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Relevant bibliographies by topics / Semiotic film analysis

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Academic literature on the topic 'Semiotic film analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Semiotic film analysis"

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Ngalu, Rudolof, Lasarus Jehamat, and Laurensius D.E.P. Putra. "Semiotic Analysis of Ideology Conflict (Media Analysis of Sociology in General Soedirman's Film)." Jurnal Pendidikan dan Kebudayaan Missio 12, no. 1 (2020): 67–82. http://dx.doi.org/10.36928/jpkm.v12i1.215.

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This research is entitled Semiotic Analysis of Ideology Conflict (Media Analysis of Sociology in General Soedirman's Film). This research is based on the consideration that all things including films are not immune to the process and power relations. The presence of a film has a purpose and therefore has a certain meaning. This research focuses on the analysis of interarideological conflicts in the film General Soedirman. It is said, in the film, conflicts often occur in several segments. All conflicts are certainly based on certain roots and causes. Likewise, every conflict always has a certain dynamic. Whatever the reason, the dynamics of the conflict whether socially or symbolically in the film has a certain meaning. Therefore, the dynamics of the conflict can be analyzed and worth checking. The study uses Ralf Dahrendorf's conflict theory. The analysis of this study uses a qualitative interpretive concept. The method used as an analytical machine uses the Roland Barthes semiotics method. Roland Barthes' semiotics focuses the analysis of signs by looking at denotations, connotations and myths. The results showed a number of ideological conflicts that occurred in the film. Some of them are conflicts between narrow ideology of nationalism (chauvinism) vs. fascism, between nationalism vs. colonialism, between nationalism vs. communism, and communism vs. colonialism conflict. Understanding of ideological conflicts is urgently analyzed so that people are not manipulated by various ideas and ideas that emerge from certain regimes can be immediately overcome.

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Konstantinov, Mihael. "ROLAND BARTHES AND YURII LOTMAN: SEARCH FOR MEANING IN FILM NARRATIVE." Вісник КНУКіМ Серія «Мистецтвознавство», no. 41 (December 30, 2019): 35–43. http://dx.doi.org/10.31866/2410-1176.41.2019.188528.

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The purpose of the research is to carry out a comparative analysis of the concepts of semiotics of cinema by Roland Barthes and Yurii Lotman in the context of their understanding of the nature of film language, since understanding and methods of studying of contemporary digital audiovisual art are the topic of current interest in contemporary art history. The research methodology. The contemporary study of digital audiovisual art, as a rule, takes place within the context of interdisciplinary work, therefore, one of the methodological principles of such work is structural and semiotic approach. Today, this methodological approach to study the audiovisual art is the most developed in the semiotics of cinema, therefore the visual semiotics is viewed through the semiotics of cinema. The scientific novelty of the research. For the first time a comparative analysis of Yurii Lotman’s and Roland Barthes’s semiotics of cinema within the framework of the structural and semiotic approach was carried out. The potential of this methodological approach in the study of audiovisual art has been revealed. Conclusions. The article highlights the special aspects of understanding and application of semiotic concepts by the mentioned authors based on the cinematographic material. Thus, Roland Barthes thought that problems in a semiotic study of the cinema occur when a linguistic approach is applied, and Yurii Lotman believed such study to be completely acceptable. This resulted in a different understanding by these scientists of the nature of film language, its minimal meaningful unit, the role of syntagmatics and paradigmatics in the film narration. Different perceptions of the nature of film language and its components are an important basis for the study of contemporary digital audiovisual arts. The main difficulty of semiotics of cinema is the issue of non discrete iconic (analogue) sign in the study of cinema within the framework of the structural and semiotic approach. This problem can be solved based on the legacy of semiotics of cinema of R. Barthes and Yu. Lotman. Another important characteristic of the structural and semiotic approach is its ability to be combined with other methodological approaches in the interdisciplinary study of digital audiovisual art

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Rinjani, Dian. "Mengkaji Film The Curious Case of Benjamin Button dengan Semiotika." Edsence: Jurnal Pendidikan Multimedia 1, no. 1 (2019): 35–42. http://dx.doi.org/10.17509/edsence.v1i1.17941.

