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Mass Media and Semiotics, 2008.
A discussion of semiotics and consumption in the age of mass media.
2,199 words (approx. 8.8 pages), 8 sources, MLA, $ 68.95
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Abstract
This paper essay examines how the study of the sign and semiotic theory may be applied to mass media texts and, in particular, to television. The paper argues that, while there exist two distinct textual forms in television media - advertising and programming - a semiotic analysis reveals the ways in which these forms structurally reinforce each other in creating a semiotics of consumption for the mass media audience. The paper explains that the particular signs, signifiers and referents may change over time as television mythologies evolve, but a constant through this entire evolutionary process has been the "language of consumption". The paper looks at how semiotics allows us to understand how the medium of television operates in our collective consciousness.
Outline;
Introduction
The Sign and its Field of Study
Television and Semiotics
Television and the Culture of Consumption
Conclusion
From the Paper
"Given the prominence of mass media in our society, it is perhaps not surprising that semiotics should have focused considerable attention upon the most dominant of these media: television. The field of media semiotics, as pioneered by French semiotician Roland Barthes, has focused particular attention upon the production of meaning in the area of pop culture in which television assumes obvious prominence (Danesi 240). Barthes argues that the "semiotic method" takes the form of two investigative processes:
- the study of the historical (and thus highly connotative) origin of meaning systems;
- unraveling the nature of signification in human activities, whether it manifests itself as a word, a novel, a TV program, or some other human artifact."
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Media Semiotics, 2005.
The paper looks at television and the personal computer as social texts.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
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Abstract
This is a brief unscientific survey on the topic of media semiotics with specific reference to television and other social texts of comparative influence. This brief survey was combined with the author's own record of interaction with a range of media over the course of a week. The author admits that the survey is biased as it reflects a period of time when media was used less than the normal practice.
From the Paper
"This essay represents the culmination of a brief, and admittedly unscientific, survey of a number of friends and acquaintances on the topic of media semiotics with specific reference to television and other social texts of comparative influence. This brief survey was combined with my own record of my interaction with a range of media over the course of a week. As with the survey this record was admittedly unscientific and biased as it reflected a period of time when I was focused on academic work and, as such, my usage of media was not representative of my general media usage."
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Semiotics in Science Fiction Films, 2008.
An analysis of visual semiotics and popular culture in modern science fiction films.
2,277 words (approx. 9.1 pages), 6 sources, MLA, $ 70.95
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Abstract
This paper explores science fiction films. It particularly discusses semiotics and how it expands our understanding of popular culture and visual signs in our mass media culture. The paper argues that modern cinematic technologies allow directors an unprecedented capability to shape the visual cinematic codes and iconography of their works and thereby multiply the levels of signification upon which their films operate.
Table of Contents:
Introduction
The Cinema of the Mind's Eye
Special Effects and the Post-modern
Conclusion
From the Paper
"In this regard, the assertion that "films are metaphorical mirrors of life" (Danesi 88) is placed under significant pressure as the "real-life activities" (Danesi 88) that are represented in the science fiction film increasingly bear no connection at all to real-life as we understand it in the modern world. In particular, with the advent of digital technologies, entire cinematic environments can be created in which - while the characters are still recognizably human and have human concerns - the visual signification is alien to anything in our existence. In this way, science fiction films can be seen as visual signs of postmodernity, simulating a reality so perfect that it is indistinguishable from our own and yet, at the same time, utterly alien, that it calls into question our understanding of reality itself."
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The Color Semiotics of Power, 2004.
An analysis of semiotics, the study of signs, signifiers, and the signified, as it is used in conjunction with the color theory to determine power.
3,829 words (approx. 15.3 pages), 10 sources, MLA, $ 105.95
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Abstract
This paper contends that the primary discussion of communication in any management theory involves power. One of the most theoretical tools to determine this is semiotics. The study of signs, signifiers, and the signified, semiotics intertwines with color theory to produce two colors that symbolize power more than any others, red and yellow. The paper explains that, by establishing that colors can be viewed as signs, signifieds, and signifiers, humanity has been opened up to the interpretation of colors. By examining the tendencies, histories, and general uses and interpretations of all of the colors of the spectrum, this paper determines that red and yellow are by far the most powerful colors of the spectrum.
From the Paper
"In semiotics, textual analysis reaches its peak. Authorial intent in all communication is distinguished from the communication itself, and the communication is asked to stand alone. For instance, as Chandler writes, a text can exist in any medium, whether verbal or non-verbal, and once it has been recorded, it is devoid of any intent infused in it by the "author." For our purposes, the colorer applies color to her painting, presentation, graphics module or sculpture, and she may have intended that color to symbolize either power or lack thereof, or specifically a certain type of power, but her designs over her designs simply matter not. Instead, our own interpretations of her work, our own decisions and inferences regarding her choices of colors are the true indicators of power or a particular type of power in the work."
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The Semiotics of Dance, 2005.
