semiology and sally mann’s candy cigarette – a mother’s perspective on childhood
TRANSCRIPT
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Semiology and Sally Mann’s CandyCigarette – A Mother’s Perspective on
Childhood
Roland Barthes developed Ferdinand de Saussure’s theory
on semiology in his work Elements of Semiology (1997 translation)
stating that, semiology “aims to take in any system of signs,
whatever their substance and limits,” (1977: 9) declaring that
anything can be analysed using, “if not languages, [a system]
of signification.” (ibid) The relevant systems of signs are
interpreted according to society’s pre-existing codes; theory
and linguistics are continually implemented and developed
allowing one to determine meanings behind the relevant system
of signs. Many meanings are drawn from a single sign:
“objects, images and patterns of behaviour can signify, and do
so on a large scale, but never autonomously; every
semiological system has its linguistic admixture.” (ibid: 10)
Barthes maintains that when you have a visual and linguistic
message, the message is duplicated and confirmed i.e. in film
or advertising: The linguistic system takes up part of the
message in order to confirm it. Using a system of
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signification we can evaluate photography to determine
meaning, recognising denotation, connotation and evaluating a
photographs studium, punctum and its reception.
Sally Mann photographed her children Emmett, Jesse and
Virginia (aged under ten) in Virginia, from 1984 onwards, to
produce Immediate Family (1999). Mann’s childhood was full of
freedom and she decided to raise her children in the same way.
The photographs were first exhibited publicly in 1992 at the
Edwynn Houk Gallery, New York and Sarah Parsons remarked that
Mann proved “old-fashioned art photography had much more life
left in it than the art world might have thought.” (2008: 123)
Now Mann’s children are grown up, the photographs are more
easily received. Andy Grundberg reports, that Mann,
“[transgresses] the conventions of family snapshooting.”
(1987: Online) Still critically evaluated today, Candy Cigarette
(Fig. 1) was received as negative and Parsons argues that “the
immediate critical and popular responses […] focused on their
aesthetic, the subjects, and the fact that the artist was the
children’s mother.” (2008: 123) Parson’s declares that “when
art photography is publicly exhibited it will be understood in
relation to public codes already at play, such as those around
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motherhood and the protection of children.” (ibid: 125) Mann
made her family’s private space, public, in order to establish
a true representation of childhood but also represented are
“Fact/fiction, mother/child, artist/subject, innocent/knowing,
safety/danger, and free/coerced are all at work.” (ibid) The
photograph attempts to show a maternal ‘look’ but, Mann states
that she could not solely create these expressive pictures:
You can’t force someone to do that. They have togive you the picture. There’s injury and there’s…pain and there’s… anger and there’s resentment intheir faces and there’s, you know, pouting.
(ibid)
Candy Cigarette has different connotations for the maternal
receiver than to the non-maternal receiver. It shows the
children play-acting or as James Steward remarked “playacting
at adulthood.” (2000: 365) Critics like Steward continue to
ask if Mann’s photographs put children at risk with “the
reality of [paedophilia] in society? […] Does such work on any
level exploit these actual children? (ibid) For example some
critics even said she was “sexualizing her children” (Parsons,
2008: 124) and the photographs caused major controversy
resulting in her being accused of child abuse, neglect, mental
trauma, exploitation and even child pornography. She posed no
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danger to them and Parsons reports how anxieties about
Immediate Family refuse and/or confuse photography’s division of
public/private: the private, becomes public. Parsons believe
that the photographs power relies on “our reading of them as
windows into Mann’s domestic sphere, encompassing its
inhabitants, spaces and practices;” (2008: 125) challenging
and blurring the imaginary boundaries between public/private.
The title, Candy Cigarette, reassures the viewer that the
cigarette is a candy-stick, not tobacco, suggesting how “the
camera is as adept at depicting the desires of the sub-
conscious as it is in rendering the shapes of everyday life.”