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ABSTRAK Film merupakan salah satu bidang yang relevan bagi analisis semiotika. Analisis semiotik pada film berlangsung pada teks yang merupakan struktur dari produksi tanda. Bagian struktur penandaan dalam film biasanya terdapat dalam unsur tanda paling kecil, dalam film disebut scen. Penelitian ini dilakukan dengan menggunakan pendekatan kualitatif. Pendekatan ini dianggap sesuai, dengan prosedur yang dilakukan peneliti,, menghasilkan data deskriptif berupa kata kata yang dihasilkan dari mengamati tanda tanda berupa visual, gambar bergerak, bahasa tubuh dan audio/suara yang terdapat dalam film The Curious Of Benjamin Button. Ruang lingkup penelitian ini adalah beberapa potongan adegan yang mewakili film The Curious Of Benjamin Button. Bisa ditarik kesimpulan bahwa di dalam sebuah film seperti The Curious Of Benjamin Button penonton bisa membaca tanda yang diberikan oleh pemeran pemeran film The Curious Of Benjamin Button. Melalui tanda-tanda seperti suara, gerakan tubuh, raut muka,, tampilan tokoh-tokoh dan lainnya yang ada di dalam film, penonton dapat menyimpulan isi sebuah film dari tanda tanda yang diberikan oleh sutradara selama film berlangsung. Oleh karena itu dalam membuat film seperti pengambilan gambar dan semua unsur-unsur yang ada didalam sebuah film tidak bisa dibuat dengan sembarangan. Apabila pembuatan film dibuat sembarangan cerita atau maksud dari sutradara tidak akan tersampaikan dengan baik. Kata kunci: Film, Semiotika, Proxemics, Visual, Tanda. ABSTRACT Film is one of the relevant fields for semiotic analysis. The semiotic analysis of the film takes place in the text which is the structure of the sign production. Part of the marking structure in a film is usually contained in the smallest sign element, in a film called a scen. This research was conducted using a qualitative approach. This approach is considered appropriate, with the procedure carried out by the researcher, producing descriptive data in the form of words produced from observing signs in the form of visual, moving images, body language and audio / sound contained in the film The Curious Of Benjamin Button. The scope of this research are several scenes that represent the film The Curious Of Benjamin Button. It can be concluded that in a film like The Curious Of Benjamin Button, the audience can read the sign given by the cast of the film The Curious Of Benjamin Button. Through signs such as sound, body movements, facial expressions, the appearance of characters and others in the film, the audience can conclude the contents of a film from the signs given by the director during the film. Therefore, in making films such as taking pictures and all the elements in a film cannot be made carelessly. If the filmmaking is made carelessly the story or the director's intentions will not be conveyed properly. Keywords: Films, Semiotics, Proxemics, Visuals, Signs

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Park, Byung-Kyu. "Semiotic Analysis of Film Sound in Hitchcock's." Journal of the Korea Contents Association 15, no. 4 (2015): 65–74. http://dx.doi.org/10.5392/jkca.2015.15.04.065.

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Boyko, Mikhail E. "Structural Analysis of Film Characters." Journal of Flm Arts and Film Studies 8, no. 2 (2016): 23–32. http://dx.doi.org/10.17816/vgik8223-32.

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The article explores the structuralist analysis of film characters as compared to that of literary ones and formalizes the analysis of film characters by means of the set theory and semiotic formulas.

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Dianiya, Vicky. "REPRESENTATION OF SOCIAL CLASS IN FILM (Semiotic Analysis of Roland Barthes Film Parasite)." Profetik: Jurnal Komunikasi 13, no. 2 (2020): 212. http://dx.doi.org/10.14421/pjk.v13i2.1946.

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Social class differences have been formed long ago which can identify people's identities which are usually measured based on economic status. This class difference is depicted in Bong Joon-ho's Parasite film, telling of two families of different classes. The Kim family as a lower class and vice versa Mr. Park as the upper class. The core theme of the film Parasite is that of realistic drama about class domination which can also be seen around us. The paradigm used is critical interpretative, so researchers not only criticize but also make interpretations related to this Parasite film. In the analysis phase, this study uses Roland Barthes's semiotic analysis, which are signs in the form of words, images, sounds, movements and objects that are analyzed based on three things, namely parsing data based on the connotation, denotation and myths contained in the Parasite film scene. . Furthermore, representations produced through objects or images can produce meaning or processes that we understand or relate them to a meaning. Based on the first analysis of the film industry, Parasite Films are not included in the logic of most cultural industries but still succeed in penetrating the international market. Then, at the stage of representing social class markings in the film Parasite, it is found that there are at least five main points, namely: ease of life, fashion, boundaries, body odor, and color. Thus, the description of social class representation in the film Parasite is perfect both in its scenes, properties, and cinematography.

