DOCSLIB.ORG

A Semiotic Analysis of the Curse of La Llorona's Movie Poster

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Semiotic Analysis of the Curse of La Llorona's Movie Poster A SEMIOTIC ANALYSIS OF THE CURSE OF LA LLORONA’S MOVIE POSTER Dwi Nitisari Prodi Sastra Inggris, Fakultas Sastra dan Budaya, Universitas Gunadarma Jl. Margonda Raya No. 100, Pondok Cina, Depok [email protected] ABSTRACT The aims of this research are to find out verbal elements in The Curse of La Llorona’s movie poster and to find out non-verbal elements found in the The Curse of La Llorona’s movie poster. The method of this research is qualitative method because the data of this research are in words not in numbers. The source of this research is The Curse of La Llorona’s movie poster. After analyzing the semiotic signs, the researcher concluded that the semiotic signs found in the movie poster of The Curse of La Llorona’s can be analyzed through a semiotic approach using Saussure’s theory (signifier and signified). In the result of the research, it is showed that there are two elements of semiotics sign in ‘The Curse of La Llorona’s movie poster, namely seven data in verbal element (1 datum of headlines, 2 data of sub headlines, 3 data of body copy, and 1 datum of baseline) and 3 data in non-verbal element (1 datum of illustration, 1 datum of typography, and1 datum of color). Key words: Semiotics, Movie Poster, Verbal-Non-Verbal, Saussure INTRODUCTION 1 A picture can represent something and has its meaning for those who see it. Images have a variety of functions, usually used to introduce a product. The film industry is one of the fields that always use images as its advertising media. The picture can provide an explanation of the elements in it and the meaning of these elements. This relates to Saussure's dichotomy theory, signifier, and signified. Semiotics is the study of signs. For Saussure semiotics or semiosis is a general science of signs, a science that examines the life of signs in society. Ferdinand de Saussure revealed a theory about semiotics namely Saussure's dichotomy, signifier, and signified theory. Signifier refers to something that is in a material form (physical), explicitly exist and can be distinguished by human senses. Signified refers to something that is in a mental form. In this analysis, the researcher will focus on Saussure's semiotic theory which deals with the relationship between signifier and signified based on convention, commonly called signification.I am interested in analyzing The Curse of La Llorona movie poster. The Curse of La Llorona is a 2019 American supernatural horror film directed by Michael Chaves based on Latin American folklore La Llorona, following a mother in Los Angeles in 1973 who had to save her children from evil spirits who tried to steal them. The film was produced by James Wan and written by Mikki Daughtry and Tobias Iaconis. This is the sixth installment in The Conjuring Universe franchise. Ghost figures and characters are described in the poster film. The film poster indirectly describes the film. The analysis of the film poster uses Saussure's semiotic theory which explains the significant and signified relations contained in the elements in the poster. Semiotics and Visual Representations 2 Semiotics is simply defined as a theory of signs or sign systems. While the sign is something that has meaning, which communicates messages to someone. Therefore, everything can be a sign, for example, books, films, building people, and also advertisements. A sign in the system is separated into two components, namely signifier and signified. Signifiers are material that carries meaning, while signified is the meaning. Signifiers refer to the concrete dimensions of the sign, while signified is the abstract content of the sign, meaning placed on the sign. Semiotics, as explained by Ferdinand de Saussure, is "the study of the role of signs as part of social life". Semiotics is the study of the structure, types, typologies, and relation relations in their use within the public. Therefore, semiotics study the relations between these components with the user community. The semiotic analysis seeks to find the meaning of signs including things hidden behind a sign (text, advertisement, news). Because the sign system is very contextual and depends on the user of the sign. The thinking of the sign user is the result of the influence of various social constructions in which the user of the sign is located. Saussure’s Semiotics Theory The existence of Saussure's semiotics is the relation between signifier and signified based on convention, commonly referred to as signification. Semiotic signification is a sign system that studies the relation of sign elements in a system based on certain rules or conventions. Social agreement is needed to be able to interpret the sign. According to Saussure, signs consist of; sounds and images, called signifiers, and concepts of sounds and images, called signified. 