mou p HOA MIN / | reoHr uaydais 4g payejsuen pue parsojes stessz SAHLUVa GNV1O¥ IXdL OISNW AOVNIRhetoric of the Image ‘According to an ancient etymology, the word image should be linked to the root imitari. Thus we find ourselves im- mediately at the heart of the most important problem facing the semiology of images: can analogical representa- tion (the copy’) produce true systems of signs and not merely simple axsiutinations of symbols? Is it possible to conceive of an analogical ‘code" (as opposed to a digital one)? We ‘know that linguists refuse the status of Ienguege to all communication by analogy ~ from the ‘language’ of bees to the “language” of gesture ~ the moment such communica tions are not doubly articulated, are not founded on & combinatory system of digital units as phonemes are. Nor are linguists the only ones to be suspicious as to the linguis- tie nature of the image: gencral opinion too has 2 vague Conception of the image asan area of resistance to meaning ~ this in the name of a certain mythieal idea of Life: the image is respresentation, which is to say ultimately resurrection, and, as we know, the intelligible is reputed antipathetic to lived experience. Thus from both sides the image is felt to be weak in respect of meaning: there are those who think that the image isan extremly rwimentary system comparison with language and those who think that signi- fication canaot exhaust the image’s ineffable richness. Now ven’ and above all ifthe image isin a certain manner the litt of meaning, it permits the consideration of a veritable ontology of the process of signification. How dos meaning _zetinto the image? Where does it end? And ifit ends, what {is there beyond? Such are the questions that I wish to raise bby submitting the imagetoa spectral analysis ofthe messages Rhetoric of the Image | 33 it may contain. We will start by making it considerably “easicr for ourselves: we will only study the advertising image. “Why? Because in advertising the signification of the image ‘is undoubtedly intentional; the signifieds of the advertising ie ae a eee ate and these signifieds have to be transmitted as iy a8 possible. Ifthe image contains signs, we can be that in advertising these signs are full, formed with a to the optimum seading: the advertising image is ‘or at least emphatic. The three messoges ‘we have a Panzani advertisement: some packets of ta, tin, a sachet, some tomatoes, onions, peppers. a shroom, all emerging from a half-open string bag, yellows and greens on a red background. Let us try to ‘off the different messages it contains. |The image immediately yields a dst message whose “substance is linguistic; its supports are the caption, which “naiural disposition ofthe scene, ‘en abyme’. The cade from “Which this message hes been taken is none other than that of ‘the Freach language; the only knowledge required to deci ‘Pher itis a knowledge of writing and French. In fat, this | message can itssif be further broken down, for the sign Parcani gives not simply the name of the frm but 289, byiis assonance,an addtional signified, that of Italtaniity The linguistic mesage is thus twofold (at least inthis Pasticular image): denotational and connotational. Since, "however, we have hore only a single typical sign? namely 1, Tes decripé ofthe phtoeraoh i grea her with rade, fori aca comststen a mvalaganas The readers acd 1 rt tole reproducion (Vin 2By taped st trea the sign of & nem insofar as te34) ouace ~ music — sext ‘that of articulated (writen) language, it ill be counted 2s ne mescoge Putting aside the Tinguste message, we are let with the pure image (even if the labels are pat of it, anecdotal) ‘This image straightamay provides a series of dlscontinuote signs. First (the order is unimportant as these signs are aot Tinea, the idea that what we have in the scene represented isa return from the market. A signified which ise implies two euphoric values: that of the freshness of the products and that of the essentially domestic preparation for which they ate destined. [ts signifier is the hal-open bas which ets the provisions spill out over the table, ‘anpacked” To read this first sign requires only a Knowledge which is in some sort implanted as part ofthe habits of a very widespread culture where ‘shopping around for onesell” opposed to the hasty stocking up (preserves, reftigerators) of a more ‘mechanical’ civilization. A second sign is more oF les equally evident; its signifier i the bringing together ofthe tomato, the pepper and the tricoloured hues (yellow, green, red) of the poser; its sigifed is Italy oF rather Talianiity. This sign stands in 4 relation of redundancy ‘with the ‘connoted sign of the linguistic message (the Malin assonance of the name Panzont) and the Knowledge it draws upon is already more particular; itis a specially “French” knowledge (an Italian would barely perceive the connotation of the name, no more probably than he would the Ttalanichy oftomsto and pepper), based ona familiarity with certain tourist stereotypes. Continuing to explore the image (which is not to say that it isnot enticely clear at the first plane), there is ne dificlty in discovering atleast ‘to other signs:in theirs, the seried collection of different ‘objects transmits the idea ofa total eulinery service. on the ‘one hand as though Panzaniforished everything necessary ‘Segue Sd bys substance: he vera se, he oni the Settlers a) Woealaen, nem meow nt Rhetoric of the Tage | 35 - carefully balanced dish and on the other as though the rate in the tn were equivalent to the natural produce ing it; in the other sign, the composition of the evoking the memory of innumerable alimentary tings. sends us to an sosthotic signified: the ‘nature : as itis better expressed in other languages, the life"; the knowledge on which this sign depends is iy caltual. It might be sugeested that, in addition to four signs, there is a further information pointe, ‘which tells us that this is an advertisement and which ‘both from the place ofthe image inthe magazine and m the cmphasis ofthe labels (not to mention the caption). is last information, however, is co-extensive with the it eludes signification insofar as the advertising cof the image is essentially functional to utter some~ fs not necesarly to declare Zam speaking, except in a ely reflexive system such as literature. there are four signs for this image and we will that they form a coherent whole (for they are all discontinuous), require a generally caltaral knowledge, “and refer back to simifieds each of which is ell (for mle, Italizniciy), imbued with euphoric values. After linguistic messaze, then, we can see a second, iconic “thessage. Is that the end? IFall these signs are removed from “he image, we are sill left with a certain informational “Balter; deprive ofall Knowledge. [continue to ‘read’ the "image. 0 understand” that it assembles in a common space 44 mumber of identifiable (aameable) objects, not merely ‘shapes and colours. The siniieds of ths third message are "constituted by the real objets in the scene, the signifiers by these same objects photographed, for, given that the | letion between thing signified and image signifying in Analogical representation isnot ‘arbitrary’ (as it isin lan- 1. In Fron, the eprenion mare morte refer 1 the oignal "pesca offre Sn, sch a2 hal aces rs