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Feng, Dezheng, and Yujie QI. "Emotion prosody and viewer engagement in film narrative." Narrative Inquiry 24, no. 2 (2014): 347–67. http://dx.doi.org/10.1075/ni.24.2.09fen.

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This study adopts a social semiotic approach to model the dynamics of character emotion and the discursive mechanisms of viewer engagement in film narrative. Drawing upon the systemic functional semiotics (Halliday and Matthiessen, 2004), this paper proposes a metafunctional framework to elucidate how film characters’ emotions are ideationally construed, interpersonally enacted, and textually organized as a “prosody”. The explication of emotion prosody provides an explicit framework to explain the multi-dimensional, dynamic construction of narrative discourse. With the metafunctional model of emotion prosody, the fundamental mechanisms of viewer engagement, namely, allegiance, empathy and expectancy, are elucidated in a coherent discourse-based framework. Compared to schema-based cognitive film studies that focus on viewers’ emotional reactions, the social semiotic discourse analysis provides a more explicit and analytically reliable framework to explain the multi-dimensional construction of film narrative and the discursive mechanisms of viewer engagement.

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Setiawan, Harry, Abdul Aziz, and Debby Kurniadi. "IDEOLOGI PATRIARKI DALAM FILM (SEMIOTIKA JOHN FISKE PADA INTERAKSI AYAH DAN ANAK DALAM FILM CHEF)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 6, no. 02 (2020): 251–62. http://dx.doi.org/10.33633/andharupa.v6i02.3502.

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AbstrakFilm Chef yang beraliran drama – komedi ini dirilis pada tahun 2014 dengan menghasilkan US$45 Juta pada dua minggu penayangannya di bioskop seluruh Amerika dan masuk jajaran film box office dengan rating 7,3/10 versi IMDb. Film ini menghadirkan banyak interaksi antara ayah dan anak yang bisa menjadi acuan bagi orang tua dalam membangun interaksi terhadap anak. Interaksi karakter Carl (Ayah) dan Percy (Anak) yang menjadi subjek penelitian ini diulas dengan pendekatan semiotika John Fiske. Hasil penelitian ini tersaji pada tiga level analisis semiotika John Fiske yaitu level realitas yang digambarkan dengan interaksi karakter Carl dan Percy di ruang-ruang sempit dan padat pada area food truck “El Jefe” maupun area lain baik interior (dalam ruang) maupun exterior (luar ruang). Level representasi yang digambarkan dengan sudut pengambilan gambar (angle) dan komposisi yang membawa penonton untuk tetap terlibat dalam setiap interaksi antar karakter. Terakhir level ideologi patriarki yang menjadi temuan dalam penelitian ini bahwa ideologi patriarki yang dihadirkan dalam film ini bisa dijadikan acuan dalam membangun interaksi ayah dan anak sehingga anak tersebut tidak kehilangan sosok orang tuanya. Kata Kunci : interkasi sosial, patriarki, realitas, semiotika AbstractThis drama-comedy film, Chef, was released in 2014 with the US $ 45 million in two weeks of screenings in theaters across America and entered the ranks of box office films with a rating of 7.3/10 of the IMDb version. This film presents many interactions between father and son that can be a reference for parents in building interactions with their children. The interaction of Carl (Father) and Percy (Son) characters are the subjects of this study are reviewed by John Fiske's semiotic approach. The results of this study presented at three levels of John Fiske's semiotic analysis; the level of reality depicted by Carl and Percy's character interaction in narrow and dense spaces in the "El Jefe" food truck area and other areas both interior (inside) and exterior (outside room). The level of representation depicted by the camera angle and the composition that brings the audience to remain involved in every interaction between characters. Finally, the level of patriarchal ideology found in this study that the patriarchal ideology presented in this film can use as a reference in building the interaction of fathers and children so that the child does not lose the figure of his parents. Keywords: patriarchy, reality, semiotics, social interaction

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Anderson, Richard L., and Brian C. O'Connor. "Reconstructing Bellour: Automating the semiotic analysis of film." Bulletin of the American Society for Information Science and Technology 35, no. 5 (2009): 31–40. http://dx.doi.org/10.1002/bult.2009.1720350508.

