This is my recent essay using the theories of signs and linguistics to decode a magazine advert for perfume.
Theorising Mass Media: Semiotic analysis
The idea of semiotic analysis was first thought of by Ferdinand De Saussure, (1857-1913), a Swiss linguist who is known for his ideas which helped to develop the analysis of linguistics during the 20th century. Saussure tried to set scope on his study of linguistics, instead of studying language by the usual schools of theory like psychology, sociology and physiology; he decided to focus on a clearly defined object of study.
This object of study he called a ‘linguistic sign’, using Saussure’s ideas to analyse linguistics critics realised language is nothing more than a system of signs accepted by society. This idea is promoted by the fact a linguistic sign in one language or linguistic system usually has no meaning in another. Saussure explains,
“A linguistic system is a series of differences of sound combined with a series of differences of ideas” (Storey, 2006, p.357)
This idea of the system is reinforced by the fact it is not consciously entered into as we learn language as a child and have no other choice available and are also too young to choose.
In Saussure’s analysis of linguistic signs there are two components of a sign, firstly the vehicle which expresses the sign, the pattern of sounds which make the word, or the pattern of shapes and colours used in a photograph to represent the object. This pattern is called the ‘signifier’. The second component is the ‘signified’ which is mental concept or concepts called forth when processing the signifier, as Jonathan Bignall explains,
“When you perceive the sign cat... you perceive a group of marks, the letters c, a and t which are the signifier... which immediately calls up the... concept of cat in your mind” (2002, p.12)
Saussure states that a linguistic sign that has no connection with its sound, shape or the object it signifies is arbitrary. In the example above the sign for cat is arbitrary. Saussure also explains that the relationship of the two components is such that one cannot exist without the other.
Another key theorist in the ideas of semiotic analysis is the American philosopher Charles Sanders Pierce, (1839-1914). Pierce explains signs best in the context of explaining logic,
“Namely, a sign is something, A, which brings something, B, it’s interpretant sign [signified] determined or created by it, into the same sort of correspondence with something, C [referent], its object, as that in which itself stands to C.” (Jaquette, 2003, p.172)
Pierce used different terminology when explaining sign relations, however the meaning is the same. Pierce’s developments and distinctions on Saussure’s ideas are more relevant for the analysis of visual media using semiotic theory.
One of Pierce’s most valuable distinctions is a development into the arbitrariness of a sign; signs characterised by this arbitrariness Pierce calls symbolic signs. Bignall describes Pierces ideas on visual media,
“a photograph of a cat looks recognisably like a specific cat. The arrangement of shape and colour in the photograph the signifier... has a close resemblance to its referent... The signified is the concept of the cat” (2002, p.15)
It is difficult in visual media to separate the signifier, signified and referent, therefore photographic media seems for realistic than linguistics.
Roland Barthes, (1915-80), a French literary critic, theorist and semiotician, influenced the development of many schools of theory including semiotics, structuralism and Marxism. Barthes further builds on the ideas and foundations of semiotics; his ideas and developments help us to analyse contemporary media using semiotic theory.
Barthes explained that as signs are used to describe and interpret the world and therefore seems to simply denote or label it. However, along with the denotative functions of the sign to communicate facts, there are some extra associations, connotations. Connotations are concepts and ideas which come from the audience’s social experiences of the sign.
Just as Saussure states a sign cannot be separated from its significations, Barthes states signs cannot be separated from the addresser’s values, as the addresser always uses the sign for a specific purpose in a particular context.
Related to connotation and denotation is what Barthes calls ‘myth’, he explains that for him, myths are dominant ideologies of our time. As Bignall explains,
“ways of thinking about people, products, places or ideas which are structured to send particular messages to the reader or viewer of the text” (2002, p.16)
Barthes argues that the two orders of signification, (denotation and connotation) combine to produce ideology. Barthes also argues it is more difficult to make a clear distinction when analysing images; an image uses focus and composition, among other things, and a viewer must determine things such as depth and size, in relation to signs within the picture.
An unedited photo could be called a definition of what the machine, a camera, is pointed at. This Pierce calls an indexical sign. However the advances of digital technology and it’s ever growing frequent use, are eroding the viewer’s confidence in the objectivity of photography. John Fiske makes the differentiation,
“Denotation is what is photographed; connotation is how it is photographed” (1982, p.86)
The ideas of Barthes and other modern semioticians will help with an analysis of a modern picture; in the case of what I will analyse, a contemporary visual advertisement.
The image shows a female figure dressed elaborately, with many adornments including a variety of jewellery. The portrait posed figure stands in a blurred natural setting, as she looks confidently at the camera. The brand name, product name, catchphrase and product itself are superimposed into the image, enforcing the purpose of the advertisement. Advertised within the picture is a female perfume, using the idealised female figure to promote the addresser’s values, and the idea that this product will make the buyer an ideal woman.
Linguistic signs are seen within the image, such as the product name ‘princess’; a signifier naturally inseparable from the signified, the concept that anyone wearing this perfume like the figure will become youthful, royal, wealthy, dominant and the desire of men. Another linguistic signifier is scrawled in the bottom left of the image in the form of a handwriting statement, ‘Born to Rule’; like the previous both are in an archaic fanciful font. Drawn forth by this signifier is the signified, which enforces similar concepts of grandeur, female power and idealised beauty.