(Grundberg, 1987) Thus, the image manages to cleverly and
semiotically reverse the effects of the visual image. Stephen
Longmire wrote that “several of Mann’s images include flashes
of light reminiscent of nineteenth-century “spirit
photographs,” which set out to prove that the camera sees what
the eye cannot;” (2010: Online Access) moments in life thus
seem fantastical. When applying Barthes theories to Candy
Cigarette, one starts to notice the photographs denotations;
Mann’s daughter, Jessie, holding a cigarette, immediately
grabbing your attention. Then we notice the look on her face:
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looking “at the camera with the come-hither stare of the siren
or the hooker;” (Parsons, 2008: 131) she continues that “the
[iconic] cigarette’s being candy throws the iconography into
ironic relief; but there is nothing ironic about [Jessie’s]
face.” (ibid) Jessie’s pose is deemed “unambiguously
sexualized,” (ibid) drawing our attention to the negative
statements around the photograph: “the viewer must encounter a
sexual invitation.” (ibid) Mann expresses that it was a
sensual ‘look’, not sexual, and Ann Beattie attests that the
girls exist in “an innocent world in which a pose is only a
pose,” (1988: 9) it is how the viewer interprets that pose
that is the issue. We then notice Mann’s other daughter,
Virginia – hands on her hips in a ‘tut-tut’ style and her back
to the camera seemingly watching Mann’s son, Emmett, in the
background walking on stilts. The back-ground is blurred and
Jesse wears a white dress: aesthetically complementing the
white cigarette. These elements are easily distinguished
against the black-and-white blur of the photograph; giving one
a smoky, and/or dreamlike feeling – a nostalgic memorial to
childhood.
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When investigating the studium we determine why a
photograph has caught our attention; paying attention to the
ethical, social and moral implications. As a spectator, we
reverse the role of the photographer; who produces the
photograph from a created meaning. The receiver then decodes
the photographs connotations: discovering the meaning for
themselves in relation to their society’s codes. Barthes
asserts that the studium causes initial interest in
photographs; whether he determines their historical or
political value, he must engage with “the figures, the faces,
the gestures, the settings, the actions.” (1993: 26) One can
then identify Mann’s intentions; she transgresses the
boundaries of motherhood and privacy. Her photography respects
no “unwritten rules, [airing], if not the family’s authentic
selves, then their games, fears, fantasies and
eccentricities.” (Parsons, 2008: 129) Candy Cigarette’s negative
criticism is taken from a subjective view dependent on the
receiver; and their socio/cultural experiences. Barthes uses
the word punctum to describe a photographs unique use of
actress, prop and gesture to create a negative reaction. “The
second element will break (or punctuate) the studium. [It]
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rises from the scene, shoots out of it like an arrow, and
pierces me.” (1993: 26. Emphasis in original) In Candy Cigarette,
the punctum is the young girl ‘smoking’ and her suggestive
‘look’ causing an uneasy and uncomfortable reaction for the
receiver. Due to the quit smoking campaigns and medical
research a smoking child has a massive impact on the receiver
causing further repercussions for the photographer. One is
again distracted by the title; Candy Cigarette – a childhood
sweet one could purchase from any local shop distracts the
receiver causing a feeling “that its mere presence changes
[one’s] reading, that [one is] looking at a new photograph,
marked in [one’s] eyes with a higher value. This “detail” is
the punctum.” (ibid: 42. Emphasis in original) Mann’s
photograph has the ability to make one reconsider its meaning
once the image has been removed from sight. As Barthes
expresses, “it is best to look away or close your eyes” (ibid:
53) giving one another sense when viewing a photograph. Mann’s
staged photographs involved her children fully in the process
varying between “spontaneity and instruction, narrative and
play, chance and certainty.” (Steward, 2000: 372) Mann states
that they “take on the grand themes: anger, love, death,
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sensuality, and beauty.” (Mann, 1992: 7) She expresses that
these are photos of their childhood “most are of ordinary
things every mother has seen; a wet bed, a bloody nose, candy
cigarettes. They dress up, they pout and posture;” (ibid)
presenting us with a maternal ‘look’, even a controversial one
such as in The Wet Bed. (Fig. 2)
Laura DiPrete argues that Mann’s photography raises
“questions about subjectivity and its representation.” (2006:
20) remarking that Candy Cigarette has the ability to draw in the
receiver and create an uncomfortable dreamlike sense of
trauma; demanding us to respond according to society’s codes
“[confronting] us with our fears, conflicts, taboos, normative
perceptions, and ethical imperatives.” (ibid: 21) DiPrete
alleges that corporeal – “relating to a person’s body,
especially as opposed to their spirit” (Oxford Dictionaries:
2013) – trauma narratives are powerful when they involve taboo
subjects. DiPrete’s argument strengthens when she considers
Mann’s claims that “the divided nature of subjectivity, the
children’s “non-innocence,” is related to a similarly strong
claim about the “non-innocence” of signification and vision.”
