Semiotics of the Moving Image 08

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Semiotics of the Moving

Image

CLB004 Lecture, Week 5, 2008

Michael Dezuanni


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Overview

Semiotics and moving images

Example - The IncrediblesTips for Video Production


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The Incredibles

View an except from The Incredibles

How can we understand, and make useof, the language components of this

text?

What types of literacies are required?


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Semiotics and visual language codes

Semiotics can be used to analyse all language.

Specific applications in relation to visual languagerelate to:

Social and symbolic codesTechnical visual codes

Narrative codes and conventions Ideological codes related to discourses


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John Fiske Television Culture

An event to be televised (or filmed) is already

encoded by social and symbolic codes such

as those of:

Level one: Reality

Appearance, dress, make-up, environment,

behaviour, speech, gesture, expression, sound,

etc


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These are encoded electronically by technical

codes such as those of:

Level two: Representation

Camera shots and composition, angles, editing,

music and sound


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Which transmit the conventional representationalcodes, which shape the representations of, forexample:

Narrative, conflict, character, action, dialogue, setting,casting etc

Level three: Ideology [discourse].

Which are organised into coherence and socialacceptability by the ideological codes, such asthose of:

Individualism, patriarchy, race, class, materialism,capitalism etc


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Shot 1 - Denied

Extreme Close Up - RedDenied stamp on policy.

Social and symbolic codes:

Following previous section- it is clear Mr Incrediblehas been denied his life asa superhero.

We learn hes in insurance

- which is boring andunfulfilling.

Red for stop and theresult of an aggressiveaction - stamping.

This is a moment ofimpact in the narrative - aturning point.


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Shot 2 - Mrs Hoganson

Pull out and up to: slightlyhigh angle close up of MrsH: Youre denying myclaim?

Social and symbolic codes

She is very small, weakand old looking.

She is wearing grannyclothes.

She has a frail soundingvoice. Background of grey filing

cabinets - official situation,but also depressing.

She needs to be saved.


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Shot 2 - Mrs Hoganson

Technical codes

Shes looking up - inferior in the

situation (its a high angle)reinforces that she is small andhelpless.

Its a medium close up whichhelps to reinforce the emotion ofthe situation.


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Shot 3 - Mr Incredible (Bob) & Mrs H

Level angle medium shot ofBob with back of Mrs H inforeground. 15 years latercomes up on screen.


Office is bland - pastel coloursrather than the bright colours ofearlier scenes.

Bob is slumping, chin in hand.Wearing bland (white-collar)

office worker clothes. He is very large - he over fills

the space - hes too big for it. He looks worried - not in control.

Mrs H looks frail - sheshunching.


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Shot 3 - Bob & Mrs H

Bob is looking down at desk - hecant look her in the eye. He isashamed.

Technical Codes:He fills the space - too big for it?

His body cannot be properly

contained by the space.Camera angle is level hes on the

same level as the rest of us nolonger super.


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Shot 4 - side view of Bob and Mrs

Hoganson

Long shot, level angle, of Boband Mrs H

Social and symbolic codes Bob appears trapped (caged).

Head down - bad posture.

Workspace is a small cubicle

space (not the public sphere).

Cluttered with office furniture,

phones, computer wires,

cabinets. It is dark / dull - no

natural light.

They appear as part of the

system.

Creates a binary withprevious scenes. He isunfit and controlled /contained.


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Shot 4 - side view of Bob and Mrs

Hoganson

Long shot, level angle, of Bob and Mrs H

Technical codes Level angle places us on same level as Bob

- we are invited to be in his position.

However, we are remote from it - we areobserving it from outside - they lack control -they are being surveilled?


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Shot 5 - Elastigirl (Helen) & baby - A

momentous occasion

Medium shot of Helen on phonewhile washing baby in kitchensink.


She is smiling. We are officiallymoved in. She sounds and looksgenuinely happy with her domesticsituation - light hearted and carefree.

Wearing slacks and shirt, with asensible haircut. Binary withElastigirls sexy outfit and attitude.