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DEVLIEGER, PATRICK J., TAL BAZ, and CARLOS DRAZEN. "Mental retardation in American film: A semiotic analysis." Semiotica 129, no. 1-4 (2000): 1–28. http://dx.doi.org/10.1515/semi.2000.129.1-4.1.

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Dissertations / Theses on the topic "Semiotic film analysis"

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Porteous, Carol. "The Making of 'Annabelle Blue': A Peircean Semiotic Analysis of the Creative Process." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31739.

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The paper discusses how the semiotic relationships involved in the process of creating a documentary, interconnect and affect the documentary's truth claims from the perspective of Peirce's semiotic theory. To do this, I created an autobiographical film called 'Annabelle Blue' and then analyzed the experience. The making of 'Annabelle Blue' involved a number of representations, each of which involved the interplay of iconic, indexical and symbolic elements and each of which had a substantial influence on how the process continued. It is my contention that documentary's truth claims must be evaluated in light of the assumption that documentary representation is a dynamic, creative process involving the jostling for position between semiotic aspects at every level.

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Myers, Elena K. "A Semiotic Analysis of Russian Literature in Modern Russian Film Adaptations(Case Studies of Boris Godunov and The Captain’s Daughter)." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429832017.

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Witte, Shelbie Miller. ""What you need, Eddie, is another remedial reading class" : a semiotic analysis of representations of literacy in popular school film." Diss., Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/609.

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Liu, Sijia Verfasser], and Hans-Peter [Akademischer Betreuer] [Rodenberg. "Images of China and the Chinese People in China Revealed (2006) : A Semiotic Film Analysis of a Discovery Atlas Documentary / Sijia Liu. Betreuer: Hans-Peter Rodenberg." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2012. http://d-nb.info/1024355624/34.

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Kling, Martin. "Min pappa är negerkung : En kvalitativ studie av etniska stereotyper i filmatiseringarna om Pippi Långstrump." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40590.

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The purpose of this paper has been to examine various ethnic stereotypes in two Swedish film adaptations of Astrid Lindgren’s character Pippi Longstocking. I have used a semiotic content analysis and postcolonial theory to investigate: 1) how the ethnic groups are represented in the different materials, 2) if there is a hegemonic relationship between the foreign group and one’s own group, 3) whether there has been a "decolonization" during the twenty years that separate the two films. This study has shown that, in the 1949 adaptation, primarily Africans were produced in a negative light and as biologically inferior in relation to the whites. Furthermore, other ethnic groups, such as Indians, Egyptians, Brazilians, and Danes, were portrayed as scared, alien or different. However, the TV series of 1969 permeates with a greater sense of racial tolerance than its predecessor and, despite remnants of racial stereotyping, the overall tone of the later adaptation feels more progressive.

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Al, Balushi Iqbal Abdul Qadir. "Critical Semiotic Order Theory: The Misconstruction of Arab and Muslim Identities and Voices in Hollywood Movies." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/344217.

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In the age of multi-literacies, contemporary theories and devices are required to decipher increasingly complicated challenges which are presented by the digital technological revolution. Some of the existing approaches and frameworks of could inspire us but are not well equipped to address the complexities and multi-perspectives of the eccentric challenges that scholars face on diverse issues. Therefore, I present the critical semiotic order theory (CSOT) as a new eclectic theory to analyze discourse and moving and still images critically, semiotically and using systematic orders simultaneously.The theory has four hypotheses: 1) the positive and negative order hypothesis; 2) the zero value order hypothesis; 3) the chaos order hypothesis; 4) the semiotic indices order hypothesis. The theory was applied to three movies, and was successful in unearthing numerous perceptions and some were microscopic semiotic communicative indices and related them to polycentric Occidental ideologies.Hollywood has made over a thousand movies negatively stereotyping (NS) Arab/Muslim identities and voices (AMIVs) and the images in the vast majority are demeaning (Shaheen, 2009: 2). This research sets to find out whether the misconstruction of Arab/Muslim identities and voices (AMIVs) in three Hollywood movies are ordered, patterned, systematic, and related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments.The three movies showcase dozens of discursive microscopic critical semiotic orders and patterns of NS of AMIVs in discourse and still and moving image such as being: angry, dangerous, dirty, primitive, uncivilized, dishonest, cowards, fanatics, slaves, extremists, savages, liars, sorceress, killers, terrorists, mad dogs, child terrorists, suicide bombers, etc. The racism touches Arab/Muslims' (A/Ms) characteristics, personalities, races, cultures, traditions, histories, stories, folklores, costumes, images, etc.The analysis showed that there was a systematic pattern and order of NS of AMIVs within and across the three movies, and the NS is related to ideologies and agendas of polycentric Western individuals, agencies, institutions and governments for socio-cultural, socio-economic and socio-political investments in a vast complex web that some of it can go to hundreds of years in making. Nowadays, NS of AMIVs is done by many Westerners for various ideological agendas and investments, and they have appointed themselves as judge, jury and prosecutor.