(2006: 41) DiPrete claims that the signification and
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subjectivity of the photograph can be considered as innocent
but the structure of the divided meanings are responsible for
exposing the receiver to signification trauma. Mann’s
photographs show childhood in a traumatic way giving
connotations of a long-forgotten childhood – one we cannot re-
enact. Mann explores children’s dependence on the mother, and
their quest for autonomy and independence. In Still Time it is
written that Mann’s photographs are like a Greek drama,
showing “impatience, terror, self-discovery, self-doubt, pain,
vulnerability, role-playing, and a sense of immortality, all
of which converge.” (Mann, 1992: Inside-cover) Her photographs
show the child’s development representing “a childhood idyll
beset by implied dangers and adult glances.” (Narrator, BBC,
2007) Mann’s photography has transgressed this line and she
has taken “her children out of the realm of childhood and
insert[ed] them into the melodrama of adulthood.” (DiPrete,
2006: 373) She counter-argues that her photographs “reflect
her astonishment, the amazement and pure beauty children
bring,” (Vile Bodies, 1998) and DiPrete confirms that in Candy
Cigarette the children “acted out their beauty, playfulness,
fears, and sensuality.” (2006: 23) The dream-like aesthetic is
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reinforced by the blurred background and Steward remarks that
“the nuances of light […] play on issues of memory, so that
the images of children at play […] recall […] an earlier
time.” (2000: 367-368) This portrays how children develop
quickly and progress through adolescence: Mann captures this
transformation.
Steward presents us with Anne Bernays argument that the
manipulation and freedom of sexuality in Mann’s photos “seem
to out-Freud Freud in acknowledging the pervasiveness of
childhood sexuality.” (ibid: 369) Bernays also argues that the
photographs show children’s “innocence as a sham” (ibid) but
informs us that the innocence of the children is still very
much present. One adds that innocence fades as they age,
transforming into adolescents and transcending into adulthood.
Mann shows how children progress and educate themselves by
what they see around them. Parsons notes that before
publishing Immediate Family, Mann “consulted a Federal prosecutor
in Virginia who advised her that some of the images being
exhibited could result in her arrest;” (ibid: 126) so
postponed the publishing. Mann’s daughter Jessie, (now an
adult) stated in a Channel Four documentary, that it was the
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public hurting them with their thoughts and opinions due to
their interpretation of the images, not their mother’s. Mann
is mostly “rightly saluted for defying those who only see
sexual exploitation in photographs of children’s naturalness;
she has never denied the complexities involved.” (Steward,
2010: 1) She has had a profound impact on the receiver and
many are haunted, disturbed or even sinisterly hypnotised by
the power Mann’s photographs have to really show the truth of
childhood, capturing it in a moment. Jessie’s pose in Candy
Cigarette has a seductive model connotation, slouched to the
side, cigarette in hand daintily slanted fingers gently folded
in. Jessie Mann did not retreat from the world of modelling
when she grew up but embraced it becoming an “accomplished and
enthusiastic model.” (Parsons, 2008: 135) She collaborated
with portrait photographer Len Prince over a five year period
to produce Self-possessed. When viewing Princes photograph titled
Plate 37 (Fig. 3), we can see the visual connotations of her
earlier involvement with Candy Cigarette; mirroring “Jessie’s
earlier ‘come hither’ look of ‘Candy Cigarette’ with an
emboldened Marilyn Monroe in the midst of a soft porn shoot.”
(ibid: 136) Jesse is seen here showing the improved
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“unselfconsciousness she demonstrated in her mother’s
photographs [and it] is on full display in [Plate 37].” (ibid)
Jessie accompanied her mother to many photo-shoots including At
Twelve so she became aware of the adult poses and the model
stance; observing the seductive pose we see in Candy Cigarette.
