Week One: Semiotics
Everything around us takes use of semiotics in someway, whether it be fashion, sport, newspapers or even what we view on TV. Defined as the study of signs and their uses and interpretations, it can be applied to anything that has the ability to convey meaning.
An example; the way clothing can be a sign is for example what it says about you as a person to someone else, it plants a seed of expectation and instantly forms an opinion about you. Sometimes these signs can be grouped together to form a code, for example a dress code. It is a constant feed from a signifier (a physical representation) and signified (a mental concept of how you personally perceive it), which happens without us even knowing it.
This weeks session made us 'brush up' on what we had previously learnt last year, giving us a deeper understanding on the subject matter.
Terminology:
An example; the way clothing can be a sign is for example what it says about you as a person to someone else, it plants a seed of expectation and instantly forms an opinion about you. Sometimes these signs can be grouped together to form a code, for example a dress code. It is a constant feed from a signifier (a physical representation) and signified (a mental concept of how you personally perceive it), which happens without us even knowing it.
This weeks session made us 'brush up' on what we had previously learnt last year, giving us a deeper understanding on the subject matter.
Terminology:
- Langue - a language system
- Sign - Anything that communicates meaning, such as a word.
- Sign System - The relation between signs
- Parole - Example of 'langue', partial example to writing or speech
- Syntagm - A complete ordered sentence of signs, example being a sentence.
- Paradigm - A point where you can substitute a word in a sentence for a similar sign, without changing the structure.
- Myth - A way of thinking about people, places, products of ideas that send messages to the reader
- Connotation - 'Signifieds' that don't directly relate to the sign, but is formed through social concepts (e.g. expensive car brands can signify
Roland Barthes: Mythologies.
For our reading this week we read 'The world of wrestling' in 'Mythologies' by Barthes (1972) pages 15-25, an interesting read delving deep into the semiotics of wrestling. Below are some highlighted points from the extract.
For our reading this week we read 'The world of wrestling' in 'Mythologies' by Barthes (1972) pages 15-25, an interesting read delving deep into the semiotics of wrestling. Below are some highlighted points from the extract.
Barthes sees wrestling as a spectacle of excess, where the events lie on the theatrical and visual representations of passion, however, not on their individual passions itself. Overdramatic acts such as, crying when you're not injured, jumping back when you aren't hit and just genuinely acting over the top while 'performing'.
Like ancient theatre, they also show excessive body language and prop-like costumes to be able to tell a clear story of what will take place. This act of wrestling shows somewhat comedic characters showing clear defeat with this visualisation of powerlessness and despair. As an audience we don't wish for visual pain and suffering, just the play of it almost like a pantomime. The play of a pantomime is amplified by their body language, costume design and even a well known catchphrase. We can associate with the characters stereotypes in order for the social comedy to see the fight against the 'bastard' and the 'evil' that wants to find revenge.
In Conclusion, wrestling appears to convey the image of a passionate, brutal active sport - but in all reality within a match there are indefinitely myths fed to us throughout. These myths can range from the idea of serving justice, types of theatrical costume worn by the 'good guys' and 'bad guys' with hopeful words and actions assigned to opposing sides, one malicious and the other being an underdog. These stereotypes, not only within wrestling, reinforce the way that society wants us to view certain situations; allowing us as an audience to view this theatrical comedy situation as a modern sport.
Like ancient theatre, they also show excessive body language and prop-like costumes to be able to tell a clear story of what will take place. This act of wrestling shows somewhat comedic characters showing clear defeat with this visualisation of powerlessness and despair. As an audience we don't wish for visual pain and suffering, just the play of it almost like a pantomime. The play of a pantomime is amplified by their body language, costume design and even a well known catchphrase. We can associate with the characters stereotypes in order for the social comedy to see the fight against the 'bastard' and the 'evil' that wants to find revenge.
In Conclusion, wrestling appears to convey the image of a passionate, brutal active sport - but in all reality within a match there are indefinitely myths fed to us throughout. These myths can range from the idea of serving justice, types of theatrical costume worn by the 'good guys' and 'bad guys' with hopeful words and actions assigned to opposing sides, one malicious and the other being an underdog. These stereotypes, not only within wrestling, reinforce the way that society wants us to view certain situations; allowing us as an audience to view this theatrical comedy situation as a modern sport.