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Carlén, Fredrik. ""Världens bästa reklamfilm" : En studie i hur reklamfilmerna från ICA är konstruerade för att locka kunderna till konsumtion." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-6378.

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This paper sets out to investigate how companies can create advertisement that focus not only on selling but also on entertainment. The research is based on seven TV-commercials produced by the Swedish food chain ICA. The commercials were analyzed according to the methods of discourse analysis, semiotic analysis and rhetorical analysis. Furthermore, the research compares the analysis made with the thoughts and ideas of Tobias Karlsson, Head of marketing and communications development at ICA to find out how the comprehension of the commercials correlate with the original intentions made by the company. The study shows that ICA creates a commercial that contains the perfect mix of rhetorical approaches, communication strategies and entertainment mixed with gravity. The study also shows that ICA fails with its primary goal which is to sell selected products; however, by producing the entertaining commercials, they manage to strengthen their brand. This is assumed to lead to increased loyalty and confidence among consumers which makes the consumers visit ICA more often.

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Cowin, Erica. "The evolution of U.S. corporate logos a semiotic analysis." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4875.

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The purpose of this study is to examine the evolution of six U.S. corporate logos--Apple, McDonald's, Nike, Pepsi, Shell, and Starbucks--from each logo's inception until the newest version of the graphic emblem today. The objective is to determine the meanings that logos have for a corporation's identity, mission, and relationships, as well as the messages that logos convey to viewers (i.e., mostly customers). By "evolution" of logos here, the researcher means "ongoing transformation" of logos. The semiotic model used in this analysis is Charles Sanders Peirce's (1958(1931)) semiotic framework. Peircean semiotics is made up of a three-part paradigm of signification: the representamen (or the sign itself), the object (or "referent"--what the sign refers to), and the interpretant (the effect on the viewer, or the viewer's interpretation). Based on the semiotic data on logo evolution, the researcher found six main themes that emerged across the analyses of U.S. corporate logos. These themes are (1) Direction toward the Future, (2) Identity with Viewers, (3) Instant Recognition and Distinctiveness, (4) Consistency throughout Evolution, (5) Invocation of Change, and (6) True Representation of Corporate Identity. The ultimate conclusion of this analysis is that the communicative intent of a company, through its logo, tends to take a long time to develop. A successful logo is one that portrays the true objectives and principles of a company. For this reason, the ideal identity of a corporation tends to be built over a long period of time, which makes logo improvement "evolutionary" in nature. In all six cases, communication plays a major part in logo improvement.<br>ID: 029808873; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 87-101).<br>M.A.<br>Masters<br>Communication<br>Sciences

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Nomark, Sanna, and Miriam Pålsson. "Representation av äldre i animerad långfilm : En kvalitativ innehållsanalys." Thesis, Högskolan Väst, Avd för medier och design, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-12990.

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Det finns få studier om äldre karaktärer i animerade filmer. Studierna som gjorts visar att äldre karaktärer har porträtterats på ett oproportionerligt negativt sätt. Dessa studier är nu över tio år gamla och därför behövs ny forskning som undersöker hur äldre representeras. Denna studie syftar till att undersöka hur äldre karaktärer porträtteras i animerad mainstream-film från år 2017 genom en analys av de fem animerade filmerna Coco, Smurfarna - Den försvunna byn, The Lego Ninjago Movie, Monsterfamiljen och Kapten Kalsong. Med hjälp av en kvalitativ och semiotisk innehållsanalys undersöks vilka identitetspositioner, narrativa funktioner, samt stereotyper och tecken som används för att porträttera äldre. Studien visar en positiv förändring av äldres representation i form av mer nyanserade karaktärer i betydelsefulla roller. De vanligaste stereotyperna kring äldre syns inte i materialet, istället används ledarroller och arketyper så som den vise. Förekomsten av äldre och ålderstecken verkar i första hand vara ett uttryck för visdom och erfarenhet snarare än som ett tecken på deras kronologiska åldrande.<br>There are few studies that investigate older characters in animated film. Older characters have been portrayed in a disproportionately negative manner according to previous studies. These studies were made over ten years ago, therefore new research is needed to investigate how older people are represented. The aim of this research is to examine how older characters are portrayed in mainstream animated films from 2017 by analyzing five animated films: Coco, Smurfs - The Lost Village, The Lego Ninjago Movie, Monster Family and Captain Underpants. Using a qualitative and semiotic content analysis, we investigate how identity markers, narrative functions, as well as stereotypes and signs are used to portray older people. The study shows a positive change in the representation of older people where the characters have more nuanced and important roles. The most common stereotypes around older people do not appear in these films, instead authority roles and archetypes such as the wise are used. Rather than a sign of chronological aging the appearance of elderly and signs of age primarily seems to be used to convey wisdom and experience.

