Abstract
Roland Barthes's interest in photography began at a very early stage in his career. Indeed, several texts in Mythologies, one of his first major works, and published in 1957, are dedicated to role of photography in French society of 1950s. At this time, Barthes was interested in potential of photograph as a powerful mass communication medium used, for example, to glorify Hollywood actors. In following years, his work focused mainly on advertising and press photography, with articles such as The Photographic Message (1961) and Rhetoric of Image (1964), in which he analyses ways in which pictures convey meaning. At this stage, he conceived photograph as a fundamentally ambivalent and paradoxical object, involving co-existence of two messages, the one without a code (pure denotation), and the other with a code (that is to say a whole range of connotations).
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