3 According to Saussure, a sign has two entities, namely signifier and signified. Sign according to Saussure is a combination of a concept and an inseparable sound-image. The relationship between signifier and signified is arbitrary. There is no definite logical connection between the two, which makes the text or sign both interesting and problematic at the same time. Movie Poster In the Oxford Dictionary, the poster is a large notice, often with a picture on it, which is put in a public place to advertise something. Posters are also a form of two- dimensional graphic art that combines letters, numbers, and images on large paper media. Generally affixed to areas with flat surfaces, such as walls or boards, in crowded centers. Posters have a variety of functions. The main purpose is usually as a media for publication to be read by the wider community. The specific purpose is as a form of invitation delivered by the poster to be subjective, depending on what the poster maker wants. It can be due to commercial purposes, trying to win public sympathy, steal attention, and so on. In the film industry, posters are needed as media for publication and promotion. Since decades ago, posters are still a good choice for advertising or promotion. In a film poster, there are usually the main actors or actresses, titles, names of the crew involved, and others. Movie posters usually depict the essence of the film. Besides, film posters are also a medium of communication to the public because there is some information on it. METHOD The method of this research is qualitative method because the data of this research are in words not in numbers. The source of this research is a movie poster title The Curse of La Llorona. The movie poster is taken from the Amazon.com that is accessed on June 4 10, 2020). The collection data is done by note taking technique (Sugiyono: 2006 in Mahajani at, al.:2017) namely: downloading the The Curse of La Llorona movie poster, paying attention to the elements of the parasite movie poster, giving note of each verbal and non-verbal in The Curse of La Llorona movie poster, and classifying the verbal and non-verbal elements of the movie poster according to the theory of signifier and signified of Saussure. After collecting the data of verbal and non-verbal element, the researcher making an analyzing technique namely: breaking down the part of verbal elements into table, analyzing of each part in verbal element using the theory, breaking down the part of non-verbal elements into table, analyzing each part in non-verbal elements using the theory of colour, then making conclusion. Result of the Research After categorizing the elements in the The Curse of La Llorona movie poster the researcher found the result as follows: NO SIGNS ELEMENTS AMOUNT Headlines 1 Sub Headlines 2 1 VERBAL Body copy 3 Baseline 1 Illustration 1 NON- 2 Typography 1 VERBAL Colors 1 5 Discussion Most print advertisements, in this case movie posters, contain two elements, namely verbal and visual elements. Verbal elements consist of headline, sub headline, body copy, and baseline (slogans or company names and addresses). While the visual elements in the form of illustrations, typography, colour and layout. Both elements of the Movie Poster will be analysed to find out its meaning as a film publication media. The following will be presented the results of the analysis of the movie poster The Curse of La Llorona, which is the results of this research: Verbal Elements Headline Headlines are verbal messages that are most highlighted and are texts that are expected to be read first by the target audience. The location can be anywhere, but it is usually presented in a larger font size than others. The Curse of La Llorona movie poster has a headline namely film product title. Here are the headline images found on The Curse of La Llorona movie poster: Pictures 2.1 Poster Headline Headline Text: The Curse of La Llorona SIGNIFIER SIGNIFIED “The Curse of La Llorona” text is a signifier The phrase “The Curse of La Llorona” is one of urban of the movie title with the same text. legend from Mexico. A long time ago, there was a beautiful lady who married an ordinary man and they had two sons. One day, the second child saw his mom trying to kill his brother by drowned in the river. He got caught and killed too. Their mother killed herself in the same river. Since that, she haunted for children to carry 6 with her. The reason why she killed her sons and herself was because her husband didn’t love her. She was refused to entry the heaven until she found the souls of her two sons. She was called La Llorona or the weeping woman because she always cried to get an attention from children.
