Introduction to Film Studies 1: Hollywood Cinema Lecture Five: Semiotics and Issues of Representation

Structuralist Theory Linguistic theory Ferdinand de Saussure ‘Parole’ and ‘langue’ ‘Signifiers’ and ‘signified’ Semiotics: language as a signifying system Meaning is arbitrary and changeable – context is key

Film Semiotics Christian Metz: the language of cinema Narrative structures (sequences) and visual symbols (shots) The audience learns to ‘read’ a film, but the language becomes transparent

Semiotics and Ideology Semiotics conveys values Visual codes denote this Suture Film analysis reveals the process

Representation Cinema as ‘mirror’ for the world This mirror image may contain dominant values, or the specific values of the filmmakers or the audience Film language (semiotics) helps create a cinematic world which looks ‘real’, but which is constructed We must be passive in order to enjoy the film; we must accept what is on screen

Key Areas of Representation Gender Ethnicity Sexuality Class National identity Work, violence, age, students, universities??

Analysing Representation How is approval/disapproval indicated Role models Stereotyping Audience responses Segmented audiences Historical and cultural placement

Subverting Dominant Representations Make your own films Audiences appropriate films Niche audiences Individual filmmakers – Spike Lee Globalisation Hybrid representation