Watchmovies En Esponaol

For a semiotics of photography

Peirce
He believes that photography has a value indexical and highlights the sense of continuity . He criticizes the thought of Barthes, shown below.




Barthes
believes that photography is a message that has a code with which to interpret the message. The photo you know when the issue goes out to all connotative denotative; advertising uses extensively this link (example: advertising Panzani pasta where the colors of the letters recall those of the Italian flag)

Barthes does not consider photography as a sign: signifier and referent are not separable.


The author is also influenced by the ideal Cartesian in because it considers the photographic element of the presence of a certification : bears witness to the existence of something.








ECO
distinguishes two basic types of approach to the sign:

1. primary Alfa = mode "so that before we decide that you are in front of a sign-function expression is perceived stimuli surrogate for that object or scene that then elect a level of expression the sign-function "


2. secondary mode = Beta" order to perceive the plane of the sign function must first be assumed that it epressione "

also distinguishes two catogorie of signs:

1. ipoicone (iconic signs) related to mode = Alfa


2. all other signs associated with mode = Beta

E ' difficult to define a crossing point between mode Alpha and Beta, in fact, they intertwine and overlap.

DUBOIS
speaks of "Ontology image " It is impossible to release the image from its referent, because this the sticks. The essence of the photo indexicality is not related to the similarity between sign and referent, but the method of generation of the sign itself, which arises from a "cosmetic measure".





SCHAEFFER
theorized "precarious Image" does not exist anymore continuity between the photograph and the reality is that, because the code behind the photo is binary (0-1). The certainty of the picture is given by the confidence that you have the photographer.

FLOCH
talking about possible "footprint forms" and think that every photo has its own way. The analysis of the photograph is based on two dimensions:

1. hidden dimension or plastic
2. syntagmatic dimension