Nuances of Semiotic Communication - Literature review Example

Semiotics Analysis Name: Institution: Introduction Semiotics is a systematic method for analysis of a range of communication languages. Maran (2003) adds that the methodology is useful for describing certain operational rules through determination of the sub-systems in the field it examines. Since art is a communication language, the approach can be used in analysis of children's images in advertisement. Semiotic analysis consists of a qualitative approach to media texts or images and is therefore an effective means of considering textual elements less quantifiable, although never-the-less important when it comes to the overall feel of the advertisement (Chandler, 2008; Turkcan, 2013). To this end, a range of codes or textual aspects such as characters, appeals, colours, attitudes, rhetoric, aesthetics, narratives, product philosophies and aesthetics are explored in analysis of an advertisement featuring two female children of different races embracing each other. Mise-en-Scene There are two characters in the image, both of who are females aged between three and four years. They are however of different races: black and white. In part, the relevance of the images was to advertise a product that has the potential to promote unity, understanding, and trust between different races. This is since the images promote the message of unity and universality. The children in the image are also particularly symbolic, in that they represent the concept of innocence (Holland, 2008). Similarly, the images of the two girls confirm the innocent relationship between children who have no proclivity to discriminate between races. The picture is therefore, appealing to childhood as a universal value, and as a quality that each child requires. Similarly, the image is reassuring of childhood dependence, as well as the childhood stage as an attribute, which stands in stark contrast to competent adulthood (Maran, 2003). The white girl in the picture has more power. This is represented by her exuberance and smile, which exudes senses of self-confidence and authority. On the other hand, the black girl appears bewildered or puzzled, which show submission. Signs As stated by Maran (2003), images transmit their messages by revealing the social cultural divergences and social formations through shaping of the consciousness of the society. According to Chandler (2008), the main starting point of semiotics is the sign, or an object from which meaning is generated. Rhodes and Zuloago (2003) explain that the sign is divided into two key aspects of signifier; mainly the form the sign takes, and what the sign represents. As a result, the main attribute of a sign is its capability to be clear enough to pass intended meaning (Turkcan, 2013). For instance, if the advertisements for united colour of Benetton have to show harmony, then the sign has to relay the message clearly. Two messages contained in Benetton advertisement is the unity of colour and universality. On the other hand, the announcement is the signifier or representamen. In the image of the two girls, signifier is their facial expressions. How the audience reacts is the sense made out of the sign, or the ‘signified’ or ‘interpretant’ (Turkcan, 2013). When it comes to symbolic sign or symbol, this refers to the representation that is arbitrarily assigned or acknowledged as the societal convention. In which case, the relation between the signifier and the signified has to be learned. For instance, in the picture, this includes the colours of the two children (Iago, 2013). The iconic signs or icons consist of what the signifier imitates or bears resemblance to, in that it has some unique qualities. As a result, the relationship between what the sign represents to the signified, does not have to be inevitably learned. In the image, this could be reflected in the portrait of the two children (Iago, 2013). Index refers to the mode in which the signifier may fail to resemble or imitate the signified object. Therefore, it is not arbitrarily assigned. Rather, it is directly linked to the object. Still, the relation between what the sign represents to the interpretant may still have to be learned. The connection between the signifier and its object may however, only be assumed. In the Benetton advertisement, this includes the picture of the two children and the hue in the images. Further, the white girl in the picture has a grin on her face, which is an index for pleasures (Maran, 2003). Overall, the three modes (index, icon and symbol) have ranging levels of predictability, conventionality and conformity. For instance, symbols such as colours are often highly conventions. On the other hand, the system is understood, fixed and determined. Additionally, the iconic signs often have some level of conventionality. Lastly, the indexical signs have some level of direct attention to their objects through blind compulsion. Denotative and connotative meanings Ultimately, the meanings generated from signs can be viewed in two ways. First, denotation implies the literal meaning of a sign. Second, connotations are the personal associations and socio-cultural associations carried by a sign. Together, the two elements make up the code. In respect to the image, the two images denote two children, one is black, and the other is white. Additionally, there is something uniquely unreal regarding the product, as the images appear stylised. The image of the black girl is very shadowy and dark so that some sections of the head remain invisible (Chandler, 2008). The scenario further connotes a friendship through which love and affection is shared freely. The black child in the advertisement however, looked helpless and dependent, which connotes the need for security and devotion as a means to nurture friendship. In many ways, it could be argued that the product advertised served as a means to bringing the entire family together. Additionally, the fact that the two children have embraced each other so closely is also connotative. It represents the feeling of oneness and ordinariness, closed ranks, humility and trust. The inclusion of the white girl and black girl also has other additional meanings, which promote the feeling of universality, where the product promoted is