Load more

Recommended publications
  • Joker (2019 Film) - Wikipedia
    Joker (2019 film) - Wikipedia https://en.wikipedia.org/wiki/Joker_(2019_film) Joker (2019 film) Joker is a 2019 American psychological thriller film directed by Todd Joker Phillips, who co-wrote the screenplay with Scott Silver. The film, based on DC Comics characters, stars Joaquin Phoenix as the Joker. An origin story set in 1981, the film follows Arthur Fleck, a failed stand-up comedian who turns to a life of crime and chaos in Gotham City. Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Glenn Fleshler, Bill Camp, Shea Whigham, and Marc Maron appear in supporting roles. Joker was produced by Warner Bros. Pictures, DC Films, and Joint Effort in association with Bron Creative and Village Roadshow Pictures, and distributed by Warner Bros. Phillips conceived Joker in 2016 and wrote the script with Silver throughout 2017. The two were inspired by 1970s character studies and the films of Martin Scorsese, who was initially attached to the project as a producer. The graphic novel Batman: The Killing Joke (1988) was the basis for the premise, but Phillips and Silver otherwise did not look to specific comics for inspiration. Phoenix became attached in February 2018 and was cast that July, while the majority of the cast signed on by August. Theatrical release poster Principal photography took place in New York City, Jersey City, and Newark, from September to December 2018. It is the first live-action Directed by Todd Phillips theatrical Batman film to receive an R-rating from the Motion Picture Produced by Todd Phillips Association of America, due to its violent and disturbing content.
    [Show full text]
  • The Conjuring
    ! New Line Cinema presenta il thriller soprannaturale “The Conjuring - Il caso Enfield”, sequel del grande successo “L’evocazione - The Conjuring”, diretto ancora una volta da James Wan (“Furious 7”), che porta sullo schermo un altro dei casi realmente accaduti su cui hanno indagato i famosi studiosi di demonologia Ed e Lorraine Warren. La candidata all’Oscar Vera Farmiga (“Tra le nuvole”) e Patrick Wilson tornano nel ruolo di Lorraine e Ed Warren che, in una delle loro più terrificanti indagini paranormali, si recano a Londra per aiutare una madre single che vive da sola con quattro bambini in una casa infestata da spiriti malvagi. Il film è il sequel di “L’evocazione - The Conjuring” di Wan, che ha incassato oltre 319 milioni di dollari in tutto il mondo, ed è diventato il secondo film horror di maggior successo di tutti i tempi, piazzandosi subito alle spalle di “L’esorcista”. Nel cast anche Frances O’Connor nel ruolo della madre single, con Madison Wolfe e gli esordienti Lauren Esposito, Patrick McAuley e Benjamin Haigh nel ruolo dei figli; Maria Doyle Kennedy, Simon Delaney, Franka Potente e Simon McBurney. La sceneggiatura è di Chad Hayes & Carey W. Hayes & James Wan e David Leslie Johnson, il soggetto è di Chad Hayes & Carey W. Hayes & James Wan. Peter Safran e Rob Cowan, che avevano già collaborato a “L’evocazione - The Conjuring”, sono i produttori con Wan. I produttori esecutivi sono Toby Emmerich, Richard Brener, Walter Hamada e Dave Neustadter. Nel team anche il direttore della fotografia candidato all’Oscar Don Burgess (“Forrest Gump”, “42”), la scenografa Julie Berghoff, il montatore Kirk Morri, la costumista Kristin Burke e il compositore Joseph Bishara.
    [Show full text]
  • “La Llorona” As a Liminal Archetypal Monster in Modern Latin American Society
    eTropic 16.1 (2017): ‘Tropical Liminal: Urban Vampires & Other Bloodsucking Monstrosities’ Special Issue | 67 The Role of the Internet in the Endurance of “La Llorona” as a Liminal Archetypal Monster in Modern Latin American Society David Ramírez Plascencia University of Guadalajara-SUV, México Abstract Monsters are liminal beings that not only portray fears, proscriptions and collective norms, they are also embedded with special qualities that scare and, at the same time, captivate people’s inquisitiveness. Monstrosities are present in practically all cultures; they remain alive, being passed from one generation to another, often altering their characteristics over time. Modernity and science have not ended people’s belief in paranormal beings; to the contrary, they are still vivid and fresh, with contemporary societies updating and incorporating them into daily life. This paper analyses one of the most well-known legends of Mexico and Latin America, the ghost of “La Llorona” (the weeping woman). The legend of La Llorona can be traced to pre-Hispanic cultures in Mexico, however, the presence of a phantasmagoric figure chasing strangers in rural and urban places has spread across the continent, from Mexico and Central America, to Latino communities in the United States of America. The study of this liminal creature aims to provide a deep sense of her characteristics – through spaces, qualities and meanings; and to furthermore understand how contemporary societies have adopted and modernised this figure, including through the internet. The paper analyses different versions of the legend shared across online platforms and are analysed using Jeffrey Jerome Cohen’s (1996) theoretical tool described in his work Monster Culture (Seven Theses), which demonstrates La Llorona’s liminal qualities.
