Photograph,” Umberto Eco Various audiobooks, John Le Carré Collected Poems, Prose, and Plays, Robert Frost The Most of P.G. Wodehouse, P.G. Wodehouse “The Dead,” James Joyce Fun Home: A Family Tragicomic, Alison Bechdel Camera Lucida: Reflections on Photography, Roland Barthes Aperture 223, “Vision and Justice,” ed. Sarah Lewis The Habitat  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Way back in 2019, Elizabeth and John were already thinking about collaboration. Here they speak with Jared Green and explore The Electro-Library, a podcast he co-created. Elizabeth, Jared and John play snippets from a recent Electro-Library episode on the decidedly non-podcasty topic of photographs, and use it as a springboard to discuss the different aesthetic experiences of radio, television, film, reading, audiobooks, and podcasts. Which are the easiest and which the hardest artworks to get lost in? Would Frankenstein's monster be more popular as a podcaster than as a YouTuber? (The answer to that one seems most likely to be yes). The conversation then turns to the difference between artworks that slide in at the ear and those that come in by eye. What kind of world-building is going on on Recall This Book? Which podcasts are like a Wagnerian gesamtkunstwerk and which are more Schubertian, semi-detached and conversational? Then, in Recallable Books, Jared recommends Barthes's Camera Lucida, Elizabeth recommends the work of Sarah Lewis, and John recommends the Habitat podcast. Discussed in this episode: Lapham's Quarterly The Lover, Marguerite Duras “The Photograph,” Umberto Eco Various audiobooks, John Le Carré Collected Poems, Prose, and Plays, Robert Frost The Most of P.G. Wodehouse, P.G. Wodehouse “The Dead,” James Joyce Fun Home: A Family Tragicomic, Alison Bechdel Camera Lucida: Reflections on Photography, Roland Barthes Aperture 223, “Vision and Justice,” ed. Sarah Lewis The Habitat  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

