BEGINNING WITH a still from
Russian filmmaker Sergei Eisenstein's Ivan the Terrible, Barthes
outlines the several levels of meaning in an image:
The symbolic meaning is intentional, and selected from a common lexicon of symbols (43). Barthes declares that "it is a meaning which seeks me outóme, the recipient of the message" (43). Barthes calls it "the obvious meaning." The third meaning, on the other hand, is a "supplement my intellection cannot quite absorb, a meaning both persistent and fugitive, apparent and evasive" (44). Barthes calls this "the obtuse meaning"; it "opens the field of meaning totally" (44). The Obtuse meaningBarthes skips, like a stone across the water, across ways of locating the obtuse meaning. It is bound to artifice or to disguise; it is bound to emotion. In the end, it is not articulable in language. Barthes claims that "if we remain on the level of articulated language in the presence of these images . . . the obtuse meaning will not come into being, will not enter into the critic's metalanguage" (56). Finally, in an effort to locate the obtuse meaning, Barthes locates it within the filmicówithin that part of meaning which is not conveyed by the film, yet which is integral to its existence as film (58ñ59).If the third, obtuse meaning is located within the filmic, Barthes feels justified in searching for it within the film stillówithin the the inside of the fragment (61). Barthes calls for further study of this third meaning. (David Beard.) |
Michael Hancher Department of English, University of Minnesota URL: <http://umn.edu/home/mh/txtimdb4.html> Comments to: mh@umn.edu Created 24 December 1997