    [Show full text]
  • La Llorona, Picante Pero Sabroso: the Mexican Horror Legend As a Story of Survival and a Reclamation of the Monster
    Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School Spring 2021 La Llorona, Picante Pero Sabroso: The Mexican Horror Legend as a Story of Survival and a Reclamation of the Monster Camille Maria Acosta Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/theses Part of the Chicana/o Studies Commons, Folklore Commons, Latina/o Studies Commons, Oral History Commons, Other Arts and Humanities Commons, and the Performance Studies Commons Recommended Citation Acosta, Camille Maria, "La Llorona, Picante Pero Sabroso: The Mexican Horror Legend as a Story of Survival and a Reclamation of the Monster" (2021). Masters Theses & Specialist Projects. Paper 3501. https://digitalcommons.wku.edu/theses/3501 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. LA LLORONA, PICANTE PERO SABROSO: THE MEXICAN HORROR LEGEND AS A STORY OF SURVIVAL AND A RECLAMATION OF THE MONSTER A Thesis Presented to The Faculty in the Department of Folk Studies and Anthropology Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment Of the Requirements for the Degree Master of Arts By Camille Maria Acosta May 2021 LA LLORONA; PICANTE PERO SABROSO: THE MEXICAN HORROR LEGEND AS A STORY OF SURVIVAL AND A RECLAMATION OF THE MONSTER Date Recommended_____________________4/2/21 Katherine Horigan Katherine_____________________________________ Horigan (Apr 6, 2021 16:27 CDT) Dr. Kate Horigan, Director of Thesis Ann Ferrell Ann_____________________________________ Ferrell (Apr 7, 2021 08:59 CDT) Dr.
    [Show full text]
  • Blu-Ray Players May Play Either Dvrs Or Dvds. DVD Players Can Only Play Dvds
    ___ DVD 0101 - 2 Guns Rated R ___ DVD 0644 - 12 Strong Rated R ___ DVD 0100 - 12 Years A Slave Rated R ___ DVD 0645 - The 15:17 to Paris Rated PG-13 ___ DVD 0102 - 21 Jump Street Rated R ___ DVD 0314 - 22 Jump Street Rated R ___ DVR 0315 - 22 Jump Street Rated R ___ DVD 0316 - 23 Blast Rated PG-13 ___ DVD 0577 - The 33 Rated PG-13 ___ DVD 0103 - 42: The Jackie Robinson Story PG-13 ___ DVD 0964 - 101 Dalmations Rated G ___ DVR 0965 - 101 Dalmations Rated G ___ DVR 0966 - 2001: A Space Odyssey (Blu-Ray) Rated G ___ DVD 0108 - About Time Rated R ___ DVD 0107 - Abraham Lincoln: Vampire Hunter R ___ DVD 0242 - The Adjustment Bureau Rated PG-13 ___ DVD 0646 - Adrift (Based on the a True Story) PG-13 ___ DVD 0243 - The Adventures Of Tintin Rated PG ___ DVD 0706 - The Aftermath Rated R ___ DVD 0319 - Age Of Adaline Rated PG-13 Blu-Ray players may play either DVRs or DVDs. DVD players can only play DVDs. 1 | SD BTBL Descriptive Video Order Form: 2020 Catalog ___ DVR 0320 - Age Of Adaline Rated PG-13 ___ DVD 0995 - Aladdin (Animated) Rated G ___ DVR 0996 - Aladdin (Animated) Rated G ___ DVD 0997 - Aladdin (live action) Rated PG ___ DVR 0998 - Aladdin (live action) Rated PG ___ DVD 0321 - Alexander And The Terrible, Horrible, No Good, Very Bad Day Rated PG ___ DVD 0109 - Alice In Wonderland Rated PG ___ DVD 0723 - Alita: Battle Angel Rated PG-13 ___ DVR 0724 - Alita: Battle Angel Rated PG-13 ___ DVD 0725 - All Is True Rated PG-13 ___ DVD 0473 - Almost Christmas Rated PG-13 ___ DVR 0322 - Aloha (Blu-Ray) Rated PG-13 ___ DVD 0726 - Alpha Rated PG-13 ___ DVD 0111 - Alvin And The Chipmunks: The Squeakquel Rated PG ___ DVD 0110 - Alvin And The Chipmunks: Chipwrecked Rated G ___ DVD 0474 - Alvin And The Chipmunks: The Road Chip Rated PG ___ DVD 0244 - The Amazing Spider-Man Rated PG-13 Blu-Ray players may play either DVRs or DVDs.
    [Show full text]