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Hao, Yiren. "The Ever-changing Roles of Chinese Women in Society: A Content Analysis and Semiotic Analysis of some Contemporary Chinese Films." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20481.

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One major question in the area of Feminist Media Studies is to analyze the stereotypical female role portrayals in media. Researchers in this area have examined diverse media including television, radio, films, textbooks, literature and so on. Empirical evidence provided by these studies shows that women in media are often underrepresented or stereotypically portrayed in traditional roles such as housewives or mothers associated with feminine values, such as dependent, submissive, and passive. Using content analysis and semiotic analysis, this study is designed to examine the portrayals of female roles in a sample of contemporary (1949-2010) Chinese films. Content analysis is employed to examine how women have been portrayed in films, with the primary focus on the frequency of three types of female roles including (1) traditional roles, (2) modern role, and (3) ideal role. Results suggest that during this long period of time, representations and constructions of women in films have shifted from promotion of gender equality, to diminishing and erasing gender difference, and finally regressed to confining them to traditional roles while emphasizing traditional feminine values and expectations. In using semiotic analysis, this research is able to outline the connotative meanings of the female characters as well as the implicit cultural values and messages of gender that are embedded in films. On this cultural analysis, the findings reveal that female role portrayals in films, which are influenced by political, cultural, and social changes, remained associated with traditional feminine stereotypes, values, and expectations.

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Books on the topic "Semiotic film analysis"

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Karl-Heinrich, Schmidt, ed. Multimodal film analysis: How films mean. Routledge, 2012.

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Semiotics and the analysis of film. Athlone Press, 2000.

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Semiotics and the analysis of film. Indiana University Press, 2000.

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Tracking the signifier: Theoretical essays : film, linguistics, literature. University of Minnesota Press, 1985.

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Cinema e conversazione: L'interpretazione del film narrativo. Prospettiva, 2006.

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Cros, Edmond. D'un sujet à l'autre: Sociocritique et psychanalyse. Ed. du CERS, 1995.

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Subversive pleasures: Bakhtin, cultural criticism, and film. Johns Hopkins University Press, 1989.

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American dreamtime: A cultural analysis of popular movies and their implications for a science of humanity. Littlefield Adams Books, 1996.

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Brillenburg Wurth, Kiene, and Ann Rigney. The Life of Texts. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463720830.

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This innovative introduction to literary studies takes 'the life of texts' as its overarching frame. It provides a conceptual and methodological toolbox for analysing novels, poems, and all sorts of other texts as they circulate in oral, print, and digital form. It shows how texts inspire each other, and how stories migrate across media. It explains why literature has been interpreted in different ways across time. Finally, it asks why some texts fascinate people so much that they are reproduced and passed on to others in the form of new editions, in adaptations to film and theatre, and, last but not least, in the ways we look at the world and act out our lives. The Life of Texts is designed around particular issues rather than the history of the discipline as such. Each chapter concentrates on a different aspect of 'the life of texts' and introduces the key debates and concepts relevant to its study. The issues discussed range from aesthetics and narrative to intertextuality and intermediality, from reading practices to hermeneutics and semiotics, popular culture to literary canonisation, postcolonial criticism to cultural memory. Key concepts and schools in the field have been highlighted in the text and then collected in a glossary for ease of reference. All chapters are richly illustrated with examples from different language areas.

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Theory and practice of sociocriticism. University of Minnesota Press, 1988.

