Semiotics 1

Guest Speaker

Semiotic Analysis
Semiotics is one of three Contextual Issues that we cover in Unit 3, but you only have to write on one of them
For Semiotics you will be asked to:
1 choose two printed advertisements 2 decode them utilizing semiotic analysis 3 identify the sign, signifier, signified, the denotation, connotation and myth etc 4 discuss their use of text and language 5 conclude with your view on the success of these adverts

You will be taken through this sequence in Semiotics 2

Your Semiotics/Semiology Pack

This Contextual Issue makes particular use of the Supporting Texts that are to be found in this Reader. These will be used in Semiotics 2. The pack has the following sections: 1. Explaining Semiotics/Semiology
an account of how signs carry meaning, the three different types of signs, identifying denotation and connotation, and the myths at work in adverts

2. Jargon Busting 3. Semiotic Analysis Categories 4. Sony Advert Case Study 5. Article: Signs and Myths

an exercise to help you use the correct terms two copies: for class work and for assignment class work example for Semiotic analysis

Further, this first session on Semiotics is lead by Professor David Crow, MMUs Pro-Vice-Chancellor for internal communications and the Dean of the Faculty of Art and Design.

Prof. David Crow: Semiotics 1

David Crow will introduce us to semiotics / semiology - the outline summary by me is reproduced here, based on his 0910 delivery Usefully, he speaks entirely in terms of visual language (even though semiotics originates from and is about linguistics) He makes many points about design and the media you should annotate the following transcripts carefully

David Crow: Main Points 1

1. signs signify something (label things) and what is signified is their target, so signs have two elements: the signifier and the signified these two have to be connected by agreement within a particular linguistic community because the sound of words and their meaning are a learnt link (words don`t resemble things): signs can change and writers/designers play with this fact text wants to make things exact while images can have many possible meanings and so text is better at anchoring or fixing meaning (giving it anchorage) the meaning of images can be steered when text is included to fix or suggest meanings, and artists and advertisers can manipulate or disrupt this anchorage official language is when there are agreed conventions with long established/clear anchorage and often it is an instrument of control (eg. pronounciation - `are you one of us?`): using it correctly right leads to capital rewards (eg. a degree or job)

2.

3.

4.

6.

however, there are unofficial languages, eg. using a dialect that has its own internal logic and some that are sometimes forbidden eg. graffiti or punk
advertising, in particular, uses and adopts and rewards languages such as graffiti/street styles because they have credibility (are free from control) and postmodernism encourages this by constantly recycling/reinventing all signs signs are greatly influenced by the number of surrounding signs which can change their meanings: thus close ups or distance shots (limiting or increasing surrounding signs) change meanings - design students need to be able to read signs and the importance of their contexts to perform well.

7.

8.

language is always connected to our identity, especially for the young who are dominated by signs eg. your hair (everything can be a sign about ourselves)
advertisers and graphic designers are experts in exploiting these teen tribal identities and their unofficial languages: they imitate street language which is real and which is Nike (street/authentic v commercial worlds) graphic/media practitioners recycle the street so quickly these days that it is hard to be authentic or revolutionary today because they have learnt to exploit our intuitive associations to create cool images that hit home there are many reasons for you and your work to know about this kind of theory

10.

11.

12.