References
Barthes, R. (1972) Mythologies. London: Jonathan Cape
Bignell, J (2002) Media Semiotics: An introduction. second edition
Barthes, R. (1972) Mythologies. London: Jonathan Cape
Bignell, J (2002) Media Semiotics: An introduction. second edition
Week Two: Reading Words and Images
During this session we dipped our toes deeper into the world of semiotics, looking into the different ways in which we can read words and images, keypoints which were covered in a recap of the aformentioned post - The World of Wrestling include:
Presentation: The live event
Representation: The mediation e.g. The words of a sports commentator
Re-representation: Reframing e.g. The sports highlights
we also learnt about Anchorage.
Types of anchorage include:
Words: All/most information is gathered through text
Image: All/most information is gathered through images
Duel messages: Word and images communicate the exact same message
During this session we analysed the piece of work 'A treachery of images' by René Magritte and how it can be read as a polysemous work piece, (Barthes 1977) so is open to many interpretations, which we covered deeply within our lecture.
These interpretations can be denotative (literal reading or non-coded, what we immediately see within the image) and connotative (coded reading, or where words and image trigger associative reading or links to other concepts.)
- Frame of Reference - A set of ideas that a person accepts which influences their opinions or decisions, using the following phrases.
Presentation: The live event
Representation: The mediation e.g. The words of a sports commentator
Re-representation: Reframing e.g. The sports highlights
we also learnt about Anchorage.
- Anchorage - The dynamic between words and images, where text and image stand in complimentart relationships.
Types of anchorage include:
Words: All/most information is gathered through text
Image: All/most information is gathered through images
Duel messages: Word and images communicate the exact same message
- Denotation - A non-coded immediate reading of a sign
- Connotation - A secondary reading of what could relate to the sign, like the style, quality or medium.
- Interdependent/convergent - words and images working together to convey something that neither could alone
- Parallel/divergent - Words and images follow different paths that communicate different ideas
- Intermediality - The understanding of the relationship between text and image.
During this session we analysed the piece of work 'A treachery of images' by René Magritte and how it can be read as a polysemous work piece, (Barthes 1977) so is open to many interpretations, which we covered deeply within our lecture.
These interpretations can be denotative (literal reading or non-coded, what we immediately see within the image) and connotative (coded reading, or where words and image trigger associative reading or links to other concepts.)
![Figure 1. Magritte, R (1929) Ceci n'est pas une pipe [Oil on Canvas]](/uploads/1/2/8/6/128651680/ren_orig.jpg)
Figure 1. Ceci n'est pas une pipe (Magritte, 1929)
references
Barthes, R (1977) The Photographic Message. In: Barthes, R. Image, Music, Text. 1st Edition London: Harper Collins. p. 16 - p. 26
Magritte, R (1929) Ceci n'est pas une pipe [Oil on Canvas]
Barthes, R (1977) The Photographic Message. In: Barthes, R. Image, Music, Text. 1st Edition London: Harper Collins. p. 16 - p. 26
Magritte, R (1929) Ceci n'est pas une pipe [Oil on Canvas]
Week Three: Decoding Advertising
During this session we looked into decoding advertisements and how ads are particular to time and place as well as good methods for reinforcing cultural ideas/norms. Examples include ideas of family values, representation of race and gender and also positive attitudes towards consumerism and status.
Analysing marketing advertisements using semiotics and Barthes' theories
'Cultural stereotyping' - Represented within the pasta advertisement below with the use of the Italian flag colours and Italian-esque typography
'Cultural stereotyping' - Represented within the pasta advertisement below with the use of the Italian flag colours and Italian-esque typography
A French advertisement depicting Italian products
Further semiotic analysis of another advertisement outside of the lecture (as part of an extended task)
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Advertisement for the detergent brand Tide, 1955c
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The 1955 ‘Tide’ laundry detergent advertisement supports the 50s ideology of domesticity. It holds a woman’s role as responsible for the care of the household. By claiming that “Women by more Tide” than anything else, the assumption that women are responsible for doing laundry is made. The message that ‘Tide’ presents was to shape the lives of women into the domestic space. The dynamic gender relations prevalent during the 50s are enforced by situating women as housewives, not allowed to enter the workforce in which men dominated. This advertisement reflects the consumerism of cleaning aids, as an element that is crucial to women for their survival in the domestic sphere. This then portrays the women’s need to please their husband by doing tasks correctly with the correct products.
With print advertisements in the 1950s conventionally using more written text that imagery, this post war consumerism shows the rise in machinery’s that had been brought to the market such as washing machines and even dishwashers.