Way back in 2019, Elizabeth and John were already thinking about collaboration. Here they speak with Jared Green and explore The Electro-Library, a podcast he co-created. Elizabeth, Jared and John play snippets from a recent Electro-Library episode on the decidedly non-podcasty topic of photographs, and use it as a springboard to discuss the different aesthetic experiences of radio, television, film, reading, audiobooks, and podcasts. Which are the easiest and which the hardest artworks to get lost in? Would Frankenstein's monster be more popular as a podcaster than as a YouTuber? (The answer to that one seems most likely to be yes). The conversation then turns to the difference between artworks that slide in at the ear and those that come in by eye. What kind of world-building is going on on Recall This Book? Which podcasts are like a Wagnerian gesamtkunstwerk and which are more Schubertian, semi-detached and conversational? Then, in Recallable Books, Jared recommends Barthes's Camera Lucida, Elizabeth recommends the work of Sarah Lewis, and John recommends the Habitat podcast. Discussed in this episode: Lapham's Quarterly The Lover, Marguerite Duras “The Photograph,” Umberto Eco Various audiobooks, John Le Carré Collected Poems, Prose, and Plays, Robert Frost The Most of P.G. Wodehouse, P.G. Wodehouse “The Dead,” James Joyce Fun Home: A Family Tragicomic, Alison Bechdel Camera Lucida: Reflections on Photography, Roland Barthes Aperture 223, “Vision and Justice,” ed. Sarah Lewis The Habitat  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Way back in 2019, Elizabeth and John were already thinking about collaboration. Here they speak with Jared Green and explore The Electro-Library, a podcast he co-created. Elizabeth, Jared and John play snippets from a recent Electro-Library episode on the decidedly non-podcasty topic of photographs, and use it as a springboard to discuss the different aesthetic experiences of radio, television, film, reading, audiobooks, and podcasts. Which are the easiest and which the hardest artworks to get lost in? Would Frankenstein's monster be more popular as a podcaster than as a YouTuber? (The answer to that one seems most likely to be yes). The conversation then turns to the difference between artworks that slide in at the ear and those that come in by eye. What kind of world-building is going on on Recall This Book? Which podcasts are like a Wagnerian gesamtkunstwerk and which are more Schubertian, semi-detached and conversational? Then, in Recallable Books, Jared recommends Barthes's Camera Lucida, Elizabeth recommends the work of Sarah Lewis, and John recommends the Habitat podcast. Discussed in this episode: Lapham's Quarterly The Lover, Marguerite Duras “The Photograph,” Umberto Eco Various audiobooks, John Le Carré Collected Poems, Prose, and Plays, Robert Frost The Most of P.G. Wodehouse, P.G. Wodehouse “The Dead,” James Joyce Fun Home: A Family Tragicomic, Alison Bechdel Camera Lucida: Reflections on Photography, Roland Barthes Aperture 223, “Vision and Justice,” ed. Sarah Lewis The Habitat  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Way back in 2019, Elizabeth and John were already thinking about collaboration. Here they speak with Jared Green and explore The Electro-Library, a podcast he co-created. Elizabeth, Jared and John play snippets from a recent Electro-Library episode on the decidedly non-podcasty topic of photographs, and use it as a springboard to discuss the different aesthetic experiences of radio, television, film, reading, audiobooks, and podcasts. Which are the easiest and which the hardest artworks to get lost in? Would Frankenstein's monster be more popular as a podcaster than as a YouTuber? (The answer to that one seems most likely to be yes). The conversation then turns to the difference between artworks that slide in at the ear and those that come in by eye. What kind of world-building is going on on Recall This Book? Which podcasts are like a Wagnerian gesamtkunstwerk and which are more Schubertian, semi-detached and conversational? Then, in Recallable Books, Jared recommends Barthes's Camera Lucida, Elizabeth recommends the work of Sarah Lewis, and John recommends the Habitat podcast. Discussed in this episode: Lapham's Quarterly The Lover, Marguerite Duras “The Photograph,” Umberto Eco Various audiobooks, John Le Carré Collected Poems, Prose, and Plays, Robert Frost The Most of P.G. Wodehouse, P.G. Wodehouse “The Dead,” James Joyce Fun Home: A Family Tragicomic, Alison Bechdel Camera Lucida: Reflections on Photography, Roland Barthes Aperture 223, “Vision and Justice,” ed. Sarah Lewis The Habitat  Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt talks about some old polaroids that made him cry, Roland Barthes' book on photography, Camera Lucida, and Chris Marker's 1962 science fiction still image film, La Jetée.

This weeks on Pep Talks, I am taking a quick dive into Roland Barthe's concept of the "Punctum" from his book "Camera Lucida," to explain why some artworks and films stick in your mind and others don't. Find out why Stanley Kubrick's choice of music for scoring "2001: A Space Odyssey" & Ingrid Bergman's turn as a boxing nun made both of these films punctum-y and stick in my brain. Also, come hear about Barthe's personal quest to find a photo of his mother that contained her true essence, and how we as artists can try and infuse our own work with punctum-like staying properties. Works mentioned: "Camera Lucida" (1980) book by Roland Barthes "The Bells of St. Mary's" (1945) film directed by Leo McCarey and starring Ingrid Bergman "2001: A Space Odyssey" (1968) film by Stanley Kubrick Songs mentioned: "The Blue Danube" by Johann Strauss II used in "2001: A Space Odyssey" "Also Sprach Zarathustra" by Richard Strauss used in "2001: A Space Odyssey" "Gesänge der Frühe" or "Songs of the Morning" (1853) by Robert Schumann, mentioned by Roland Barthes Special thanks to P Elaine Sharpe for their contributions to this episode! Please stop by the Pep Talks Instagram and give a follow to see behind-the-scenes shots and image carousels that go with each episode (@peptalksforartists). Thanks for listening, rating and following! -------- "Also Sprach Zarathustra - Sonnenaufgang" by Richard Strauss (2010 version by Kevin MacLeod), used by permission of Creative Commons license All other music public domain or licensed Soundstripe.com tracks --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Episode: 3264 David Hockney, Digital Painting, and Art's Technophobia.  Today, painting with pixels, in the hands of a master.

