Semiotics of the Moving Image

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Semiotics of the Moving Image

• Michael Dezuanni
• ALEA PD, April 29th 2006

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Overview

• Semiotics and moving images
• Example - The Incredibles
• Semiotics and video games

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Semiotics and visual language codes

• Semiotics can be used to analyse all language.
• Specific applications in relation to visual
  language relate to
• Social and symbolic codes
• Technical visual codes
• Narrative codes and conventions
• Ideological codes related to discourses

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John Fiske Television Culture, 1987

• An event to be televised (or filmed) is already
  encoded by social and symbolic codes such as
  those of
• Level one Reality
• Appearance, dress, make-up, environment,
  behaviour, speech, gesture, expression, sound,
  etc

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John Fiske Television Culture, 1987

• These are encoded electronically (or digitally)
  by technical codes such as those of
• Level two Representation
• Camera shots and composition, angles, editing,
  music and sound

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John Fiske Television Culture, 1987

• Which transmit the conventional representational
  codes, which shape the representations of, for
  example
• Narrative, conflict, character, action, dialogue,
  setting, casting etc
• Level three Ideology discourse.
• Which are organised into coherence and social
  acceptability by the ideological codes, such as
  those of
• Individualism, patriarchy, race, class,
  materialism, capitalism etc

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Narrative and The O.C.

• conflict
• character
• action
• dialogue
• setting
• casting

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Discourse and the O.C.

• Discourses of glamour, youthful freedom, romance
• Representations of masculinity, femininity,
  youth, wealth

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Case Study The Incredibles

• Released in 2004 by Pixar Animation Studios (part
  of Disney Corporation).
• Entirely digitally produced.
• Text made for children, but appreciated by
  adults.
• Makes many intertextual references to other media
  texts - eg super hero comics.

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Shot 1 - Denied

• Extreme Close Up - Red Denied stamp on policy.
• Social and symbolic codes
• Following previous section - it is clear Mr
  Incredible has been denied his life as a
  superhero.
• We learn hes in insurance - which is boring and
  unfulfilling.
• Red for stop and the result of an aggressive
  action - stamping.

• This is a moment of impact in the narrative - a
  turning point.

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Shot 1 - Denied

• Extreme Close Up - Red Denied stamp on policy.
• Technical codes
• ECU and sound of the stamp coming down -
  reinforces the impact of the action.

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Shot 2 - Mrs Hoganson

• Pull out and up to slightly high angle close up
  of Mrs H Youre denying my claim?
• Social and symbolic codes
• She is very small, weak and old looking.
• She is wearing granny clothes.
• She has a frail sounding voice.
• Background of grey filing cabinets - official
  situation, but also depressing.

• She needs to be saved.

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Shot 2 - Mrs Hoganson

• Technical codes
• Shes looking up - inferior in the situation
  (its a high angle) reinforces that she is small
  and helpless.
• Its a medium close up which helps to reinforce
  the emotion of the situation.

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Shot 4 - side view of Bob and Mrs Hoganson

• Long shot, level angle, of Bob and Mrs H
• Social and symbolic codes
• Bob appears trapped (caged). Head down - bad
  posture.
• Workspace is a small cubicle space (not the
  public sphere). Cluttered with office furniture,
  phones, computer wires, cabinets. It is dark /
  dull - no natural light.
• They appear as part of the system.

• Creates a binary with previous scenes. He is
  unfit and controlled / contained.

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Shot 4 - side view of Bob and Mrs Hoganson

• Long shot, level angle, of Bob and Mrs H
• Technical codes
• Level angle places us on same level as Bob - we
  are invited to be in his position.
• However, we are remote from it - we are observing
  it from outside - they lack control - they are
  being surveilled?

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Shot 25 - Bob

• Technical codes
• Bob leans over desk and speaks back to Mr Huff,
  defending client. Shows he has a hint of dignity
  left (the old Mr Incredible).
• Social and symbolic codes
• Bob looks defeated (but camera supports him - low
  angle).

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Some notes about Video Games

• In addition to the visual codes and conventions
  we have identified we also need to look at
• The interrelationship between
• Narrative and how it relates to technical codes
• Technology and the human interaction
• Sensory experience and suspension of disbelief

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Some notes about Video Games

• Narrative and how it relates to technical codes
• How is the story told via the graphical
  interface? Esp colour and backgrounds.
• How detailed are the character designs?
• How restricted is character movement? What can
  the avatar be made to do?
• How is gameplay achieved? What keeps the
  player playing? (feedback and immersion).

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Some notes about Video Games

• Technology and the human interaction
• What is the player - avatar link? How is the
  player encouraged to identify with the character
  - what is the players POV?
• How easy is it to master the games controls so
  they become invisible - what is a games
  version of continuity editing?

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Some notes about Video Games

• Sensory experience and suspension of disbelief
• How does a game become a sensory and emotional
  experience?
• How is the graphical interface, identification
  with the avatar and the ability to use the
  controls easily and effectively central to this
  process?