1.
Roland Barthes Mythologies: state what you learned about his approach
and how you 'read' this image. Check back to the classwork on
this.
2.
Roland Barthes The Rhetoric of the Image: explain what you understand by
'rhetoric of the image' and deconstruct the Panzani advertisement.
3.
Choose a photo from a recent film and analyse the representations depicted. For
example, what would you say about either of these stills from Pride (2014)
?
Roland Barthes Mythologies (1964)
In
class, we looked at Roland Barthes Mythologies. Barthes myths
were dominant ideologies and were published in 1957. It is a collection of
essays taken from Les Lettres nouvelles. They examine social values converted into picture form. It is commonly used in advertising and studies of culture in different countries. Semiotics is the study of signs, symbols,
their use of interpretation.
John
Fiske (1982-91) explains that 'denotation is what is photographed, connotation
is how it is photographed'. In photography, denotation is the main focus at
connoting an emotion or meaning.
“The
way we make sense of a realistic text is through the same broad ideological
frame as the way we make sense of our social experience or rather, the way we
are made sense of by the discourses of our culture” (Fiske)
The
cover of the Paris Match is an example of the ideology of Roland
Barthes myths. The image portrays a patriotic boy with his hand placed on his
forehead saluting to the French flag. He is seen as proud and supportive of his
country, representing the fairness and equal rights in France. However, this
image can represent two meanings. Number one: all members of society are equal
without any colour discrimination, are all patriotic and faithful to their
country. Number two: the picture depicts a black soldier giving a French salute,
signifying a mixture of ‘Frenchness’ and ‘militariness’, a young innocent boy
represents the political and emotional arguments that have been influencing
French society. The young boy represents youth and inculpability.
“….Myth
has in fact a double function: it points out and it notifies, it makes us
understand something and it imposes it on us…”(Barthes 1964)
The Rhetoric of the Image (1977)
Using this website for help: http://www.mat.ucsb.edu/~g.legrady/rsc/barthes/rhetoric.html
Semiotic
meanings commonly used by Roland Barthes
Meaning
of Denotation - the literal or primary meaning of a word, in contrast to the
feelings or ideas that the word suggests.
Meaning
of Connotation - the associated or secondary meaning of a word or expression in
addition to its explicit or primary meaning: A possible connotation of
“home” is “a place of warmth, comfort, and affection.”
This is an advertisement of Panzani Italian
products that specializes in dried and tinned foods such as dried spaghetti,
tinned tomatoes, dried Parmesan cheese and tomato sauces. These products are
all staple, traditional components of the typical Italian diet. The images used
are rich in colour, proving that dried and tinned products can be as visually
appealing and fresh looking as recently picked/made, fresh produce is.
The aim of the advertisement is to entice and
appeal to audiences who typically buy fresh produce such as OAPS who have been
buying fresh produce for many years instead of tinned or dried foods. With the
produce spilling/falling out of the white mesh bag, symbolizes the natural and
strong quality that the dried food shares with fresh produce. With the strong,
vibrant and eye-catching red background, the colour red portrays a romantic,
luxurious, manipulative message appealing to the consumer.
Through richness of colour, the advertisement
attracts audiences through its ‘Italianicity’. For example, through use of
Italian colours such as red, white and green used on the national flag of
Italy, it reassures audiences that the products have strong Italian connection.
Remembering the traditional, strong values of food in Italian cooking;
delivering the best quality dried Italian food at lower prices to fresh
produce.
Pride (2014)
This shot from Pride portrays an OAP from the Welsh valleys dressed in a long, dark coloured floral shift dress, dancing with a male. The male behind the main female has placed his hands on her lower hips making her squeal with laughter. She has placed her hands on top of his creating a surprising, light-hearted and fun atmosphere.
The female OAP is dressed in a conservative outfit that consist of a white long sleeve blouse that ties at the neck in a bow, a dark blue coloured floral shift dress that presumably comes to just below the knees (like the two women behind her) and has her brunette hair in ringlets. She is dressed looking younger than her years; from appearance she looks as if she is in her late 60s/early 70s classifying as an OAP - who must be 60 years or older to benefit from OAP rewards/benefits.
Compared to the 3 women's outfits, but most importantly the central character, the bright lights and stage behind her creates an adventurous and 'new' feel. For example the loud music, with the bright lights and stage doesn't appear to be the right setting/location for OAP's, showcasing that the women are coming out of their 'shells'. The shy, unconfident, hesitant dancing of the 2 women behind; hands clenched together moving in a swaying motion creates a sheepish atmosphere compared to the confident, energetic and exuberant movement of the central female.