Episode: Threading Layers with Sydney Gush P.S. Exhibitions A project by Pollock X Schaumberg Instagram: @p.s.xhibitions Hosts: Virginia Pollock and Erica M. Schaumberg Produce and Editor: Stefan Dudley Summary: P.S. Xhibitions talks with Sydney Gush about her new work in the exhibition The Raconteurs of Thought. They discuss how human emotion, memory, and trauma have influenced Gush's artistic practices of collage, photography, and typography. They highlight social media's influence on fine art and question how technology will aid in the creation and viewing of art. Show Notes: Instagram: @syd_g_art Website: http://www.sydgart.com/ Emily Whitcomb: https://www.imdb.com/name/nm8770311/ Roland Barthes, Camera Lucida: https://www.google.com/books/edition/Camera_Lucida/yT0iaUzDmIUC?hl=en&gbpv=0 Ars Electronica 2021: https://ars.electronica.art/newdigitaldeal/en/art-technology-studies-chicago/?utm_source=hyperallergic&utm_medium=post&utm_campaign=SAIC-ars-electronica https://hyperallergic.com/674156/saic-art-technology-studies-presents-chicago-garden-ars-electronica-2021/ Transcript: https://drive.google.com/file/d/153Ku551jCcO5p3dRZAa0qSFBWFVTxexa/view?usp=sharing

Le balado de 24 images est de retour, suite à sa pause estivale! Au programme de cette émission : Ariel Esteban Cayer nous présente sa sélection pour Camera Lucida, section qu'il programme dans le cadre du Festival Fantasia qui débute cette semaine. Puis Mathieu Li-Goyette vient nous parler du cinéaste coréen Shin Sang-ok, kidnappé par Kim Jong-il puis forcé de réaliser pour lui un film de monstres géants.Musique : Teke Teke

Betsy Greer is well known for her work in Craftivism. Betsy had a long journey, via an elitist art crowd, before finding out that crafts were here thing, and crafters "her people". Parental note: this episode contains a few expletives. Betsy Greer is a crafter, activist, "godmother of craftivism". Betsy has a B.A. in English Lit, and an M.A. in sociology. Her dissertation was on knitting, DIY culture and community development. Visit Betsy's website: https://www.hellobetsygreer.com/ The Dear Textiles project is people’s stories of using textiles to help find resilience. People take part by emailing their stories to Betsy. You Are So Very Beautiful is a project that involves Betsy stitching affirmations and leaving them in places for people to find. To take part people simply create affirmations, leave them somewhere and share them with Betsy via her website or social media hashtag #yasvb Recommended photography book: Camera Lucida by Roland Barthes

Episode 3 is a reading of "cardigan" in relation to the recurring trope of the old piece of clothing in Swift's work, with reference to scholarly work on things: the objective correlative as described by TS Eliot, Jonathan Gil Harris's Untimely Matter in the Time of Shakespeare, Roland Barthes's Camera Lucida, and Bill Brown's "Thing Theory." Get in touch with comments, questions, or just to say hi at studiesintaylorswift@gmail.com. Music: "Happy Strummin" by Audionautix. Cover art by Finley Doyle. 

