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h Every medium has its own ͚language͛ ʹ or

combination of languages ʹ that it uses to
communicate meaning. Television, for
example, uses verbal and written language
as well as the languages of moving images
and sound.
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h áedia messages are constructed using a
creative language with its own rules. !



  • whether
newspapers, TV game shows or horror
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especially the language of sounds and
visuals which can reach beyond the rational
to our deepest emotional core,  
    
 
 
  
  
  
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h °ccording to philosopher „ ! 
" #$%&$'͞we think only in signs͟ .
h Vigns take the form of words, images,
sounds, odours, flavours, acts or objects,
but such things have no intrinsic meaning
and 
  
 

 
 
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h °nything can be a sign as long as
someone interprets it as 'signifying'
something • referring to or  

something other than itself. We
interpret things as signs largely
unconsciously by relating them to
familiar systems of conventions. It is
this meaningful use of signs which is at
the heart of the concerns of semiotics.
h ringuist §  ! #$%()'
offered a 'dyadic' or two•part model of
the sign. He defined   


h *    *ñ  • the 

which the sign takes;
h and *   *ñ • the

 it represents.
 „ ! "  #$%&$'+
,   
h ã  V a mode in which the signifier is
perceived as  or imitating the
signified ñrecognizably looking, sounding,
feeling, tasting or smelling like it • being
similar in possessing some of its qualitiesV
e.g. a portrait, a cartoon, a scale•model,
onomatopoeia, metaphors, 'realistic'
sounds in 'programme music', sound
effects in radio drama, a dubbed film
soundtrack, imitative gestures;
h ã  V a mode in which the signifier
is 
   but is  
 in
some way ñphysically or causally to the
signified • this link can be observed or inferredV
e.g. *   * ñsmoke, thunder, footprints,
echoes, non•synthetic odours and flavours ,

 
 
ñpain, a rash, pulse•rate ,

   
  ñweathercock,
thermometer, clock, spirit•level .
h !

 V a mode in which the
signifier does 
 resemble the signified but
which is fundamentally   or purely
conventional • so that the relationship must
be learntV e.g. language in general ñplus
specific languages, alphabetical letters,
punctuation marks, words, phrases and
sentences , numbers, morse code, traffic
lights, national flags.
 enotation, Connotation and
áyth
h In semiotics, denotation and connotation
are terms describing the relationship
between the signifier and its signified, and
an analytic distinction is made between
two types of signifiedsV  

    
    .
áeaning includes both denotation and
connotation.
h °s M] #$%-('noted, Vaussure's
model of the sign focused on denotation at
the expense of connotation and it was left
to subsequent theorists ñnotably Barthes
himself to offer an account of this
important dimension of meaning .
h ] #$%((' argued that in photography
connotation can be ñanalytically
distinguished from denotation.
h °s {§  #$%./'puts it 
 

 

 

 




 rink to Barthes͛ editing
at stage of production we discussed.
h Melated to connotation is what Moland
Barthes ñ
 refers to as . For Barthes
myths were the dominant ideologies of our
time. The
st and 2nd orders of signification
called denotation and connotation combine
to produce ideology • which has been
described as a  
 
 

§  0 #$%./'
 aradigms and Vyntagms
h M
{ #$%1-'and later
„2
! emphasized
that meaning arises from the
  between signifiers;
these differences are of two kindsV
   ñconcerning
positioning and   
ñconcerning substitution .
h In film and television, paradigms
include ways of changing shot ñsuch
as cut, fade, dissolve and wipe . The
medium or genre are also paradigms,
and particular media texts derive
meaning from the ways in which the
medium and genre used differs from
the alternatives.
2 3
h Evaluating
 is an evaluation of
all the
 
  

  
   
  
 
     
   ñthrough micro
elements .
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h We must also remember to discuss the
  
 #0$%.5'that we
wanted our audience to 6!„6!
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h áise•en•scène constitutes the key aspect of
the pre•production phase of the film and
can be taken to include all aspects of
    and „ 
  .
h áise•en•Vcene creates the   
    • the fictional space and
time implied by the narrative, i.e. the world
in which the story takes place.
 °spects of áise•en•Vcene ʹ
video and print style
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h 2   " #$%/.'
h ,
  3 struggles against the hero.
h , 3 prepares the hero or gives the hero
some magical object.
h ,#
 ' 3 helps the hero in the quest.
h ,    3 gives the task to the
hero, identifies the false hero, marries the hero, often
sought for during the narrative. ropp noted that
functionally, the princess and the father can not be
clearly distinguished.
h ,   3 character who makes the lack
known and sends the hero off.
h ,  

    3 reacts to the
donor, weds the princess.
h J§ a 3 takes credit for the hero͛s actions or
tries to marry the princess.
 á  !
 ! 
h Editing is a post•production technique in
which the footage shot during production is
cut up and reassembled in such a way as to
tell the story.
h TV shows are  filmed in chronological
order.
h They are filmed out of order in short
sequences, called ͚  ͛, which then have
to be assembled in the correct order.
h 2, V takes of an unusually long
length.
h ! , V takes that only last for a few
seconds.

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h °ccording to "
„ ñ
 , the
standard Hollywood narrative structure
should haveV
h rinearity of cause and effect within an
overall trajectory of enigma resolution.
h ° high degree of  
 .
h ° fictional world that contains
verisimilitude especially governed by
  
  .
h ,7
 , 
#$%((' is a Bulgarian structural
linguist. He was interested in the way language is
ordered to infer particular meanings and has
been very influential in the field of narrative
theory.
h „28
! ͛ #$%1.'ideas about
narrative amount to the fact that he
believed all stories operated to certain
clear ]    e.g. good vs. evil,
black vs. white, rich vs. poor etc.
h ] #$%(('suggested that narrative works
with five different codes and the  

works to keep up setting problems or puzzles
for the audience. His  ña look,
significant word, movement is based on our
cultural and stereotypical understanding of
actions that act as a shorthand to advancing
the narrative.
h ° , #$%%$'used the buckling of the
gun belt in the Western genre as a means of
signifying the preferred reading of an
imminent shoot out, and this works in the
same way as the starting of a car engine etc4
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h Vound is     in order to
create meaning. On remiere you used
multiple audio tracks ñone for dialogue and
music . You can have  and

 to enhance meaning.
h There are 2 types of soundV
h 6  
h   
h 6  ! which refers to sound whose
origin is to be located in the story world such as
the voices of the actors, sound effects etc.
h   ! which refers to sounds not
explained in terms of any perceived source within
the story world, such as mood music, or ͚voice•of•
od͛ type commentaries.
h áusic added to enhance the show͛s action is the
most common form of non•diegetic sound.
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 Essay
h ͞á 

 
iscuss the
ways that you have used media language to
create meanings in one of your media
products.