This paper discusses the semiotics of dance, with a focus on ballet.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
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Abstract
This paper looks at ballet as the form of dance. The paper presents the major argument that ballet is used to create ideas of cultural superiority. The paper considers that at the same time this cultural superiority is used to make other cultures look inferior.
From the Paper
"Art forms are filled with signs, messages, symbols and a whole range of other semiotic features. In Messages and Meanings II Marcel Danesi defines art as, "Disciplined expressive activity that provides the people who produce it and the community that observes it with a range of experiences that might be aesthetic, emotional, intellectual, or a combination of these (Danesi 2004: 332)." Many activities within human societies could be considered art. Singing, music, sculpting, drawing or painting, writing and acting are all activities preformed by societies that are considered art. Each piece of artistic work is filled with symbols, signs and meanings."
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The Cultural Semiotics of Animation, 2008.
An analysis of the use of animation in pop-culture devices such as advertising.
1,269 words (approx. 5.1 pages), 5 sources, MLA, $ 43.95
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Abstract
This paper analyzes the relationship between cultural semiotics and animation within the context of anthropology. It specifically looks at the use of animation in pop-culture devices such as advertising and marketing material. The paper also discusses the complexity of animation, as a system of communication and the use of semiology in artistic endeavors, such as communication.
From the Paper
"The level of communication taking place within contemporary animation is often equated to the subtext within semiotic constructs. Beasley and Danesi describe this sub-textual transfer of meaning as being connotative in nature and often relying on associative chains where meaning or signifier is established through storylines (104). Barthes clearly provides the theoretical foundation upon which animators, as indicated by Beasley, Danesi, and Ohmann, develop their unique language constructs that both rely on cultural associations with meaning as well as develop new cultural queues that became part of the popular folklore such as Red Bull's business man and pigeon animation. Yet, other researchers argue that contemporary animation is nothing but a retelling of existing myth that resonates culturally with the societies."
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Semiotics and the American Marine Corps, 2005.
An analysis of the marine motto "The Few, The Proud, The Marines".
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
The following paper examines the semiotic messages being delivered by the American Marine Corps' "The Few, The Proud, The Marines". The paper argues that the Corps cleverly appeals to people's inward desire to be something more than themselves - and their equally potent desire to serve a great cause. More than that, the paper argues that the phrase appeals to notions of American exceptionalism.
From the Paper
"It is entirely possible that no government slogan is more freighted with meaning and connotation than the hallowed Marine slogan, "The Few, The Proud, The Marines". The following paper will examine what this slogan means and what it is saying about American culture by employing a semiotic analysis of the expression. Ultimately, what should emerge is an appreciation and understanding that the aforementioned expression taps into a popular deep-seated yearning to be one part of an elite unit readily distinguished from other groups in society; no less importantly, the popular slogan taps into equally popular notions of American exceptionalism. With that in mind, it is to a discussion of the American marines' inimitable slogan that this paper now turns. Simply put, semiotics is the study of signs - both individually and as they are grouped in "sign systems" - and how metaphorically-laden meaning is transmitted and understood through the use of signs."
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Semiotics, 2005.
The paper examines the role metaphors play in literature.
1,350 words (approx. 5.4 pages), 4 sources, $ 53.95
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Abstract
This paper evaluates the importance of metaphors in literature of various types, which present a number of challenges to writers and readers alike. The paper points out it is evident that no matter what type of literature that is being discussed, metaphors provide a number of opportunities to discuss and present concepts in unique and interesting ways.
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The Semiotics of Identity: Clothing of the Counter-Culture, 2005.
A discussion of the practices of members of the counter-culture.
1,575 words (approx. 6.3 pages), 6 sources, $ 62.95
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Abstract
The paper looks at people who consider themselves members of the counter-culture; those disaffected with the world today. It takes an in-depth look at the clothes that they wear to identify themselves and discusses the meaning behind this choice.
From the Paper
"As the world shrinks with the growing access to communication media and globalization, the signs of the counter-culture increase. Fighting against the corporate take over of the world, devastation of the environment, and unjust labour practices; people who identify themselves as members of the counter-culture have devised their own unique codes of meaning through the use of clothing. The actual articles are pieces that can be readily seen by others, appropriately framed to look hap-hazard and often layered to demonstrate a flexible range of meanings. The main pieces include exterior clothing,..."
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"The Semiotics of Performance"( Marco De Marinis ), 1996.
Critical review of work on theatrical communication process, speech, audience and text.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The Semiotics of Performance by Marco De Marinis provides a thorough analysis of the theatrical communication process. I recommend this book with reservations, however. The information is not presented in a user-friendly fashion; few diagrams aid the reader in understanding some of the more complex concepts that De Marinis discusses. An index, always useful in interpreting scholarly works of this length, is not provided. Numerous references are made to classical works, such as those of Plato and Aristotle; more references should have been included that are recognizable to the modern reader.
