FIRST SLIDE:
I will be explaining what studium and punctum is in photography.
These two main factors were theorised by the scholar Roland Barthes in his book Camera Lucida. He uses these terms to redefine photography and argue how they could be used when analysing photographs.
The first term Barthes explains is Studium. This is the element that initially gets your attention. It could be colours, a background, the character, anything really. The viewer takes part in the image and enjoys it. But Barthes explains that the studium does not allow us to enjoy the image at a deeper level. It provides something for the observer to connect to, but it does not draw them in enough, therefore the observer only glances over them. It could be like looking through the pages of a magazine, or looking at billboard advertisements. Studium images reflect general interests, things you enjoy looking at. So the studium will differ for everyone in this classroom. It is a subjective term that depends on the observers opinion.
SLIDE 2:
Barthes then explains that to connect to an image at a deeper level, we need something that disturbs the studium, causing us to study the image for longer. Barthes uses the term punctum. He specifically explains that it is an ‘accident which pricks and bruises me’. While the studium allows you to glance at an image and enjoy the cultural connotations, the punctum is a rare detail that unexpectedly intrigues and draws the observer in. in some cases you may not need to have any interest in the subject at all, however the punctum in the image is so powerful it can stand on its own. The punctum in an image does not have to be very obvious, it could be the smallest detail that attracts your attention. Barthes explains that it take you from liking a picture to loving a picture.
SLIDE 3:
Karen Thul created a reading on The Duality of Photography. She compares two images together that are of interest to her. In the first image on the black and white ballerina, she explains that the dancer’s shape is intriguing. From the waist down we see a traditional ballerina’s crisp and clear lines. This is balanced by the chaos and careless nature of the top half her body. The hair mirrors the volume of the tutu worn by the dancer. All these elements together create an eye-catching photo that sparks Thul’s interest. Although all these details create a good composition, they have no more substance than that. Thul is not left reflecting on the photo. The understanding of the photo only requires one glance and no further contemplation. Overall, the simplistic concept of the photo makes it only an interest, but not a passion, only studium.
When looking at the second image, thul argues that photo contains opposite elements that together create a fluid and elegant image. The black background allows the eye to focus on the subjects crisp and bright costume and figure. The tense and harsh movement creates an energy within the photo, making a dramatic motion that grabs the viewer’s attention. The fluidity of the bottom half of the dancers dress juxtaposes with the sharpness of the hands.The emotion on the subjects face completes the impact of the image. There is a mixture of anger, sorrow and distress on her face. Disappointment and sorrow can be read from her downward gaze and her slight frown. The themes of sadness, anger and strength within the photo leaves Thul to question why all these elements have come together.
Thul explains that the difference between these two photos is their ability to make what is staged seem lifelike. The studium image achieved has a unique quality of not being the typical ballerina, but it does not go far enough. It leaves the viewer with no questions, so it is enjoyed but not reflected upon. The punctum photo creates an interesting shape and story, enticing the viewer to question what they see. The punctum photo is more successful in creating a liveable moment that touches the viewer. The “marks” and “bruises” that Barthes describes is the impact that you are left with when you move on from looking at the photograph.
SLIDE 4:
In the reading, pictures of the past, Giloch and Dant look into Barthes notions in his book Camera Lucida. They argue that culture is an important connotation within studium. They argue that it can relate to society, for example: to inform, to represent, to surprise and to signify. Later on, when talking about the Punctum they argue that no one will look at the image the exact same way. If everyone can have their own interpretation then everyone can have their own punctum. The punctum could remind you of a sense childhood, de ja vu or a facial expression that reminds you of a memory. You may look back and find a different punctum when looking at a different viewpoints of the image. However, the scholars argue that Barthes notion of a punctum is only sufficient enough when looking through public images. They argue that you are more likely to connect with an image when you don’t know the context behind it, allowing you to question the elements of an image a lot more.
SLIDE 5:
Another reading I came across made me understand why I felt like it was so hard to include images in this presentation when trying to describe the studium and punctum. Ranciere puts forward the point ‘what he tells us he sees by the way of the punctum, pertains to the same logic as that of the studium’. And I think what he means by this is that it is hard if not impossible to present examples of a punctum. If you have to try and explain what the punctum in an image is, the explanation will always turn into studium. Punctums are private and personal, which makes them less effective for communication analysis. Looking for punctums at all misses the point. They are accidental and hit you when you don’t expect it, so looking or trying to convince someone to connect deeper with an image is moving the scene from punctum to studium.
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