Roland Barthes, a renowned French literary theorist and semiotician, introduced the concept of ‘punctum’ in his seminal work, “Camera Lucida” [1] [2] [5]. This concept has since become a cornerstone in the field of photography theory and visual studies.
The ‘punctum’ is a Latin term that translates to ‘point’ or ‘puncture’. In the context of photography, Barthes uses it to refer to an incidental but personally poignant detail in a photograph that “pierces” or “pricks” a particular viewer [4]. This detail constitutes a private meaning unrelated to any cultural code [4]. It is the sensory, intensely subjective effect of a photograph on the viewer [5]. As Barthes puts it, the punctum is “that accident which pricks me (but also bruises me, is poignant to me)” [5].
The punctum is contrasted with the ‘studium’, another concept introduced by Barthes. The ‘studium’ denotes a general approach to a photograph that is conditioned by historical and cultural experiences [2]. It is not categorically different from how other art forms are approached [2]. The studium is what lies in the background; it is our assumptions, the visual equivalent of our Sitz im Leben [1].
According to Barthes, the punctum is the quality which breaks or punctuates the studium [1]. One might think of it as the black dot which disrupts the white page [1]. It is the detail which reveals the givenness of the studium [1]. It reminds us that the field is contingent [1]. This points us to one of the virtues of a photograph: its subversive quality [1].
In conclusion, Barthes’ theory of punctum offers a unique lens through which we can understand and interpret photographs. It emphasises the subjective and personal response elicited by a photograph, highlighting the power of seemingly insignificant details to profoundly affect our perception and interpretation of an image.
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Source: Accessed, 15/07/2024
