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[4.4.1] In his book, Elements of Semiology (the first half of this book is available on-line), Barthes describes the ways in which the sign assumed cultural meanings. |
[4.4.2] In summarizing the work of Barthes, Ron Burnett (1991) describes the ways in which images take on ideological meanings by citing the example of the image of a gun in the film Dirty Harry. |
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For introductions to semiotics as applied to media studies: |
[4.4.3] Definitions of key terms used in semiotics
[4.4.4] A chart illustrating the different concepts of semiotic analysis
[4.4.5] An introduction to semiotics Semiotics, Structuralism and Television
[4.4.6] Sites of Significance for Semiotics
[4.4.7]
[4.4.8] Semiotic theorists: Pierce, Eco, Barthes, Lacan, Sebeok
[4.4.9] A semiotic analysis of magazine ads for men’s fragrances, Alexander Clare |
To study the meaning of signs or media images, you can download some images from the following image data banks: |
[4.4.10] mediabuilder.com
[4.4.11] altavista.com image search
[4.4.12] free-clip-images.com
[4.4.13] pdimages.com
[4.4.14] google.com image search
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[4.4.15] Social codes serve to define the meaning of signs and various social practices operating in a specific context. Audiences draw on their knowledge of these codes to interpret the meaning of signs and practices. |
[4.4.16] Dan Chandler: semiotic codes
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Sample student essays: |
[4.4.17] Rikke Bjerg Jensen, Do we learn to 'read' television and film and do televisual and filmic codes constitute a 'language'?
[4.4.18] Stefan Herrmann, Do we learn to ‘read’ television like a kind of ‘language’?
[4.4.19] Charles Slaney, Do we learn to read television and film and do televisual and filmic codes constitute a kind of language?
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[4.4.21] A summary of Bordwell’s cognitive theories by Kevin Sweeney, “Constructivism in Cognitive Film Theory” |
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[4.4.23] Sarah Kozloff gives the example of the typical story structure of a James Bond movie in her site on application of narrative theory to media:
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Archetypal analysis resources:
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[4.4.24] The archetypal hero in film
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[4.4.26] Northrop Frye’s narrative patterns applied to film
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For further applications of semiotics to media texts:
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[4.4.27]
[4.4.28] Semiotics of Advertising
[4.4.29] Ad Bank Semiotic Analysis: Cosmopolitan and Maxim Magazines
[4.4.30] Semiotics Articles
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[4.4.31] Semiotics of New Media Literacy
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| [4.4.32] Semiotic terms
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For further reading on archetypal criticism of film/media:
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Hirschman, E. (2000). Heroes, monsters, and messiahs. New York: McMeel
Publishing.
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Liebes, T., Curran, J., & Katz, E. (Eds.). (2002). Media, ritual and identity. New York: Routledge.
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Rasmussen, R. (1998). Children of the night: The six archetypal characters of classic horror films. New York: MacFarland.
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For further reading on semiotic theory:
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Bell, A. (1998). The discourse structure of news stories. In A. Bell and P. Garrett (Eds.), Approaches to media discourse (pp. 64–104). Malden, MA: Blackwell.
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Chandler, D. (2001). Semiotics: The basics. New York: Routledge.
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Cobley, P. (1999). Introducing semiotics. London: Icon Books.
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Danesi, M. (2002). Understanding media semiotics. London: Arnold.
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Hodge, R. & Kress, G. Social semiotics. Ithaca, NY: Cornell University Press.
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Kauffmann, S. (2001). Regarding film: Criticism and comment. Performing Arts Journal Books.
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Kress, G., & Van Leenwen, T. (2001). Barthes and the empire of signs. New York: Routledge.
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Radway, J. (1984). Reading the romance: Women, patriarchy, and popular literature. Chapel Hill: University of North Carolina Press.
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Sturken, M., & Cartwright, L. (2001). Practices of looking. New York: Oxford University Press.
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Thwaites, T., Davis, L., & Mules, W. (2002). Introducing cultural and media studies: A semiotic approach. New York: Palgrave.
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Trifonas, P. (1996). Reading images. London: Icon Books.
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Weber, S., & Mitchell, C. (1995). “That’s funny, you don’t look like a teacher:” Interrogating images and identity in popular culture. London: Falmer Press. |
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