DiPrete argues that “the critics’ language discloses the power
of Mann’s photographs over the viewer in terms of physical
violation.” (2006: 24) James Christen Steward suggests that
“it is her black-and-white photographs of children […] that
have struck a vein.” (2000: 365)
Marianne Hirsch observes that Mann’s photography “is not
a childhood glimpsed but a childhood invented – one that is
performed and theatricalized […] a fictitiously mimetic space
of possibility and illusion.” (1997: 152) DiPrete contends
that “Mann exploits the tropological resources of her visual
language to allow for a free play between literal and
figurative planes.” (2006: 26) Although Mann’s photograph Candy
Cigarette pictures a smoking child slouched in the seductive
style of a young adult. The connotations of childhood sweets –
candy-sticks – are associated with the word ‘candy’ (also used
as a pretend cigarette during role-play games.) This shows us
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the child-at-play; acting out what she has seen, experienced
and observed. Steward argues that Candy Cigarette portrays Jessie
“mimicking an adult smoking a (sweet) candy cigarette [and]
has Lolita connotations but is also universal and typical of
how girls play and pose.” (2010: 1) The idea of the natural
child-at-play is subsequently positioned in place of the
Lolita connotations to provide a more neutral meaning. Mann’s
photographs have the power to create an uncomfortable space in
which the human mind is haunted by fears, loss, helplessness
and the past: therefore demanding a response from one’s
position in society. The key term of the linguistic sign would
be the adjective ‘candy’ and it re-categorises its denotative
visual sign the ‘cigarette’ as being a harmless sweet which
“depends heavily on cultural knowledge.”(ibid: 28) In the
western world candy-sticks are boxed sweets which are
cylindrical and about the size of a cigarette. By implementing
this cultural knowledge one is able neutralise the photographs
punctum, “therefore, the title encourages a conventionally
accepted and codified meaning, reassuring and unproblematic.”
(ibid) If we did not have this title to guide us or this
system of signification then the photograph on its own becomes
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ambiguous. The title creates an anchor in order to direct the
receiver to view the image in a certain way: to limit the
photographs possible meanings “for a socially reassuring and
comforting explanation.” (ibid: 29)
A number of signs we can recognise at first glance are
the girl’s stances: Virginia with her back to us with her
hands on her hips watching Emmett on stilts in the background;
her hair tied-up and tidy. Then Jessie, is slouched just off-
centre to the left of the picture looking straight at the
receiver with, some might say, a seductive or sensual ‘look’
so often seen by models. Steward argues that it shows “Jessie
clearly vamping for the camera,” (2000: 373) holding a
cigarette-like stick in her hand. Her white dress contrasts
the darker background and manages to guide our view towards
her. Virginia is dressed in darker clothing so the attention
is not taken away from Jessie. The lighting on Jessie
highlights her blonde, messy hair and accentuates her face and
fingers holding the candy/cigarette. DiPrete states that “the
eye wanders freely from one to the other in the act of
reading. Then, when one quickly turns back to the title, the
gaze is directed once again to the elements selected in
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advance.” (2006: 29-30) Jessie imitates what she has observed
previously and Steward argues that “such images play with the
knowingness of the viewer, and rush the children into the
adult world rather than allowing them to enjoy a separate
space for childhood.” (2000: 373) Bernays claims that Mann’s
photography implies a false moral connection between the
children and their mother. Steward discusses Bernays
declaration that “the most shocking aspect of Mann’s
photographs […] is the possibility of our sexual response to
them; we see these beautiful children, feel desire, and
immediately repress it.” (Quoted in Steward, 2000: 374) Mann
has a unique ability to use this tension to present extreme
acting-play in childhood seeking “to suggest that childhood is
a more complicated state than our society has historically
accepted.” (ibid) Steward expresses that child abuse is spoken
about obsessively and yet Mann’s photographs are given
negative press when her reasons behind the photography were,
now recognisably, justified and she achieved a representation
of the complicated process of transforming into an adult. Anne
Higonnet argues that “Mann signalled an important wider
representational shift from images of romanticized childhood,
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dominant since the Victorian age, to the now pervasive modern,
‘knowing child’.” (1998: 133) This further leads one’s
investigation into one’s own ‘knowing’ of adolescence: the
rebel, tasting a cigarette for the first time with a sensual
look of seduction as her face invites you to transgress with
her and experience the darker and more inquisitive side of
childhood.
Mann’s work suggests that a redefinition of theworlds of childhood and adulthood, and theartificial lines drawn between them, is in order,that the much-discussed crisis of the […] familyis among other things a crisis of representation.
(Steward, 2000: 374)
Candy Cigarette shows us the ‘knowing’ child and in society today
children certainly are more ‘knowing’. DiPrete implores that
the “selective operation [which] alerts us to the iconic power
of the visual detail in its fixity and immobility,” (2006: 30)
ensures the receiver decodes the important elements in the
photograph – the candy and Jessie’s ‘look’.
