The Three-Level Semiotic Analysis
In different genres of videos or movies, various styles are employed to make the work successful. Often, semiotic is used in the artwork. Signs and symbols are an integration of art with linguistic. The semiotic analysis may not necessarily create interpretations and judgments on a movie or genre. Semiotic analysis is narrowed towards explaining the intended concepts by revealing the perceptions of meaning and the impacts of the concepts (Almalech,29). Articulation of meaning in the video will be taken care of. For instance, in the video, the paintings used will be analyzed. Other things to take care of include the composition of different music, images, and different symbols and gestures. This paper will comprehensively demonstrate how the theme of gender is exploited to illustrate the influence of both men and women in the movie.
When describing various situations and occurrences in the movie, the concepts of gender male gaze symbolism will be discussed (Bernard 59). To define how women or different genders are perceived, much on the role of the women in the movie will be considered. For a male hero to be recognized, he should be able to symbolically possess the female. Objects in the movie may also be used to reveal different perceptions. The primordial need is assumed in the cinema to ensure pleasure is created for the audience. Due to that reason, female characters are often sexualized to create the notion of a male hero In the Leila and Han Solo Kiss scene audio and film elements have been suited to fit the role of each character.
There are different ways in which the concepts of semiotics are introduced, and messages are communicated in films. Semiotic aspects, for instance, symbols and signs, are all incorporated in the films. The symbols’ properties might be either be visual or audio. It might also be interactive or even employ both visual and audio aspects. Symbolism is applied to show the audience what runs in the back of the character’s mind. Symbolism is used in a film to bring the emotions that are intended. To provoke certain feelings from the audience, certain appropriate symbols are used (Bernard 59). Different symbols are used to express given feelings. They are not only used to bring emotions but also to enhance the intensity or the degree of emotions. Besides, they are used in a film or movie to enhance the clarity of a given theme. For instance, for the audience to understand the role played by an individual character in a movie, a symbol might be used. To emphasis on a given issue, signs and symbols could be exploited as well. Semiotics may allow the interpretation that may allow the use of signs and understand the content of the media. According to how the semiotic is used, it may determine whether the audience accepts or reject specific meanings in the film.
In the Star Wars movie, symbolism is used to cover specific underlying issues of gender. In the Star war movies, the male gaze is constructed using cinematic images. To develop an ideology within the mind of the spectator, images are used. Images on the screen are also used to signify instruments of power and how power is exerted in different scenarios. The audience may be able to distinguish ideas constructed using the apparatus in a cinema. This easily makes them easily establish themselves with ideas driven in a film (Scholes,97). Traditionally, many movies represent females as objects of sex and an instrument of making man happy. Man is represented as a dominant. Most of this is applied in a feminist movie. In the movie, the theme of feminism may be developed by bringing an autonomous female who is subject to the male characters. They are created or emerge from a cinema social patterns which exhibit gender inequalities.
Star Wars movie is endowed with the semiotics of gender. The film has created more than one female protagonist. The dress code of various females is neutral and has no notion of imperialism except for the villain females who have their dress. When the protagonist was, the imperialistic outfits signifies a high level of deception. The females are perceived to be malicious and dangerous. Lies wears a white fitting dress, which clearly shows her curves and perfectly exposes her body. The scene sexualizes female and illustrates them as objects of attracting men or males. Also, her hair is well made in a functional style (Almalech,29). Jyn Erso lacks a positive attribute to relate her designs with a specific gender. The female wears fairly bright colors in the Star war movies, which range from grey, brown to fairly dark. All these colors are blended to give a clear image and to drive the message intended by the filmmaker. In most images, Leia wears a bikini costume. From the images, a designated functional character who is not only sexualized but also revealed as a villain is created.
In the semiotic analysis of the Empire Strikes Back, there are a lot of aspects to consider. At first, Leia is seen wearing a bright white jacket and a bikini. This gives her an image of a sexualized female. She is captured struggling in a room and assuming roles that can as well be ideally performed by a man (Bernard 59). A feminist character is created in this context. At first, when Han gives a touch, but Leia slightly pushes him, but later she cooperates (Scholes,97). He catches her hands even after Leia insisting, and they were dirty. In this scenario, Han gives a male gaze, and Leia slowly submits and goes for the kiss. In the image, Leia wears blight costumes and Han black clothes. Leia also has a blighter face compared to the man. In the scene, a romantic environment is created. In the cinema, the robot-like man is captured working with Han at the start of the scene but later follows Han, where he interrupts kissing.
The colors are well blended to ensure they match the character’s gender. Blight colors of their dressing are well planned to distinguish them from the background colors. The dark blue color is used in the scene to create a romantic environment. The place resembles a cabin of a flying device. This makes it secluded to allow Han and Leia to advance their feelings towards each other. The bikini worn by Leia allows Han to admire her ( Almalech 29). When Han first sees Leia, he giver first her a direct look from top to the bottom where he takes more time, perhaps admiring the bikini (Bernard 59). Han admires the shape of Leia, which is well revealed by the dress. The cinema intends to define the character of a rational man and female. Concerning the dressing code, Han and Leia have dressed in fitting outfits, which has nothing to do with imperialism. The robot-like man seems to be having the role of either a technician or a captain. It is worth noting that the protagonist, Leia, who represent the role of the female in the society, is portrayed as submissive. She is used to also show Han as autonomous and courageous. Leia develops the theme of feminism. The background sound also contributes to the creation of a romantic environment (Scholes,97). The blight color of the Leias bikini also makes the audience admire her. Consequently, this prepares and draws the audience to the occurrence or situation where Han and Leia express their feelings towards each other and kisses.
Conclusion
Semiotic has been used to achieve the objectives of the filmmaker in this case. Symbols have well been employed in designing a female character. In the scene, the audience is able to understand the chronology of events with clarity. The film has also successfully created the emotions intended to make the video enjoyable.
Work Cited
Almalech, Mony. “Semiotics of colour.” Proceedings of the 12th World Congress of IASS, Sofia 2014: New Semiotics. Between tradition and innovation. IASS Publications, NBU Publishing House, 2017.
Bernard, Veronika. “The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s” Bram Stoker’s Dracula”(1992).” CINEJ Cinema Journal 1 (2016): 6-63.
Cooren, François. “Applying socio-semiotics to organizational communication: A new approach.” Management Communication Quarterly 13.2 (2015): 294-304.
Scholes, Robert. Semiotics and interpretation. Vol. 465. Yale University Press, 2017:(56-103).