  • Critical Essays on James Wan
    H-Announce Critical Essays on James Wan Announcement published by Matthew Edwards on Tuesday, February 12, 2019 Type: Call for Papers Date: May 31, 2019 Location: United Kingdom Subject Fields: Film and Film History, Popular Culture Studies Critical Essays on James Wan Deadline for abstract submissions: May, 2019 Full name / name of organization: Matthew Edwards/ Independent Scholar Contact email: [email protected] Fernando Gabriel Pagnoni Berns/Universidad de Buenos Aires (Argentina). http://artes.filo.uba.ar/la-literatura-de-las-artes-combinadas-ii contact mail: [email protected] Critical Essays on James Wan Edited by Matthew Edwards and Fernando Gabriel Pagnoni Berns Critical essays are sought on the cinema of Malaysian/Australian director, screenwriter and producer James Wan. As 2018 marks Wan’s first incursion into superhero cinema with Aquaman, a film that reportedly is DC Films’ biggest worldwide grosser, critical attention on the director keeps intensifying. With huge critical and box office successes such as Saw (2004), a film that kickstarted a whole franchise, The Conjuring I and II (2013 and 2016), films that started a whole filmic universe, together with Death Sentence (2007), Insidious I and II (2010 and 2013), Furious 7 (2015) and Dead Silence (2007), it can be argued that we are facing a new Hollywood auteur with an identity of his own. Still, there is a striking lack of critical studies on the works of James Wan, even Citation: Matthew Edwards. Critical Essays on James Wan. H-Announce. 02-12-2019. https://networks.h-net.org/node/73374/announcements/3703216/critical-essays-james-wan Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.
    [Show full text]
  • Living.Sin.Fronteras:.. Transforming.Body.And
    95 Living.Sin.Fronteras:.. Transforming.Body.and.Ethnic.Mythologization. in.Gloria.Anzaldúa’s.Works Asami.Watanabe In Borderland/La Frontera (1987), Gloria Anzaldúa explores both internal and external borders by using mixed language and the reinterpretation of folklore and ethnic mythologization in an experi- mental style by mixing forms of anecdotes, prose, and poetry. In her creative exploration of fluid identity, she has written a postmodern work in which she portrays the imaginative body and positions the significance of writing in seeking coalition among women of color. Her thoughts and intentions as an activist in the work, along with the success in publishing famous anthologies by women of color, starting with This Bridge Called My Back: Writings by Radical Women of Color (1981), assured her leading position among women of color activists. She calls making anthologies her engagement in activism, in which the writers propose multicultural contemporary feminist issues on identities and intersecting oppression of race/eth- nicity, gender, class, and sexuality. As the title of the book indicates, Borderland/La Frontera, the concept of a “borderland,” an imagi- nary body and identity, is explored in the autobiographical writings. Anzaldúa mythologizes and fantasizes her body and experience in the context of Mexican folkloric traditions. She mirrors herself in the famous Mexican folkloric figure La Llorona (Weeping Woman), legendary and supernatural creatures, and the goddesses in Aztec mythology, such as Coatlicue, appear in her work.1 Her novel fea- tures elements of fantasy and mythology. Considering these images and the use of forms, her work is as diverse and multifaceted as she 96 Transforming.Body.and.Ethnic.Mythologization.in.Gloria.Anzaldúa’s.Works is herself.