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Book chapters on the topic "Semiotic film analysis"

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Shahid, Mohammad, Prasad Bokil, and Darmalingam Udaya Kumar. "Title Design in Bollywood Film Posters: A Semiotic Analysis." In ICoRD’15 – Research into Design Across Boundaries Volume 1. Springer India, 2014. http://dx.doi.org/10.1007/978-81-322-2232-3_26.

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Tseng, Chiao-I. "Truthfulness and Affect via Digital Mediation in Audiovisual Storytelling." In Beyond Media Borders, Volume 1. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49679-1_5.

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Abstract This chapter investigates different ways in which the film techniques of digitally mediated images—such as found footage, diegetic camera, and computer screen—achieve story truthfulness and affective engagement in the viewer’s narrative interpretation process. The pursuit of truthful storytelling is to demonstrate objective facts, while mediated images in film are predominantly subjective. The chapter starts by reviewing the perennial paradox of two seemingly mutually exclusive narrative functions and then tackles the paradox by proposing a multi-leveled framework, synthesizing semiotic conceptualization and cognitive research findings. It also analyzes the various forms of digital mediated images in films over the last two decades and sheds light on how the functions of truthfulness and affective engagement can be closely intertwined rather than in conflict.

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"Constructing the semiotic mode of film." In Multimodal Film Analysis. Routledge, 2013. http://dx.doi.org/10.4324/9780203128220-5.

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Garratt, Dean, and Heather Piper. "Too hot to handle? A social semiotic analysis of touching in “Bend it like Beckham”." In Representations of Sports Coaches in Film. Routledge, 2018. http://dx.doi.org/10.4324/9781315206073-8.

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Maagerø, Eva, and Ådne Valen-Sendstad. "Menneskeverd og menneskerettighetsundervisning: En sosialsemiotisk multimodalitetsanalyse og drøfting av verdighetsbegrepet i filmen A Path to Dignity: The Power of Human Rights Education." In Menneskeverd – en utfordring for skole og samfunn. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.90.ch6.

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This chapter is an analysis and discussion of the globally popular human rights education film: A Path to Dignity: the Power of Human Rights Education. The film is produced by Ellen Bruno and is a cooperation with the UN department OHCHR and the human rights education organisations HREA and SGI. The film combines human rights education and dignity. Our research question is how human rights education and dignity is presented and understood in the film. The film is organized in three parts, and addresses Indian children, a Muslim woman and police in Australia. We have analysed the part about the young children in India. In our discussion of the film we have applied social semiotic theory and related analytical tools. We have analysed the representations, interactions and composition of the film. The result of the analysis shows a focus on the local situation of the children. Through human rights education the children experience a transformation in gaining a sense of dignity. This leads to a particular concern for others whose dignity is violated. The state that is responsible for their human rights is not addressed. The film presents human rights education with an interest for individual children, and dignity is understood morally, as responsibility for the other.

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"Semiotics and documents." In Multimodal Film Analysis. Routledge, 2013. http://dx.doi.org/10.4324/9780203128220-4.

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Chattah, Juan. "Conceptual Integration and Film Music Analysis." In Semiotics. Semiotic Society of America, 2008. http://dx.doi.org/10.5840/cpsem200868.

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"Semiotics, structuralism, and beyond." In Film and Television Analysis. Routledge, 2015. http://dx.doi.org/10.4324/9780203129968-8.

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Nizam, Feridun. "An Orientalist “Journey” to Istanbul From the Super Bowl Final." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch040.

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This study is firstly built on the determination of the orientalist elements in Turkish Airlines' commercial film Journey, which was broadcast in the Super Bowl final of the 2019 American Football League, and how Turkish culture is represented in Istanbul with these orientalist elements. In the context of the sample handled in the study, Turkish architectural structures, Turkish historical structures, Turkish Islamic cultural elements, and Turkish traditions are included, and the presentation of Istanbul from the eyes of a “foreigner” with an orientalist point of view has been handled with the method of semiotic analysis. The main problem of the study is on the different presentation of the East and Istanbul, despite the usual orientalist perspective in media contents and especially in advertising. In this sense, it focuses not on anti-orientalism, but on the conclusion that orientalism is presented with the change of classical narratives.

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İmik Tanyıldızı, Nural, and Ayşe Şebnem Yolcu. "Women's Images in Turkish Cinema in the Context of Orientalism." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch039.

