p.32 '... the image is felt to be weak in respect of meaning; there are those who think that the image is an extremely rudimentary system in comparison with language and those who think that signification cannot exhaust the image's ineffable richness.'
p.32 'How does meaning get into the image? Where does it end? and if it ends, what is there beyond?'
p.38 'what are the functions of the linguistic message with regard to the (twofold) iconic message? there appear to be two: anchorage and relay.'
p.39 'polysemy poses a question of meaning and this question always comes through as a dysfunction, even if this dysfunction is recuperated by society as a tragic (silent, God provides no possibility of choosing between signs) or a poetic (the poetic 'shudder of meaning' of the ancient greeks) game; in the cinema itself, traumatic images are bound up with an uncertainty (an anxiety) concerning the meaning of objects or attitudes. Hence in every society various techniques are developed intended to fix the floating chain of signifieds in such a way as to counter the terror of uncertain signs; the linguistic message is one of these techniques.'
p.40 '... text directs the reader through the signifieds of the image, causing him to avoid some and receive others; by means of dispatching, it remote-controls him towards a meaning chosen in advance.'
p.41 '... relay-text becomes very important in film, where dialogue functions not simply as elucidation but really does advance the action by setting out, in the sequence of messages, meanings that are not to be found in the image itself.'
p.42 '[the] evictive state naturally corresponds to a plentitude of virtualities: it is an absence of meaning full of all the meanings.'
p.44 'the type of consciousness the photograph involves is indeed truly unprecedented, since it establishes not a consciousness of being-there but an awareness of its having-been-there. what we have is a new space-time category: spatial immediacy and temporal anteriority, the photograph being an illogical conjunction between the here-now and the there-then.'
p.46 '... the more technology develops the diffusion of information (and notably of images), the more it provides the means of masking the constructed meaning under the appearance of the given meaning.'
p.47 'there is a plurality and a co-existence of lexicons in one and the same person, the number and identity of these lexicons forming in some sort a person's idiolect.'
p.47 'the language of the image is not merely the totality of utterances emitted (for example at the level of the combiner of the signs or creator of the message), it is also the totality of utterances received: the language must include the 'surprises' of meaning.'
p.47 'it is necessary today to enlarge the notion of language [langue], especially from the semantic point of view: language is the 'totalising abstraction' of the messages emitted and received.'
p.48 'the denoted word never refers to an essence for it is always caught up in a contingent utterance, a continuous syntagm (that of verbal discourse), oriented towards a certain practical trasivity of language; the seme 'plenty' on the contrary, is a concept in a pure state, cut off from any syntagm, deprived of any context and corresponding to a sort of theatrical state of meaning, or, better (since it is a question of a sign without a syntagm), to an exposed meaning. to express these semes of connotation would therefore require a special metalanguage...'
p.51 'without wishing to infer too quickly from the image of semiology in general, one can nevertheless venture that the world of total meaning is torn internally (structurally) between the system as cultural and the syntagm as nature: the works of mass communications all combine, through diverse and diversely successful dialects, the fascination of a nature, that of the story's diegesis, syntagm, and the intelligibilty of a culture, withdrawn into a few discontinuous symbols which men 'decline' in the shelter of their living speech.'