intended to be found across national boundaries, due to its potential to be accepted by people of various races, tribes, and perceptions. The concept of unity and innocence also appears to be stereotyped in the picture, as children are generally innocent and incapable of judging others in the context of colour. Again, representation of the children’s bare torso may be rooted in the conception that children do not care about their outer appearance. Rather, they are preoccupied with establishing bonds of unity (Berger, 2004). Connotation of this nature may also be interpreted in terms of children who need to be mothered and clothed, and in a sense appealing to the audience to be the primary caregivers. Additionally, since the advertisement appears cheer and upbeat, it could be argued that objectification is depicted as something that is positive. A cute smile and rosy cheeks connotes beauty. The embrace further connotes connection, a sense of friendship and a sense of love. It could be argued that the two are being promoted as ‘best friend’ figure, confirming the notion that children, unlike adults, have an intrinsic connection due to their innocence, which Benetton seeks to achieve through united colours. Myth/ideology As stated by Petrilli (2007), when it comes to worldviews, structuralism and structure can be applied in differentiating them. Accordingly, the structure may be the structures and the world individuals believe or the condition of already made word with own ontology. Berger (2004) further suggests that it may require reconstructing operations leading to human modelling capacity, in regards to the history, reality and factuality. The different approaches to structure may be linked to the interpretation semiotics or code semiotics. Petrilli (2007) explains that within the contemporary society, some cultures are perceivable in children's advertisements or toys where deeper layers of language are observable, and where the creation of the world are created through worldviews. By portraying two children of different races embracing each other, image is presenting the worldviews on racisms and feminism in the modern society. According to Charles (2004), racism is deep-seated belief established on a naturalistic worldview. On the other hand, Rinehart et al (2013) views racism as a pervasive component of the ongoing worldviews, thoughts, and experiences. In terms of racism, the advertisement was based on the stereotyped conception that the young girls looked to overlook the caste boundaries delineated by racism and racial attitudes, and that starting the notion of oneness and commonality as babies implied re-enacting the existing behaviour patterns and judgements where people are judged by the colour of their skin (Griffiths, 2014). Additionally, while the white girl is grinning, the black girl is somewhat bewildered. This can be connotative in a sense that the black race shows a kind of disbelief in the willingness of the white race to embrace them fully into their cycle of friendship or society. This also implies that the product is intended to eliminate the racial and class barriers by promoting commonness between people of divergent races and views. In terms of feminism, the aesthetics of the product also show particular aspects of stereotyped femininity, the decision to include only girls in the image is in itself feminist. Therefore, it represents a feminine image. According to Griffiths (2010), such kinds of feminist ideas have been projects within other context, such as showing mother and child, where images are taken with the female gender in mind. The notions of femininity and prettiness are prevalently connected in the advertisement. Indeed, images of the two girls in the advertisement appear girlie and delicate. The perspective further shifts to the audience, who must turn into spectators instead of participants. The angelic blond child and the saintly black girl, backlit by a ray of sunshine to allow their wholesome righteousness to be accentuated by the halo effect of the warm light around their heads. The heavenly and serene ambience of the soft-locus scene shows that the young girls are the epitome of female perfection playing the role of uniting the world, amid dividedness in terms of colour. Aspect of promoting feminism and mitigating racism is presented in this regards. Within the specific context of the Benetton advertisement, it could be argued that the stereotyped female domain of two children to be subject to interdependence and friendship. Conclusion The images of the two girls confirm the innocent relationship between children who have no proclivity to discriminate between races. The picture is therefore, appealing to childhood as a universal value, and as a quality that each child requires. Similarly, the image is reassuring of childhood dependence, as well as the childhood stage as an attribute, which stands in stark contrast to competent adulthood. The inclusion of the white girl and black girl also promote the feeling of universality, where the product promoted is intended to be found across national boundaries due to its potential to be accepted by people of various races, tribes, and perceptions. References Berger, Q. (2004). Semiotic Analysis. Sage: New York, pp.1-40 Charles, H. (2004). A World View of Race Revisited. The Journal of Negro Education 73(2) Chandler, D. (2008). Semiotics for Beginners. Retrieved: Griffiths, M. (2014). Semiotic Analysis of Children’s Televised Toy Advertisements. Retrieved: Holland, P. (2008). The Child in the Picture. in K. Drotner & S. Livingstone (Eds). The INternational handbook of Children Media and Culture. 36-54. London: Sage Iago. (2013). Icon, Index, Symbol. Retrieved: Maran, T. (2003). Mimesis as a phenomenon of semiotic communication. Sign Systems Studies 31(1), 191-215 Petrilli, S. (2007). Structure and Structuralism in Philosophy of Language and Semiotics. Retrieved: Rinehart, R., Barbourn K. & Pope, C. (2013). Ethnographic Worldviews: Transformations and Social Justice. New York: Springer Science & Business Media Rhodes, A. & Zuloago, R. (2003). A Semiotic Analysis Of High Fashion Advertising. Retrieved: Turkcan, B. (2013). Semiotic Approach to the Analysis of Children’s Drawings. Educational Sciences: Theory & Practice 13(1), 600-607 Read More