Contrast with Bobs (depressed)attitude.

Binary created withprevious scene -unnatural Vs natural.


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Shot 5 - Elastigirl (Helen) & baby - A

momentous occasion

Medium shot of Helen on phone while washingbaby in kitchen sink


Interior of house signifies as middle class and suburban. Helen is literally in the kitchen, mothering.

Baby is very happy.

Technical codes Level angle - we are on her level - we identify with her everyday

domestic situation.

Medium shot reveals peaceful neighborhood.

Natural lighting.


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Shots 6&8 - Bob on phone

Close up of Bob on phone.

Social and symbolic codes Phone is too small for his hand -

hes too big for this situation.

We realise they have been in thehouse for 3 years (news is notmomentous) - Bob sounds weary

and bored. Contrast with Bobas Mr Incredible.

Technical Codes Close up reveals Bobs emotion,

state of mind. Does he suspectHelen is nothappy?


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Shot 12 - Bob peaks around corner

Extreme long shot - Bob

peaks around corner

Social and symbolic codes Long grey corridor with

bright fluro lightssymbolises corporate

mass production. Its

sterile and lifeless.

Technical codes ELS, with deep

perspective reinforces its

oppressive nature.


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Shot 23 - Mr Huff

Medium shot as Mr Huff (the boss)walks quickly down hallway, pushingpast Mrs H, paying no attention toher. (corporate treatment ofindividuals).


Shows his lack of care for the littlepeople. He wears dark clothes(corporate, evil?)

Technical codes Camera pans dramatically with Mr

Huff as he storms into Bobs office,yelling at him, reinforcing thedramatic nature of the confrontation.


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Shot 24 - Mr Huff

High angle medium shot ofMr Huff as he yells at Bobabout his poor work.

Social and symbolic codes Mr Huff looks angry and

flustered. He is trying totake control.

Technical codes

Camera angle refuses tosupport Mr Huff (highangle).


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Shot 25 - Bob

Technical codes

Bob leans over desk and speaks back to

Mr Huff, defending client. Shows he has ahint of dignity left (the old Mr Incredible).


Bob looks defeated (but camera supports him - lowangle).


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Shot 30 - Bob

Extreme high angle, long shotas Mr Huff storms back downcorridor and Bob leans overdesk.

Social and symbolic

codes Grey interior is oppressive. Bobs head down,

symbolising defeat

Technical codes Extreme angle and long

shot emphasise Bobsisolation andpowerlessness.


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Focus on editing

Editing achieves more than the linking of

frames.Controls continuity which aims to hide the

edits to make the unnatural appear natural.

Draws us into the narrative we are stitched

in to the position of the main character

through editing forced to see things fromtheir perspective.


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Focus on editing

Editing achieves more than the linking of

frames.Reinforces the mood of the scene through

controlling pace. Faster edits reinforceaction. Slower reinforce emotion.

Can be used to create new meanings

through montage the joining of two imagescreates a new meaning not presented in

either individual image.


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Focus on sound

Sound achieves more than adding naturalism:

Non-diagetic sound eg music and sound effects

creates mood and adds meaning. Can be usedsymbolically or as a counterpoint against a visual to

introduce new meaning.

Diagetic sound eg dialogue - can be used tohelp the text appear natural and un-constructed.


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Practical tips for video production

If making a video for your self representation:

Use a tripod and frame your shots carefully.

Avoid low light and backlighting. Avoid noise and try to use an external mic.

Plan your shoot complete a storyboard or shooting

script, so you know every shot you need.

Dont shoot everything as one continuous shot planfor many short takes to build up your scene.


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Practical tips for video production

Shoot to edit. Shoot your shots as you know

they will need to be edited.

Aim to shoot 3-4 shots per hour, maximum.

Rehearse each shot several times beforeshooting.

Count your shots in: 3,2,1 action

Dont zoom and pan or tilt.Keep the zoom right out and move the

camera to frame up new shots.

Documents

Semiotics of the Moving Image 08