Semiotics of Film: The Five Systems of Meaning

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Semiotics of Film
The study of signs; alternatively known as how films ‘signify,’ is known as semiotics (Chandler, 1994). Semiotics is a helpful tool used in film to examine how visual images form a system for the communication of meaning. Films construct meaning through signs. French Semiotician, Roland Barthes, in Mythologies asserts that “trivial aspects of everyday life can be filled with meaning,” and this even includes a character’s hairstyle (Barthes, 53-55). Therefore, in film, a sign can be anything within a film shot (aural or visual) that depicts something else, i.e., a prop or an individual’s facade (Chandler, 1994). Sign is separated into two parts: Signified/Signifier. Signifier is the physical aspect or the tangible thing we hear/see. Signified is the psychological aspect, the mental picture evoked by the signifier; the reaction to the object.
In semiotics, there are separate ‘levels of meaning’ (orders of signification). Semioticians differentiate between Denotation – what a sign represents, and Connotation – its cultural affiliations (Barthes 1977, 15-31, 32-51). Connotation involves objective interpretation, ideological assumptions, emotional overtones and socio-cultural values. A vehicle can connote freedom or virility in Western cultures, and so forth.
Roland Barthes, suggests five ‘codes’ or system of meanings. Codes are expository frameworks which are utilized by both interpreters of texts and producers (Barthes, 18). Barthes’ five codes are Enigma code, Action code, Cultural code, Symbolic code, Connotative code (Barthes, 19). Enigma code refers to mystery within a film. Clues are given, but no clear answers are established. Enigmas within a film make the audience want to know more, they may ask questions like; who did it? What will happen next? Unanswered enigma frustrates the audience. Action codes contain signs that belong to a pattern/system of action (Chandler, 1994). For insta...