On the other hand, the depth of De Marinis's analysis is clearly evident throughout his book. The author quotes extensively from a wide variety of sources; the endnote section is nearly 50 pages long. Unfortunately, most of the bibliography.."
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A Discussion and Semiotic Anthropology Of the Salem Witch Trials, 2002.
This paper addresses the history and the events of the Salem Witch Trials from the perspective of Semiotic Anthropology.
1,650 words (approx. 6.6 pages), 10 sources, $ 62.95
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Abstract
This paper addresses the history and the events of the Salem Witch Trials from the perspective of Semiotic Anthropology. Here, the question of the witchcraft trials is examined as a form of social control for a people, specifically women, who had no other element of control.
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The Semiotic Role of Violence in American Films, 2008.
An analysis of film violence and its semiotic significance in American popular culture.
1,725 words (approx. 6.9 pages), 4 sources, MLA, $ 55.95
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Abstract
This paper examines cultural conflict through dramatic recreations or presentations of these conflicts in American film narrative. The paper holds that, in the popular media, violence has a semiotic role. To much of the world, the paper adds, film violence is a mark of American culture, and many social critics within the U.S. find the same to be true. The paper points out that many filmmakers state that they are not fostering violence but only exploring it, and with some films, the issue of using violence in popular culture is itself examined either directly as a subject or as an inherent element in the structure of the film. The paper concludes that violence is a particular sign in the film, a sign that may mean its direct cause, like anger and fear, or that may reflect something larger about society, such as alienation or lack of empathy.
From the Paper
"Consider Tarantino's "Reservoir Dogs", a film that takes a satiric look at itself, at the genre of the caper film and the dynamics of betrayal and the criminal code seen in such films. The film is extremely violent, which for many viewers may mask the satiric thrust of the story and the way the interplay of characters involves a twisted sense of morality, the so-called "honor among thieves" that here is a palpable presence holding together a group of professional criminals who have nothing else to believe in except that they will be able to rely on each other. As the film unfolds, though, they can rely on nothing in a universe of random events over which they have no control."
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Icons of Authority and Resistance: An Ideological and Semiotic, 2002.
A look at the influence of superhero comics on today's society.
2,650 words (approx. 10.6 pages), 18 sources, $ 97.95
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Abstract
The paper will argue the thesis that superhero comics have performed an ideologically dichotomous role in modern popular culture: at once they are both key structural supports of the ideological architecture of American imperialism while, at the same time, often functioning as subversive figures of resistance to the primary authority structures of that same empire. While an ideological analysis allows us to explore the functions of comic book superheroes in the power dynamics of mass culture, a semiotic analysis complements this approach by allowing us to understand how their ideological function has been reinforced by their "iconic" status within modern culture.
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Myst, 2003.
Semiotic analysis, using semiotic tools and values to create a fully comprehensive article on the subversive environment of the Myst series.
3,500 words (approx. 14.0 pages), 2 sources, MLA, $ 98.95
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Abstract
A semiotic analysis on the importance of the three series Myst by Cryan Software. Investigating the semiotic values of the game, the user interaction and its adaptability from society?s culture, its seemingly self-created genre and its subversive game playing presence.
From the Paper
"The three games that are being analysed are Myst, Riven by Cryan Inc and Myst III: Exile by UbiSoft. Myst is a first person point and click, interactive role playing game. The game is set in a sequential world; the story unfolds through worlds created in books, set on a surrealistic island. Essentially the world of Myst is purely a world of books, an index to passing time between chronicle ages, a reference to what exists within the pages of this referenced work. Myst has tried, quite successfully, to immerse the user into a digital interactive environment. Metaphorically like a reader engrossed in a good mystery novel, the user is in engrossed into a digital diversity interactive world."
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"Space Cowboys", 2001.
This paper analyzes the movie "Space Cowboys" from the point of view of two theories - semiotics and ideology.
1,400 words (approx. 5.6 pages), 5 sources, $ 46.95
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Abstract
The movie "Space Cowboys" can be critically analysed by using both the theories of semiotics and that of ideology. Each of these theories allows us a different perspective on the movie. We will look at the movie from the perspectives of these two theories, firstly be defining the theory and secondly by applying it to the movie. In conclusion, it will be shown that the theory of ideology is not only relevant to the movie, but also reflects the very purpose of the movie.
From the paper:
"Semiotics is defined as the study of signs. It focuses on the relationship between signifier, signified and sign. (Abercrombie 373) In Questions concerning faculties claimed for man, Peirce discusses signs. Peirce?s basic idea is that signs are the universal medium between human minds and the world. A sign has the meaning that society gives it. This shared nature of signs means that they do not necessarily represent truth. The focus of analysis then should be on how the sign is interpreted, not on the truth behind it. It is the way it is interpreted that tells us something about society, rather than the sign telling us some universal truth. We can view semiotics then, as a critical tool that provides us with information about society. "
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