Welcome to the 13th episode of Anechoic Chamber; free-form audio and insights from the margins of art and culture. Our guests for this edition are Evelina Domnitch and Dmitry Gelfand, a partnership known for their advancement of scientific creativity - that is to say, for a series of works that are aesthetically engaging while also being informed by a high level of scientific rigor, and in particular by a specialist knowledge in the limits of perceptibility. The duo's fascinating art events, with alluring titles such as “Mucilaginous Omniverse,” or “Sonolevitation,” are almost unparalleled in the modern art world, owing to their rejection of that milieu's largely linguistic approach to propagating itself and a clearer focus on art as phenomenological study. More importantly, though, they earn their distinction by exploring the so-called “objectless universe, “ exposing audiences to physical phenomena in various transitional states or states of incompleteness. In some cases, their commitment has led to historic firsts, such as the largest display of sonoluminescence ever displayed (this being the emission of light bursts from imploding bubbles within an acoustically excited liquid). Through these actions, Domnitch and Gelfand have also touched upon the sensory condition of synesthesia and raised the question of perceptual modalities beyond the five so-called classical senses. We hope you find the following discussion of their methods and inspirations as stimulating as we do. Additional sounds from the artists' installation / performances "Force Field" and "Mucilaginous Universe," and "Specification Sixteen" (audio by Richard Chartier & Taylor Deupree) from "Camera Lucida" DVD Artist links: www.portablepalace.com Anechoic Chamber links Donate via Paypal: tbwb@protonmail.com general host activities: www.thomasbeywilliambailey.com

Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury) is a book by Patrick Ffrench, Professor of French at Kings College. It is a comprehensively researched and finely argued book that traces Barthes engagement with questions of cinema from early research pre-dating the publication of Mythologies to his last work, Camera Lucida, along the way responding in depth to those who have explicitly commented on Barthes musings on film and those who have been inspired by them in their own work. It demonstrates how certain critical and theoretical themes regarding the cinema emerge and develop through the course of Barthes’ career and argues for the singular importance of the famous critic’s writing on film, despite, perhaps even precisely because of the deep ambivalence that he sustained towards that object from beginning to end. For me, Ffrench’s book reads as a celebration of the critical virtue of ambivalence as it is played out in Barthes’ writing, showing how his apparent inability to adopt an unequivocal attitude towards film as an institution and form of expression allowed him to articulate perspectives on the nature and possibilities of cinema that still feel subtle and surprising. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury) is a book by Patrick Ffrench, Professor of French at Kings College. It is a comprehensively researched and finely argued book that traces Barthes engagement with questions of cinema from early research pre-dating the publication of Mythologies to his last work, Camera Lucida, along the way responding in depth to those who have explicitly commented on Barthes musings on film and those who have been inspired by them in their own work. It demonstrates how certain critical and theoretical themes regarding the cinema emerge and develop through the course of Barthes’ career and argues for the singular importance of the famous critic’s writing on film, despite, perhaps even precisely because of the deep ambivalence that he sustained towards that object from beginning to end. For me, Ffrench’s book reads as a celebration of the critical virtue of ambivalence as it is played out in Barthes’ writing, showing how his apparent inability to adopt an unequivocal attitude towards film as an institution and form of expression allowed him to articulate perspectives on the nature and possibilities of cinema that still feel subtle and surprising. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury) is a book by Patrick Ffrench, Professor of French at Kings College. It is a comprehensively researched and finely argued book that traces Barthes engagement with questions of cinema from early research pre-dating the publication of Mythologies to his last work, Camera Lucida, along the way responding in depth to those who have explicitly commented on Barthes musings on film and those who have been inspired by them in their own work. It demonstrates how certain critical and theoretical themes regarding the cinema emerge and develop through the course of Barthes’ career and argues for the singular importance of the famous critic’s writing on film, despite, perhaps even precisely because of the deep ambivalence that he sustained towards that object from beginning to end. For me, Ffrench’s book reads as a celebration of the critical virtue of ambivalence as it is played out in Barthes’ writing, showing how his apparent inability to adopt an unequivocal attitude towards film as an institution and form of expression allowed him to articulate perspectives on the nature and possibilities of cinema that still feel subtle and surprising. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury) is a book by Patrick Ffrench, Professor of French at Kings College. It is a comprehensively researched and finely argued book that traces Barthes engagement with questions of cinema from early research pre-dating the publication of Mythologies to his last work, Camera Lucida, along the way responding in depth to those who have explicitly commented on Barthes musings on film and those who have been inspired by them in their own work. It demonstrates how certain critical and theoretical themes regarding the cinema emerge and develop through the course of Barthes’ career and argues for the singular importance of the famous critic’s writing on film, despite, perhaps even precisely because of the deep ambivalence that he sustained towards that object from beginning to end. For me, Ffrench’s book reads as a celebration of the critical virtue of ambivalence as it is played out in Barthes’ writing, showing how his apparent inability to adopt an unequivocal attitude towards film as an institution and form of expression allowed him to articulate perspectives on the nature and possibilities of cinema that still feel subtle and surprising. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury) is a book by Patrick Ffrench, Professor of French at Kings College. It is a comprehensively researched and finely argued book that traces Barthes engagement with questions of cinema from early research pre-dating the publication of Mythologies to his last work, Camera Lucida, along the way responding in depth to those who have explicitly commented on Barthes musings on film and those who have been inspired by them in their own work. It demonstrates how certain critical and theoretical themes regarding the cinema emerge and develop through the course of Barthes’ career and argues for the singular importance of the famous critic’s writing on film, despite, perhaps even precisely because of the deep ambivalence that he sustained towards that object from beginning to end. For me, Ffrench’s book reads as a celebration of the critical virtue of ambivalence as it is played out in Barthes’ writing, showing how his apparent inability to adopt an unequivocal attitude towards film as an institution and form of expression allowed him to articulate perspectives on the nature and possibilities of cinema that still feel subtle and surprising. Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