This advertisement shows a clear structure of a line of Z throughout the rule of third
Bright primary colours connote the positive associations the producers want an audience to make with this product
Sans-Serif font - connoting an informal mode of address for the audience
’Technical’ aspects of the advertisement in a Serif font, connoting a more serious/factual information including bullet pointed lists
Suspense is created by the enigma within the ‘Tide’ ad by saying “What do women want” (Barthes’ Hermeneutic code)
Tension building with the use of multiple exclamation marks ( Barthes’ Proairetic Code)
Heart above the woman’s head shows gesture codes have connotations of love and relationships, also connoted that this is “what women want” (In addition to the cleaning(Semantic code))
Barthes’ Codes Expanded:
With print advertisements in the 1950s conventionally using more written text that imagery, this post war consumerism shows the rise in machinery’s that had been brought to the market such as washing machines and even dishwashers.
This advertisement shows a clear structure of a line of Z throughout the rule of third
Bright primary colours connote the positive associations the producers want an audience to make with this product
Sans-Serif font - connoting an informal mode of address for the audience
’Technical’ aspects of the advertisement in a Serif font, connoting a more serious/factual information including bullet pointed lists
Suspense is created by the enigma within the ‘Tide’ ad by saying “What do women want” (Barthes’ Hermeneutic code)
Tension building with the use of multiple exclamation marks ( Barthes’ Proairetic Code)
Heart above the woman’s head shows gesture codes have connotations of love and relationships, also connoted that this is “what women want” (In addition to the cleaning(Semantic code))
Barthes’ Codes Expanded:
- Hermeneutic Code - (enigma code) Any part of the story that isn’t explained fully
- Proairetic Code - (Action code) Refers to an action that indicates something is about to happen
- Semantic Code - the connotation within the story/narrative that gives it a deeper meaning
- Symbolic Code - (Similar to Semantic code) Acts as a wider level, offering deeper or a broader meaning
- Cultural Code - (referential code) Something that can’t be challenged and is assumed to be true
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Miller, 1943
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Rosie the Riveter - An iconic symbol of women during this time period. “We can do it!” presented within this advertisement cause show what the ‘Tide’ ad was trying to relate to for trying in some way empowering women to a certain extend with regards to completing tasks. In advertising for these types of texts, stereotypical representation of domestic perfection, caring for the family and servitude of the ‘man in the house’ became linked to a more modern need for speed, convenience and a better standard of living than the women experienced in the pre-war era.
Referencing
Barthes, R (1977) The Photographic Message. In: Barthes, R. Image, Music, Text. 1st Edition London: Harper Collins. p. 16 - p. 26
Miller, J.H (1943) 'We Can Do It!' [Poster]Mrs Fisher 2019. A-Level Media - Tide Advert - Audience - Simple Guide For Students & Teachers. www.youtube.com. [Online]. Available from: https://www.youtube.com/watch?v=JaH_RjDA0NY.
Barthes, R (1977) The Photographic Message. In: Barthes, R. Image, Music, Text. 1st Edition London: Harper Collins. p. 16 - p. 26
Miller, J.H (1943) 'We Can Do It!' [Poster]Mrs Fisher 2019. A-Level Media - Tide Advert - Audience - Simple Guide For Students & Teachers. www.youtube.com. [Online]. Available from: https://www.youtube.com/watch?v=JaH_RjDA0NY.
Week Four: The Graphic Code of Comics
In this weeks session we were introduced to the 'Graphic Code' where comic books and novelists use on a daily basis to ensure that readers can clearly understand all of their content. However, as with most set of rules, people do get more creative and try to break theses rules and still make it clear to the audience what they're trying to represent.
The 'graphic code' contains different rules and relationships that adjacent panels have towards each other and what they mean.
Our blog task during this week was to pick one of our favourite comic artists (illustrative or graphic) and talk about them using the 'graphic code'. I have chosen the illustrator Junji Ito who is known for their bizarre and unusual Japanese horror mangaka illustration. I found this amazing illustrator earlier this year when researching for a previous brief, I think their way of illustrating suggests a beautiful way of storytelling towards an audience, although some what disturbing, it is still understandable to a large target audience.
- Moment to Moment - A small lapse in time, little 'closure' is needed
- Action to Action - different actions within the same scene (needing sligtly more closure than the first)
- Subject to Subject - different subject within the same idea or scene.
- Scene to scene - location or geographical movement, however deductive reasoning is needed
- Aspect to aspect - The scene setting were there is no shift in time and shows different aspects of the same scene all at the same time.
- Non Sequitur - Where there is no logical bond or relationship between the panels
Our blog task during this week was to pick one of our favourite comic artists (illustrative or graphic) and talk about them using the 'graphic code'. I have chosen the illustrator Junji Ito who is known for their bizarre and unusual Japanese horror mangaka illustration. I found this amazing illustrator earlier this year when researching for a previous brief, I think their way of illustrating suggests a beautiful way of storytelling towards an audience, although some what disturbing, it is still understandable to a large target audience.