From the ideas of the semioticians, Pierce and Barthes, we are told that within visual media the components of a sign; the signifier, the signified and the referent cannot be easily separated. This creates an effect of reality; this can be seen in this arbitrary image as the advertisement has little to do with the product itself; however the viewers can be easily fooled by an idealised image.
However I will deconstruct the visual signs within this advert to see how they relate to the audience of a fashion magazine, and separate the components in order to analyse the visual signs through the process of semiotic decoding.
The jewellery readily identifies itself to the reader; the jewel encrusted crown, silver and gold necklaces and crown shaped ring reflect the appearance of the product itself, and this represents the signifier. The referents in the image are physical metal bands representing wealth. The signified brings to mind femininity, wealth and beauty. The connotations Barthes describes as ‘myths’ which force the viewer to assume that this is a “privileged way of life” (Bignall, 2002, p.16).
The pose held by the female is a sign itself, with signified ideas of confidence, feminine seduction. The direct gaze into the camera stereotypically represents female power and dominance over men. This pose is a myth structured to send a message to the viewer; this woman is independent, powerful and desirable, giving the viewer no alternate choice.
The blurred natural background, crown, elaborate dress and even linguistic signs connote a mythical fairytale narrative and scene, although this is merely an advert.
The signifier is defined by the theorists as the shapes and colours on the flat surface of the image, the addresser has not used a huge variety of colours, and however, each colour has direct connotations.
The use of purple in both the jewels and the product connotes royalty, mystery and nobility. With the natural background and colour purple, the viewer is drawn to thinking of the delicacy of purple flowers, this signified has connotations of the delicacy of femininity.
The Grey colour of the female’s clothing, relate to the understated and simplistic silver necklace, the colour and its stark cool appearance, connote modernity, technology and futuristic style. The silver of the necklace denotes wealth and style, and the gold jewellery denotes wealth also, but with connotation of riches as gold is more precious than silver; they show power and position of the female figure.
The addresser has used a repeated heart motif; this geometric shape signifier represents femininity due to the stereotypical ideals that women are emotional, romantic and how women enjoy the romantic genre. This signified makes the viewer relate to ideologies of women and women’s interests
The reason for these constant signs which reference the lifestyle and appearance of the female figure (and therefore buyer), rather than the product itself, is explained by Judith Williamson,
“Advertisements are selling us something besides consumer goods; in providing us with a structure in which we, and those goods, are interchangeable, they are selling us ourselves” (Dyer, 1982, p. 116)
These connotations signify the addressers intended ideas, because they are set for the particular audience’s social experiences and knowledge. All these signs are used as Barthes explains; to structure particular messages enforcing the addressers intended values and ideas upon the viewer.
Barthes also explains in his view that denotation and connotation combine to produce ideologies, a combination of facts, labels and the viewer’s social experiences. This image is mythical and stereotyped using contemporary dominant ideologies of women and beauty. For adverts in particular, and I feel particularly for this image, Gillian Dyer explains,
“Ads are what some critics call ‘specific representation practises’ and produce meanings which cannot be found in reality” (1982, p.114)
This describes who the ideologies and meanings we find when analysing advertisements have no real correlation in the real world or reality; these myths are used to control and influence the viewers.
Barthes explains that ideologies are ideas of ‘the Bourgeoisie’, which Barthes explains are,
“the class of people who own or control the industrial, commercial and political institutions of the society. It is the interests of this class to maintain this stability of society, in order that their ownership, power and control can remain unchanged” (Bignall, 2002, p.24)
The ideologies used in this image are stereotypical notions of beauty, desirability and the idea sexual attraction is power. The female figure is shown to be tanned, slim, with messy hair and dark eyes; this is reinforcing how women should be, the stereotypical definition of a woman, and appearance being most important for a woman.
The image also contradicts the stereotypical notions of femininity, showing the female as dominant not passive, ‘Born to Rule’, she is not shown with a male partner but alone and independent. The image appears to be contradicting the social norms and stereotypical ideas of a patriarchal society; the female is stated to be ‘Born to Rule’ and is shown wearing a crown.
However the social norms of femininity are changing and this picture shows this as she looks directly at the camera standing alone. In contemporary society women do have power, can work and be self sufficient. David Gauntlett comments,
“young women have a wide range of other assertive ‘girl power’ role models to choose from in magazines, movies and pop music” (2008, p.12)
Although there are some connotations of modern femininity, the advertisement is still conforming to social norms. The female is still the object of male gazing and shown in a male’s opinion of femininity and beauty, although it is hard to differentiate between the two in society.
A feminist reading could be that the female shown is passive; she is trying to seduce men and therefore bowing down to their wants and wills. This is evident through the signified connotations of messy hair, tilted crown and the nervously mannerism of the pose playing the necklace hiding her face somewhat.
She is not beautiful and desirable, merely submissive, a promiscuous woman with a facade of false royalty; although the linguistic signs promote power being promiscuous in a feminine reading would not be seen as powerful but as degrading.
By creating a structure of myth and ideology, the addresser manages to lead the viewer with enforced and repeated signs into false and stereotypical values, purposely created, to sell a lifestyle and therefore the product.
Essay written by Danielle George(dee) December 2008
Labels: femininity