A Mike solo show with emails from Michael Raso (IG filmphotographyproject, Youtube filmphotographypodcast, www.filmphotographyproject.com) from the Film Photography Podcast, Alex Morrison (IG alexmorrison35) and Ken Tuomi (IG kentuomi) about Instagram account @myinstantimages (ignore the mistake in the podcast where Mike says the IG account incorrectly!). Next, Mike receives an awesome print from Gary Clennan (IG calgary_street) and the first zine from Bill Thoo (IG billthoo, IG bill.thoo, IG billthoo_astro, IG thoobill), and a call in from Marina (IG ifwefilm_ , www.ifwefilm.com) from the Analog Television Youtube Channel about the Best Film Photography Guide For Beginners (https://analoguewonderland.co.uk/pages/best-photography-guide-beginners). Next, Mike has an interview with Christiaan Hillen (IG analogwilderness) about how he got into photography, the Pentax ME and MX, Pentax pancake lens, Agfa Isola, the Learn Camera Repair Facebook Group (https://learncamerarepair.com), a Soviet Panorama camera called the KMZ FT-2, shooting during Covid in the Netherlands, getting a Leica, Pentax hacks, having two creative outlets, and why we are attracted to tactile experiences. Finally, a call in from Morgan Messner about Roland Barthes' "Camera Lucida" book, and a listener music track from Mike Caputo (IG aloha_bigmike, www.mikecaputo.bandcamp.com) of a track titled "Paddy Lay Back".

In this episode, Graham, Nick and Ethan catch up on some of their projects.  They talk about the new Raspberry Pi Camera and digital camera possibilities; Nicks progress on his 8x10; his experience with the Universal Speed camera, and with the Kracken.   The gang talks about the next issue of the Homemade Camera Zine, and ways to make photographic images without a camera   Gunpowder prints/hybrid gunpowder prints: http://christophercolville.com/ Camera Lucida: https://www.youtube.com/watch?v=ugv0XhUd2l4   Dave Allen:  https://davidsallen.com/portfolio-items/pretty-photos/ Flaver D Miro-2C Camera : https://www.flickr.com/photos/17202358@N00/49898532846/