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Ito's style makes use of the strong contrast in both their characters and their environment. With the excessive use of the black and white tones in their work, it further adds dimension to the eerie realism of his work. Beyond the vivid art style and uniqueness, the aesthetic of their work also relies on its unique content, through the images such as, dolls, demons and excessive eyes, giving any imagery a creepy undertone.
References
McCloud, S (1993) Understanding Comics. Northampton: Tundra Publishing
Ito, J (1998) Frankenstein
McCloud, S (1993) Understanding Comics. Northampton: Tundra Publishing
Ito, J (1998) Frankenstein
Week Five: Subcultures and the Meaning of Style
Back in the 1800s, William Hogarth illustrated and referenced that 'subculture' was heavily relevent to the lower class society.
'Gin Lane' An illustration produced in 1751 - This illustration is heavily packed with many different visual representations during this time frame such as: Gin Lane shows shocking scenes of infanticide, madness, decay, suicide and startation, where as Beer Street depicts industry, health, bonhomie and thriving commerce, but there are contrasts and subtle details that some critics believe allude to the prosperity of Beer Street as the cause of the misery found in Gin Lane.
'Gin Lane' An illustration produced in 1751 - This illustration is heavily packed with many different visual representations during this time frame such as: Gin Lane shows shocking scenes of infanticide, madness, decay, suicide and startation, where as Beer Street depicts industry, health, bonhomie and thriving commerce, but there are contrasts and subtle details that some critics believe allude to the prosperity of Beer Street as the cause of the misery found in Gin Lane.
Beer Street and Gin Lane (Hogarth, 1751)
We see a more modern representation of a 'subculture' post 1945 as it had more to do with minority groups and further expanded to be reflected those who were against the mainstream (parent) culture. However, one fact that is normally unavoidable is that subculture will be enevitably be 'absorbed' within mainstram society.
"We should not underestimate the signifying power of the spectacular subculture not only as a metaphor for potential anarchy 'out there' but as an actual mechanism of semantic disorder: a kind of blockage in the system of representation" - Dick Hebdige from 'Subculture - The Meaning of Style' p.g 90
The New Romantic Scene
The New Romantic movement was initially a pop culture movement that originated in the UK in the late 1970s. The movement emerged from the nightclub scene in London and Birmingham at venues such as Billy's and The Blitz, which was located during the same period as other subcultures such as: the punks, the goth scene and along side mainstream culture. These individuals had a mixture of names such as: the Blitz Kids,
This initial movement was characterised by flamboyant, eccentric fashion inspired by fashion boutiques such as Kahn and Bell in Birmingham and PX in London. The new romantics scene was heavily influenced by music groups such as David Bowie, Roxy Music and Adam & the Ants; groups like these fashioned themselves by being inspired by the glam rock era with a mixture of the early Romantic period of the 18/19th century (where the music took its initial name)
“My ideal is to dress fancy, not fancy dress”
"We should not underestimate the signifying power of the spectacular subculture not only as a metaphor for potential anarchy 'out there' but as an actual mechanism of semantic disorder: a kind of blockage in the system of representation" - Dick Hebdige from 'Subculture - The Meaning of Style' p.g 90
The New Romantic Scene
The New Romantic movement was initially a pop culture movement that originated in the UK in the late 1970s. The movement emerged from the nightclub scene in London and Birmingham at venues such as Billy's and The Blitz, which was located during the same period as other subcultures such as: the punks, the goth scene and along side mainstream culture. These individuals had a mixture of names such as: the Blitz Kids,
This initial movement was characterised by flamboyant, eccentric fashion inspired by fashion boutiques such as Kahn and Bell in Birmingham and PX in London. The new romantics scene was heavily influenced by music groups such as David Bowie, Roxy Music and Adam & the Ants; groups like these fashioned themselves by being inspired by the glam rock era with a mixture of the early Romantic period of the 18/19th century (where the music took its initial name)
“My ideal is to dress fancy, not fancy dress”
References
adamantdotnet 2011. Adam & The Ants - Stand And Deliver (Video). YouTube. [Online]. [Accessed 17 October 2019]. Available from: https://www.youtube.com/watch?v=4B2a6l6wM2k.
British Vouge 2016. New Romantics: Ep. 4 | The Roots of British Style | British Vogue & River Island. YouTube. [Online]. Available from: https://www.youtube.com/watch?v=8ivZqBcxRUQ.
