Semiotics of the Moving

Image
CLB004 Lecture, Week 5, 2008
Michael Dezuanni

Overview
Semiotics

and moving images

Example - The Incredibles
Tips for Video Production

The Incredibles
View

an except from The Incredibles

How

can we understand, and make use

of, the language components of this
text?

What

types of literacies are required?

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

John Fiske Television Culture

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

John Fiske Television Culture

These

are encoded electronically by technical

codes such as those of:

Level

two: Representation

Camera shots and composition, angles, editing,

music and sound

John Fiske Television Culture

Which transmit the conventional representational

codes, which shape the representations of, for
example:

Level

Narrative, conflict, character, action, dialogue, setting,

casting etc

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

Case Study The Incredibles

Released

in 2004 by Pixar Animation Studios

(part of Disney Corporation).

Entirely

digitally produced.

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.

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.

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.

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.

Shot 3 - Mr Incredible (Bob) & Mrs H

Level angle medium shot of

Bob with back of Mrs H in
foreground. 15 years later
comes up on screen.

Social and symbolic codes

Office is bland - pastel colours

rather than the bright colours of
earlier scenes.
Bob is slumping, chin in hand.
Wearing bland (white-collar)
office worker clothes.
He is very large - he over fills
Mrs H looks frail - shes
the space - hes too big for it.
hunching.
He looks worried - not in control.

Shot 3 - Bob & Mrs H

Bob

is looking down at desk - he

cant look her in the eye. He is
ashamed.

Technical
He

Codes:

fills the space - too big for it?

His body cannot be properly
contained by the space.
Camera angle is level hes on the
same level as the rest of us no
longer super.

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.

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?

Shot 5 - Elastigirl (Helen) & baby - A

momentous occasion

Medium shot of Helen on phone

while washing baby in kitchen
sink.

Social and symbolic codes

She is smiling. We are officially

moved in. She sounds and looks
genuinely happy with her domestic
situation - light hearted and care
free.

Wearing slacks and shirt, with a

sensible haircut. Binary with
Elastigirls sexy outfit and attitude.

Contrast with Bobs (depressed)

attitude.

Binary created with

previous scene unnatural Vs natural.

Shot 5 - Elastigirl (Helen) & baby - A

momentous occasion
Medium

shot of Helen on phone while washing

baby in kitchen sink

Social

and symbolic codes

Interior of house signifies as middle class and suburban.

Helen is literally in the kitchen, mothering.
Baby is very happy.

Technical

codes

Level angle - we are on her level - we identify with her everyday

domestic situation.
Medium shot reveals peaceful neighborhood.
Natural lighting.

Shots 6&8 - Bob on phone

Close up of Bob on phone.

Social and symbolic codes

Phone is too small for his hand hes too big for this situation.

We realise they have been in the

house for 3 years (news is not
momentous) - Bob sounds weary
and bored. Contrast with Bob

as Mr Incredible.

Technical Codes

Close up reveals Bobs emotion,

state of mind. Does he suspect
Helen is not happy?

Shot 12 - Bob peaks around corner

Extreme long shot - Bob
peaks around corner
Social and symbolic codes

Long grey corridor with

bright fluro lights
symbolises corporate
mass production. Its
sterile and lifeless.

Technical codes

ELS, with deep

perspective reinforces its
oppressive nature.

Shot 23 - Mr Huff

Medium shot as Mr Huff (the boss)

walks quickly down hallway, pushing
past Mrs H, paying no attention to
her. (corporate treatment of
individuals).

Social and symbolic codes

Shows his lack of care for the little

people. He wears dark clothes
(corporate, evil?)

Technical codes

Camera pans dramatically with Mr

Huff as he storms into Bobs office,
yelling at him, reinforcing the
dramatic nature of the confrontation.

Shot 24 - Mr Huff

High angle medium shot of

Mr Huff as he yells at Bob
about his poor work.

Social and symbolic codes

Mr Huff looks angry and

flustered. He is trying to
take control.

Technical codes

Camera angle refuses to

support Mr Huff (high
angle).

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).

Shot 30 - Bob

Extreme high angle, long shot

as Mr Huff storms back down
corridor and Bob leans over
desk.

Social and symbolic

codes

Grey interior is oppressive.

Bobs head down,
symbolising defeat

Technical codes

Extreme angle and long

shot emphasise Bobs
isolation and
powerlessness.

Focus on editing
Editing

achieves more than the linking of

frames.
Controls

continuity which aims to hide the

edits to make the unnatural appear natural.

Draws

us into the narrative we are stitched

in to the position of the main character
through editing forced to see things from
their perspective.

Focus on editing
Editing

achieves more than the linking of

frames.
Reinforces

the mood of the scene through

controlling pace. Faster edits reinforce
action. Slower reinforce emotion.

Can be used to create new meanings

through montage the joining of two images
creates a new meaning not presented in
either individual image.

Focus on sound
Sound

achieves more than adding naturalism:

Non-diagetic sound eg music and sound effects

creates mood and adds meaning. Can be used
symbolically or as a counterpoint against a visual to
introduce new meaning.

Diagetic sound eg dialogue - can be used to

help the text appear natural and un-constructed.

Practical tips for video production

If

making a video for your self representation:

Use a tripod and frame your shots carefully.

Avoid low light and backlighting.
Avoid noise and try to use an external mic.
Plan your shoot complete a storyboard or shooting
script, so you know every shot you need.
Dont shoot everything as one continuous shot plan
for many short takes to build up your scene.

Practical tips for video production

Shoot

to edit. Shoot your shots as you know

they will need to be edited.
Aim to shoot 3-4 shots per hour, maximum.
Rehearse each shot several times before
shooting.
Count your shots in: 3,2,1 action
Dont zoom and pan or tilt.
Keep the zoom right out and move the
camera to frame up new shots.