In this episode, I introduce philosopher Roland Barthes with an excerpt from his meditation on the meaning of photographs, Camera Lucida.  Ambient Light is hosted by Sabrina Hughes, photo historian and mystic who is interested in the art and magic of our family photographs.  Support the podcast and other photo-based art projects on Patreon for as little as $1/month.  Connect with me on Instagram. Visit my website for free gifts to help you get excited about your own family photographs. Attend my next free online Masterclass, How to Preserve Your Family Photos for the Future. Subscribe to my email list for photo preservation tips and photo history essays. ← Casting a Wider Net to Tell More Stories Photo Story: My great grandpa joined a cult →

What if the happy moments you are capturing in a photograph actually held a more morbid truth to them? No I'm not talking about revealing ghosts, I'm talking about one of my favorite film school articles in Episode 24 of The In Between! In his novel "Camera Lucida: Reflections on Photography" French Philosopher Roland Barthes looks into more of the darker side associated with what a photograph may hold and I look more into what excerpts of his work mean to me! Say cheese and die killers! Loving the show? Of course you are and I want to hear about it! Make sure to leave some love, or some hate if you want to be that person, at any of the following! Instagram: hauntinglybeautifulpodcast Facebook: HauntinglyBeautifulPodcast Email: hauntinglybeautifulpodcast@gmail.com It would also be quite excellent if you could please rate, review, subscribe, or all of the above for Hauntingly Beautiful!!! Intro/Outro Music produced by CEE Brown

This week, we’re exploring another overlooked angle of antebellum American history: how photography transformed the abolitionist movement—and in particular, how a photograph of one seven-year-old girl was used to gain a white audience's sympathy. Jessie Morgan-Owens, a photographer and a historian, has written a book about that little girl, Mary Mildred Williams: Girl in Black and White, so named for the tones of daguerreotype, and of Mary herself—who looked white, though she was born into slavery. The story of how Senator Charles Sumner used Mary to advance his antislavery cause tells us a lot about the politics of the 19th century.Go beyond the episode:Jessie Morgan-Owens’s Girl in Black and WhiteRead Frederick Douglass’s speech, “Pictures and Progress,” delivered in Boston in 1861, and the introduction to Maurice O. Wallace and Shawn Michelle Williams’s anthology of Douglass’s writing on photography (and if you’re feeling particularly brave, try parsing Douglass’s own manuscript at the Library of Congress)As the most photographed man of the 19th century, Douglass left behind a voluminous photographic record, collected in Picturing Frederick DouglassCheck out Roland Barthes’s Camera Lucida for a French post-structuralist spin, or W. J. T. Mitchell’s Picture Theory for a contemporary take on visual representationSojourner Truth supported herself by selling cartes de visite, in which she’s pictured wearing an iconic white cap and shawl (which she probably knit herself, given that she spun 100 pounds of wool to buy her freedom)The Mirror of Race is an online collection of early photographs about race in America, including critical commentaryMorgan-Owens also edited the 2017 reissue of Mary Hayden Green Pike’s novel Ida May, about a girl whom Charles Sumner compared Mary Mildred WilliamsTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play •

This week, we’re exploring another overlooked angle of antebellum American history: how photography transformed the abolitionist movement—and in particular, how a photograph of one seven-year-old girl was used to gain a white audience's sympathy. Jessie Morgan-Owens, a photographer and a historian, has written a book about that little girl, Mary Mildred Williams: Girl in Black and White, so named for the tones of daguerreotype, and of Mary herself—who looked white, though she was born into slavery. The story of how Senator Charles Sumner used Mary to advance his antislavery cause tells us a lot about the politics of the 19th century.Go beyond the episode:Jessie Morgan-Owens’s Girl in Black and WhiteRead Frederick Douglass’s speech, “Pictures and Progress,” delivered in Boston in 1861, and the introduction to Maurice O. Wallace and Shawn Michelle Williams’s anthology of Douglass’s writing on photography (and if you’re feeling particularly brave, try parsing Douglass’s own manuscript at the Library of Congress)As the most photographed man of the 19th century, Douglass left behind a voluminous photographic record, collected in Picturing Frederick DouglassCheck out Roland Barthes’s Camera Lucida for a French post-structuralist spin, or W. J. T. Mitchell’s Picture Theory for a contemporary take on visual representationSojourner Truth supported herself by selling cartes de visite, in which she’s pictured wearing an iconic white cap and shawl (which she probably knit herself, given that she spun 100 pounds of wool to buy her freedom)The Mirror of Race is an online collection of early photographs about race in America, including critical commentaryMorgan-Owens also edited the 2017 reissue of Mary Hayden Green Pike’s novel Ida May, about a girl whom Charles Sumner compared Mary Mildred WilliamsTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • 