Crane.tv 2013. Club to Catwalk | Blitz Kids. www.youtube.com. [Online]. [Accessed 23 April 2021]. Available from: https://youtu.be/hkeM_-wVgWU.
Hogarth, W (1751) Beer Street and Gin Lane [news print]
adamantdotnet 2011. Adam & The Ants - Stand And Deliver (Video). YouTube. [Online]. [Accessed 17 October 2019]. Available from: https://www.youtube.com/watch?v=4B2a6l6wM2k.
British Vouge 2016. New Romantics: Ep. 4 | The Roots of British Style | British Vogue & River Island. YouTube. [Online]. Available from: https://www.youtube.com/watch?v=8ivZqBcxRUQ.
Crane.tv 2013. Club to Catwalk | Blitz Kids. www.youtube.com. [Online]. [Accessed 23 April 2021]. Available from: https://youtu.be/hkeM_-wVgWU.
Hogarth, W (1751) Beer Street and Gin Lane [news print]
Week Six: Global Culture and Ethical Design
In this session we learnt about globalisation - the act of communities and cultures being interconnected via improved communication on a global scale. An example of how globalisation has become such a prevalent thing is the rise of the internet, as this allows us to view other cultures and vice-versa, creating something called ‘cultural hybridity’ - the mixing of certain cultures to create a new sub culture or category, or even the clashing of those cultures.
Terminology from the lecture -
‘No Logo’ Naomi Klein notes (from lecture) -
Terminology from the lecture -
- Global Village - whole earth, physical environment shared common destiny
- Digital Integration - Technologies development, with a rise of digital subcultures in cultural trends
- Trade without boarders -
‘No Logo’ Naomi Klein notes (from lecture) -
References
Klein, N (2005) No logo. London: Harper Perennial
Klein, N (2005) No logo. London: Harper Perennial
Week Seven: Post Modernism and Visual Culture
An investigation into the world of post-modernity and visual culture was the topic of discussion in this lecture, explaining what the key visual aspects of this term are; questioning whether or not we currently are living in a post-modern society. The post-modern period we refer to dates back from 1980 - to the current date, we are also in the process of defining this current era as it has yet to be fully formed.
Some key term definitions created learnt from the lecture are -
After-Modernism: The idea modernism is over, there is a compendium of knowledge on the subject and it now has a place in history where it can be studied (in conclusion, we are in a Post-Modern era).
Anti-Modernism: The theory that aspects of modernism have failed, and there is no universal truth (we live within a society based on post-truth culture)
Hyper-Modernism: Modernism has not run its course and it is still ongoing, and is cyclical (seen in conjunction with post-modernity). The idea that we live in a post-internet culture rather than just a post-modern one.
The feature of different visual cultures found within Post Modernism can be found below in the lecture notes
Readings - Jon Savage, The age of Plunder.
Some key term definitions created learnt from the lecture are -
After-Modernism: The idea modernism is over, there is a compendium of knowledge on the subject and it now has a place in history where it can be studied (in conclusion, we are in a Post-Modern era).
Anti-Modernism: The theory that aspects of modernism have failed, and there is no universal truth (we live within a society based on post-truth culture)
Hyper-Modernism: Modernism has not run its course and it is still ongoing, and is cyclical (seen in conjunction with post-modernity). The idea that we live in a post-internet culture rather than just a post-modern one.
The feature of different visual cultures found within Post Modernism can be found below in the lecture notes
Readings - Jon Savage, The age of Plunder.
References
Savage, J (1983) The Age of Plunder
Savage, J (1983) The Age of Plunder
Week Eight: The Research Journey
Planning and researching for an academic piece of writing was the main focus of this weeks lecture, although I wasn't actually present during this lecture due to being stuck in Leeds after heavy floods and with the downfall of news with the sightings of Coronavirus starting to be more present across the UK, I started this journey of planning independently. Without the correct quantities of research it would be greatly difficult to be able to start an important in-depth, cohesive piece of academic work. The research aspect of an academic piece of work is not only valuable towards the overall efficiency of the text but will overall make the journey more in-depth and easier to create your own study with effective sources.
Referencing
Scott, L. (2019) Dark Dualities, Emergence and Eruption: Representations of the Shadow with Contemporary Illustrative Narrative. Available at: http://repository.falmouth.ac.uk/3325/
Scott, L. (2019) Dark Dualities, Emergence and Eruption: Representations of the Shadow with Contemporary Illustrative Narrative. Available at: http://repository.falmouth.ac.uk/3325/