Learning from reading paper
I read Barthes’ Rhetoric of the Image (Barthes, 1964) in which he uses the image of an advertisement for Italian food ingredients, but used within France, to illustrate his concepts (see Fig 1.)
The overarching thrust of his paper (which is written in his usual style and means that it takes considerable concentration to follow) is that of how the image, and any supporting text can be used to influence the viewer’s interpretation of that image; this is possible given the premise that all images are polysemic in nature.
Much of his text is targeted at the symbology used within the image itself than the text. For example, the use of a shopping bag half open in the image portrays a return from the market.
Thinking specifically of the textual elements, Barthes defines two core concepts: that of anchorage and that of relay.
Anchorage “may be ideological and indeed this is its principal function; the text directs the reader through the signifieds of the image, causing him to avoid some and receive others; by means of an often subtle dispatching, it remote-controls him towards a meaning chosen in advance.” (ibid.). Which is to say that the text is controlling the viewer’s interpretation of the image, perhaps removing the possibility that the viewer might interpret the image, given it polysemic nature, in some manner that the creator of the image did not intend.
For example, in Figure 1, there is much in the image to portray the Italian nature of the product even though the advert is in french, the colour schemes, the brand name of the product etc. However, the image itself showing basic produce and a string shopping bag is somewhat rustic in nature. This is no doubt intentional, it implies an authenticity to the food in my view but it does not imply any kind of quality. The text in the image “a l’italienne de luxe” translates to Luxury Italian and so elevates the authentic rustic Italian orientated food to one of quality, of exclusivity. Without this, then why not simply go to the market and buy the basic products as the images shows them? This certainly would not be the intent of the advertiser and it is this elevation to a luxury item that means it is necessary to buy the product itself.
In summary, anchorage is a form of control to direct the viewer to notice some things and interpret them in a certain way, whilst also causing the viewer to ignore other items or interpretations. Anchorage can only work by highlighting aspects of the image, it cannot add something new. Barthes states that because of this, it is very efficient, it is not necessary for it describe any new concept, merely to, subtly, direct the viewer in a certain direction.
Relay on the other hand co-exists with the image, it adds something new. The viewer switches between the text and the image and each causes the viewer to interpret the other in a different way. As each is required to introduce a new meaning, it requires more effort, it is less subtle, the viewer learnings something new from both and is aware of this fact as they do so. Barthes gives cartoons as a prime example (for fixed images) where the picture and the text work together. Typically the image would set the scene, a speech bubble would give the satirical commentary so that the viewer would understand the joke, and then the viewer would return to the image itself noticing subtle details that reinforce the humorous interpretation of the image.
Examples
Coca Cola – Anchorage
In Fig. 2 below we can see an advertisement for Coca Cola. Most of the imagery, other than the bottle itself, looks to be a portrayal of nature, the countryside and farming. Clearly this is designed to leave the viewer feeling that Coca Cola itself is a natural product just like the scene show. When I think about how the image makes me feel, it would be one of healthiness. Obviously, this is far from the case on all counts; it is a heavily processed product containing huge amounts of sugar.
But this is the image itself. The text “Open a Coke, Open Happiness” is somewhat out of place with the imagery; unless healthiness equates to happiness of course. Whilst that is a possible interpretation and maybe the one that is most at face value, I also think there is a clue from other coke adverts. Most coke adverts have a theme of playing together, having fun together, sharing, singing to together (‘if I could teach the world to sing’ features in many TV adverts and they even put lyrics on bottles in one campaign). But this element is missing from this specific advert. I wonder if the text is intended to have the viewer interpret this advert from within the context of what we already know of coke, the play aspect, does it remind us that we can have the happy playful side, and the healthy natural side all in one product?
Having the viewer interpret the image in this way is anchorage.
Cartoon in Sunday Times – Relay
This cartoon is written at the time of COVID-19 and an ongoing debate in the UK as to wether face masks should be worn by the public. The World Health Organisation says that they should, whilst British scientists and the government says not. It is also a time when the UK’s Prime Minister, Boris Johnson, has had a baby – a popular event perhaps made even more popular by the fact that he himself has just escaped death after contracting COVID-19 and being in intensive care.
The image if glanced as shows Boris Johnson (the UK Prime Minister at this time) at a changing mat changing a baby’s nappy. Nothing funny about that.
The speech bubbles “I’m changing my advice … face masks do have a positive effect” is relay text. The reader now knows that the cartoon is to do with face masks and the ongoing public debate about wether to wear them or not. Returning to the image, the viewer then might notice the portray of the smelly nappy and the odour coming from it. It is also then that the viewer (or at least I) spot that Boris is wearing a face mask.
Without the relay text, the viewer might have spotted the PM changing the baby, they may have spotted the odour from the nappy, and they have spotted the mask. That might have been humorous, but they may not have realised that the cartoon is not really about that at all, it is about the PM’s decision on advice to the public re face masks and COVID-19. The real topic is not funny, but the combination of the image and text makes it funny alongside getting across its real meaning. As per Barthes’ description, one cannot infer one without the other.
How might this help my own creative approach
Since studying the module Context and Narrative, I have struggled with the concept that all images are polysemic in nature. I find it hard to think past what I intend the viewer to think, my own personal need to control what the viewer sees and how they should interpret the image.
This anxiety of mine has tended to mean that my images leave less space for the viewer to fill than they might otherwise, and this in turn could mean that the viewer spends less time looking at my image. My assignment 5 for context and narrative saw a big change between my draft submission and the final submission as I worked to take out information from the image. My tutor eventually did say though that after looking longer at my original image he found more to think about, but the point is I had added too much and therefore he didn’t.
The original and final images are shown below in Fig X and Y
I think that anchorage text could aid or assist me here. I think that by using it well, then I could have more confidence to leave things out of the image and instead use subtle direction with the text. I am very conscious that this could go very wrong – I could end up with the worst of both worlds, too much in the image and then excessively controlling text to back it up even further which then would leave the viewer with nothing to reflect on at all.
Or maybe relay text could be used to prompt the viewer to think outside my image. Perhaps for Fig. 4, the caption could be “A traditional English tea” and trigger the viewer to study all of the different aspects of the image and to discount that it is simply a family portrait.
My Fig. 5 aimed to do that by zooming in on the pertinent parts of the image, perhaps Fig. 4 and a caption would achieve the same effect without needing to remove so much of the rest of the image.
Bibliography
Barthes, R., 1964. Rhetoric Of The Image. [online] Theory.theasintheas.org. Available at: http://theory.theasintheas.org/wp-content/uploads/2013/03/Barthes_Rhetoric_image_Image_Music_Text.pdf [Accessed 3 May 2020].
Figures
Figure 1. Panzani, n.d. Panzani Advertisement. [image] Available at: https://tracesofthereal.com/2009/12/21/the-rhetoric-of-the-image-roland-barthes-1977/ [Accessed 3 May 2020].
Figure 2. Coca Cola, n.d. Coca Cola Advertisement. [image] Available at: https://blog.printsome.com/coca-cola-marketing/ [Accessed 3 May 2020].
Figure 3. Sunday Time, 2020. [image] Available at: https://www.thetimes.co.uk/article/morten-morland-vs33mqw8v?shareToken=5df20e39607e52b9e464863956e09b5c [Accessed 3 May 2020].