Kuidas tuleks pilte õieti vaadata? Kas piltide vaatamine on paratamatult subjektiivne? Mida võib pildil pidada "punctumiks", mida "studiumiks"? Kuidas mõjutavad trauma, surm ja nostalgia piltide vaatamist? GSi kolmandas osas räägime Marge Monkoga Roland Barthes'i 1980ndal aastal ilmunud fotograafia alasest raamatust "Camera lucida".

On reçoit Ariel Esteban Cayer, programmateur au Festival Fantasia, qui vient nous parler des films de la section Camera Lucida.

On reçoit Ariel Esteban Cayer, programmateur au Festival Fantasia, qui vient nous parler des films de la section Camera Lucida.

Podcast Laila Del Monte La communication animale LGC2 TV 06/12/2015 https://www.youtube.com/user/communicationanimale/videos http://lailadelmonte.fr/ le 6 déc. 2015 VibraConférence du Grand Changement. Entretien le Dimanche 6 décembre à 20h00 heure de Paris (14h00 heure du Québec) avec Laila Del Monte "La communication animale" Laila Del Monte, Américaine spécialiste et professionnelle en communication animale aux Etats Unis, a passé son enfance sur l’île de Formentera en Espagne. Elle a suivi ses études secondaires et universitaires à Paris, jusqu’au niveau d’une Maîtrise en Religions comparées à la Sorbonne. Laila del Monte se consacre maintenant essentiellement à la communication animale, dont elle est d’ailleurs l’une des pionnières en Europe. Elle dédie entièrement sa vie aux animaux. Laila del Monte est auteur de plusieurs livres, dont le livre « Communiquer avec les Animaux », editions Vega, devenu best seller traduit en plusieurs langues. Laila del Monte est aussi auteur de « Little Wolf, Comment j’ai appris à Communiquer avec les Animaux » et « Les Animaux… leur chemin vers l’Autre Monde », « Quand le Cheval guide L’Homme » également aux éditions Vega. Elle est intervenue dans plusieurs émissions radios et télévisées, dont « Enquêtes extraordinaires » sur M6 en France ainsi que sur la télévision publique belge. Voir http://www.pravaha.be/2-ils-parlent-a... Laila del Monte anime le documentaire « Dans la peau des animaux », Camera Lucida productions diffusées par France 5. Elle a donnée de nombreuses conférences dans plusieurs pays, dont une organisée en France par l’INREES sur la communication animale à la Sorbonne, Paris. Elle est parue également dans de nombreux magazines, comme « Sources », « NEXUS » revue scientifique, et d’autres revues spécialisées. Elle est sollicitée pour des animaux malades, blessés ou souffrants de troubles du comportement. De nombreux vétérinaires font maintenant appel à Laila Del Monte, mais aussi des éleveurs, des entraîneurs de chevaux, des cavaliers de haut niveau, des comportementalistes, des parcs animaliers, dentistes équins, dresseurs, ostéopathes, comportementalistes, éducateurs canin, S.P.A, refuges etc. Laila Del Monte habite aux Etats-Unis, et enseigne son savoir dans plusieurs pays du monde. Pour la joindre: infolailadelmonte@gmail.com Site Officiel: http://www.lailadelmonte.com https://www.youtube.com/watch?v=Nn5TmC1a_vg