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Orientalism, which we can define as how the West recognizes the East, can be determined in many different fields such as literature, music, and architectural painting since ancient times. In orientalist ideology, the negative traits of the other are always emphasized. Because, as Said also emphasizes, the West can only create its own self by alienating and negating the East. The representation styles of marginalized societies; identities and genders are negative in parallel with the Western understanding in the movies that are dominated by the orientalist ideology. The Eastern woman, who is currently the absolute other in terms of gender, is marginalized once again in the examples of Orientalist cinema. This study, based on the movie Tight Dress, aims to observe the hegemonic structure of the willingness to represent women in the patriarchal order of the Eastern Muslim-Turkish representation of women produced within the Western masculine fantasy discourse within the framework of feminist theory and to reveal the orientalist elements in the film through semiotic analysis.

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Conference papers on the topic "Semiotic film analysis"

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Kochukhova, E. S. "Semiotics in Studies of Soviet Films: Limitations of the Approach." In VIII Information school of a young scientist. Central Scientific Library of the Urals Branch of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.32460/ishmu-2020-8-0039.

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The subject of the article is the key ways of applying semiotics to analysis of the Soviet films. It is shown that semiotic analysis is a common method in film studies. In Russian issues on the Soviet cinema, the problem of the lack of integration between the visual semiotics and semiotics of literature was revealed. The analysis of the video is not always carried out together with the analysis of the plot, and vice versa. The most heuristic are the issues that pay attention to both the visual and text, as well as, supplement semiotics by other methodologies.

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Wantoro, Wantoro. "Semiotic Analysis of Space and Time in The Film "Time Machine"." In Proceedings of the International Conference on Business, Economic, Social Science and Humanities (ICOBEST 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icobest-18.2018.78.

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Kazaz, Mete, and Yasemin Özkent. "“FOOTBALL IS NEVER ONLY FOOTBALL”: SEMIOTIC ANALYSIS OF THE FILM ‘LOOKING FOR ERIC’." In 23rd International Academic Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/iac.2016.023.048.

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Kazaz, Arzu, Süleyman Karaçor, and Mete Kazaz. "POLITICAL ADVERTISEMENT AND SEMIOTICS: SEMIOTIC ANALYSIS OF THE CHP ADVERTISEMENT FILMS WITH THE THEME ‘WE ARE*." In 23rd International Academic Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/iac.2016.023.047.

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Yılmaz, Selin, and Deniz Yengin. "Analysis of Emotional Approach of Digital Surveillance in Film Studies." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.020.

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Human is a social being, and needs communication to convey feelings, thoughts, beliefs, and ideologies to survive. Despite being man-made, machines do not have any feelings. However, the development of artificial intelligence poses a suggestion that machines can also think, and feel. The development of new communication technologies reveals the importance of the relationship between machines and humans. People can control the machine/robot with voice commands or hand-face-eye scans. The data processed in the machine memory can be interpreted with other algorithms and instantly give the needed information. The machine that processes the reaction of the individual sometimes may be protective for itself and the individual, and sometimes, a shadow. By recognizing the individual, the machine can turn into a dangerous and useful tool. Makine işlediği verileri saklayıp, depolamakta ve kayıt altına almaktadır. The data is protected by a machine-built firewall. However, if these data are captured, internal and external surveillance is inevitable. Nowadays, in terms of the ecology of communication, new media tools ensure the continuity of communication and facilitate the individual's socialization. In addition, the machines add speed to the life of the individual over time and space. In this study, the character structures of the machine are examined and its importance in terms of digital surveillance is revealed. The aim is to evaluate the machine in terms of digital surveillance by revealing that the machine can be protective, shadow, friend, or dangerous for the individual with the concept of artificial intelligence. In this study, the emotional intelligence of the machine and the concept of digital surveillance will be analyzed using the content analysis method and semiotics technique. In the research, randomly picked 5 Hollywood films (Ex Machina, I Robot, Bicentennial Man, Transcendence, Eagle Eye) will be analysed according to the character analysis of Jung, and the different aspects of the human and machine will be determined by making use of the emotional side of the machine and the fundamental oppositions of Barthes. In these films, the forms of the machine are different, and it is noteworthy that they have protective and shadow characters. The machine becomes dangerous by acting with its emotions. As a result, it has been revealed that the machine/robot reacts according to the data and has an important aspect in terms of digital surveillance since the machine is constantly evolving with the power of artificial intelligence, and this development makes it easier to access other tools and facilitate digital surveillance. In the eagle eye film, the machine can make digital surveillance using all the camera systems in the city.

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