Barthes argues in The Rhetoric of the Image, that “images […]
imply, underlying their signifiers, a ‘floating chain’ of
signifieds, the reader able to choose some and ignore
others.”(1977: 38-39) Barthes asserts that each image/sign
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will have social/cultural connotations for the receiver to
interchange meaning. Mann’s choice of location, frame and
angle, lighting and props, gives us a sense of naturalness as
well as representing the child-at-play. DiPrete conveys that
the “structure of the photographic medium in its impact on the
viewer plays a crucial role in giving voice to the
psychosexual content of Mann’s images.” (2006: 40-41) one of
those images is Candy Cigarette. Barthes discusses denotation and
connotation and distinguishes a difference of innocence and
experience. He further reports that with an aesthetic view
“the denoted image can appear as a kind of [Eden/utopian-like]
state of the image; cleared utopianically of its connotations,
the image would become radically objective, or, […] innocent.”
(1977: 42) The process of denotation concerning the image or
photograph “naturalizes the symbolic message, it innocents the
semantic artifice of connotation, which is extremely dense.”
(ibid: 45) Candy Cigarette is ambiguous to the receiver and it
‘plays’ on both a literal and figurative level.
One argues that Candy Cigarette truly represents the
confusion in childhood and how children mirror and imitate us,
performing an identity, role-playing as an adult. Children
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imitate mannerisms to learn how to be adults. Hirsch maintains
that Mann’s maternal look is subjective, “anxious, in awe of
their beauty, [identifying] with their freedom, urgent and
longing to capture something evanescent, fearful of her effect
on them.” (1997: 162) DiPrete further considers the maternal
‘look’ as “a power position that she inevitably exploits, […]
Mann at once awakens and resists the spectre of rigid
ideological superstructures.” (2006: 47) Candy Cigarette at first
glance breaks the sociocultural taboo of smoking, causing the
viewer an uneasy feeling about the photograph. Mann’s
photographs not only allow one to look into one’s own childhood
but it also portrays children’s developments. The photograph
allows us to see the paradox; the beauty and simultaneously the
dark side of the photograph. It shows how we could salvage
children’s innocence and beauty through photographs, ‘locking
in’ the moment. We hold children close; protecting them, until
the innocence is lost through adolescence and, as parents, must
let go. “Their strength and confidence, there to be seen in
their eyes, are compelling – for nothing is so seductive as a
gift casually possessed.” (Mann, 1992: 7) Rightfully concluding
that; “family life is, of course, as we all know, far more
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complex than it is usually portrayed.” (Mann, BBC, 2007) Mann’s
ability to show a childhood lost has a profound and lasting
effect on the receiver.
Word Count: 3265
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Mann, S. (1988) At Twelve: Portraits of Young Women; Introduction by Ann
Beattie. New York: Aperture Foundation.
Mann, S. (1992) Still Time. New York: Aperture.
Mann, S, & Price, R. (1999) Immediate Family; Afterword by Reynolds
Price. London: Phaidon.
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Morrison, B. (2010) ‘Sally Mann: The Naked and the Dead’. The
Guardian. Saturday 29th May.
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(Accessed 02/12/13)
Parsons, S. (2008) 'Public/Private Tensions in the Photography
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Photographs
Mann, S, & Price, R. (1999) Immediate Family; Afterword by Reynolds
Price. London: Phaidon.
-Candy Cigarette: Taken in Virginia.
-The Wet Bed: Taken in Virginia.
Prince, L. (2003) Len Prince: Jessie Mann 'Self-Possessed' Exhibition – Plate
37. New York: Edwynn Houk Gallery.
http://www.houkgallery.com/exhibitions/2007-11-29_sally-mann/
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Video and DVD Media
The Genius Of Photography [Videorecording] Part 5 – We Are Family. (2007) Tim
Kirby. UK: BBC (Viewed 10th December 2013.)
Vile Bodies [Video recording] Part 2 – Kids (1998) Edmund Coulthard. UK:
Channel 4. (Viewed 10th December 2013).
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Images
Fig. 1. Jesse,Virginia andEmmett MannCandy Cigarette.
Photographs by Sally Mann. Taken from Immediate Family (1999)
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Fig. 2. VirginiaMann The Wet Bed.
Photographs by Sally Mann.
Taken from Immediate Family (1999)