Prévu le 6 déc. 2015 Entretien le Dimanche 6 décembre à 20h00 heure de Paris (14h00 heure du Québec) avec Laila Del Monte "La communication animale" Laila Del Monte, Américaine spécialiste et professionnelle en communication animale aux Etats Unis, a passé son enfance sur l'île de Formentera en Espagne. Elle a suivi ses études secondaires et universitaires à Paris, jusqu'au niveau d'une Maîtrise en Religions comparées à la Sorbonne. Laila del Monte se consacre maintenant essentiellement à la communication animale, dont elle est d'ailleurs l'une des pionnières en Europe. Elle dédie entièrement sa vie aux animaux. Laila del Monte est auteur de plusieurs livres, dont le livre « Communiquer avec les Animaux », editions Vega, devenu best seller traduit en plusieurs langues. Laila del Monte est aussi auteur de « Little Wolf, Comment j'ai appris à Communiquer avec les Animaux » et « Les Animaux… leur chemin vers l'Autre Monde », « Quand le Cheval guide L'Homme » également aux éditions Vega. Elle est intervenue dans plusieurs émissions radios et télévisées, dont « Enquêtes extraordinaires » sur M6 en France ainsi que sur la télévision publique belge. Voir http://www.pravaha.be/2-ils-parlent-a... Laila del Monte anime le documentaire « Dans la peau des animaux », Camera Lucida productions diffusées par France 5. Elle a donnée de nombreuses conférences dans plusieurs pays, dont une organisée en France par l'INREES sur la communication animale à la Sorbonne, Paris. Elle est parue également dans de nombreux magazines, comme « Sources », « NEXUS » revue scientifique, et d'autres revues spécialisées. Elle est sollicitée pour des animaux malades, blessés ou souffrants de troubles du comportement. De nombreux vétérinaires font maintenant appel à Laila Del Monte, mais aussi des éleveurs, des entraîneurs de chevaux, des cavaliers de haut niveau, des comportementalistes, des parcs animaliers, dentistes équins, dresseurs, ostéopathes, comportementalistes, éducateurs canin, S.P.A, refuges etc. Laila Del Monte habite aux Etats-Unis, et enseigne son savoir dans plusieurs pays du monde. Pour la joindre: infolailadelmonte@gmail.com Site Officiel: http://www.lailadelmonte.com Merci pour votre présence lors du direct et merci d'avance pour vos invitations et partages pour que nous soyons nombreux à vibrer ensemble. A très vite ! Nora

On vous présente quelques films à surveiller dans la programmation de la 19e édition du festival Fantasia de Montréal en compagnie de Simon Laperrière, directeur du volet Camera Lucida. Encore une fois, le festival nous jette à terre avec sa programmation de feu! On capote!  

On vous présente quelques films à surveiller dans la programmation de la 19e édition du festival Fantasia de Montréal en compagnie de Simon Laperrière, directeur du volet Camera Lucida. Encore une fois, le festival nous jette à terre avec sa programmation de feu! On capote!  

In 1973 the Wyvern Theatre presented it's first ever production of Dick Whittington. The production starred Kent Baker as the hilarious Sarah the Cook, with Gerald Moon as Idle Jack and Paddy Glynn as Dick Whittington. Paddy has gone on to play many theatrical roles, her most recent in Camera Lucida at the Barbican. She has also made appearances in Ricky Gervais' Channel 4 sitcom Derek and the BBC's hugely popular Doctors. On Monday 10 November 2014, Paddy met Kristian Morse who is due to take on the role of Dick Whittington at the Wyvern Theatre this December. This role will be his first professional production since graduating from Mountview Academy of Theatre Arts. The pair met for coffee in Archway, near the statue of Dick Whittington’s cat. The statue, which was erected in 1821, is allegedly built on the very spot where Richard Whittington heard the bells of London ring out. A brand-new production of Dick Whittington will run at the Wyvern Theatre from Sat 6 December - Sun 4 January, starring Nigel Havers as King Rat. Book tickets today at swindontheatres.co.uk