    [Show full text]
  • Movie Success Prediction Using Historical and Current Data Mining
    International Journal of Computer Applications (0975 - 8887) Volume 178 - No.47, September 2019 Movie Success Prediction using Historical and Current Data Mining Partha Chakraborty Md. Zahidur Rahman Saifur Rahman Dept. of Computer Science & Engineering Dept. of Computer Science & Engineering Dept. of Computer Science & Engg Comilla University Comilla University Comilla University Comilla - 3506, Bangladesh Comilla - 3506, Bangladesh Comilla - 3506, Bangladesh ABSTRACT Paramount and Warner Bros [3]. However movies does not always see the face of success. Though movie industry is profitable place, Movie industry is a multi-billion-dollar business. Lots of movies lots of producers and production houses face a massive loss. are being released in every year. All of these movies have different Success of a movies is very complex matter because it has larger budgets and different cast crew but one thing in common - all investment. Larger investment comes with larger risk. The CEO want to make profit from movies i.e. make a good box office of Motion Picture Association of America (MPAA), J. Valenti record. Success of a movie depends on various factors of past and mentioned that “No one can tell you how a movie is going to do present. Identifying the right factors can predict the profitability in the marketplace. Not until the film opens in darkened theatre and of a movie. Some of the factors in predicting movie success are sparks fly up between the screen and the audience” [4]. budget, actors, director, producer, IMDb rating, IMDb metascore, Therefore, the motivation for this research work has come from the IMDb vote count, rotten tomator’s tomatometer, actors and director recent growing interest about success/failure of movies in the film social fan following, wikipedia views, trailer views etc.
    [Show full text]
  • Datelin: Downtown Volume 61 Issue 2
    Volume 61 Issue 2 September 10, 2018 Student run since Volume One Dateline: Downtown Also in This Issue... Studying abroad... Page 6 A first look at the Houston Texans sea- son...Page 9 A game-changing More than just a blunt: The maturity of new shopping app for marijuana...Page 7 clothing..Page 11 Staff/Contact2 Us Editor - Quintin Coleman Assistant Editor - Michael Case Business Manager - Irene Nunez Social Media Manager - Sonia Sanchez Faculty Advisor - Dr. Joseph Sample Staff Writers Dateline Downtown welcomes submissions to the editor Naomi Cardwell from any member of the UH system. Submissions should Jaida Doll be no more than 800 words, include the author’s full name, Archie Gayle phone number or email address, and affiliation with the University, including classification and major. Writers Helen Martinez Guidelines are available on the UHD/dateline webpage Lissette Perez Anonymous submissions will not be published. Contributing Writers from Dr. Sample's TCOM 4360 Deliver submissions to room S-260, email them to Course [email protected] or fax them to (713) Emily Christensen 221 8569. Letters to the Editor and reader submissions may be edited for space, content, spelling, grammar and Ashley Medrano malicious, vulgar, or hateful statements. Submissions must Sonia Sanchez be the original work of the writer and must be signed. All submissions become property of Dateline: Downtown and will not be returned. Intern for TCOM Internship Michael Case Dateline: Downtown is the offi cial student-run newspaper of University of Houston-Downtown. Editorials, cartoons, columns and letters are the opinions of the individual authors and do not necessarily reflect the opinions of other student writers, editors, advisors of the University of How to Get in Touch with Dateline: Downtown Houston-Downtown, its administration or students.
    [Show full text]
  • Pragmatics Analysis of Presupposition As Found in the Tagline of Horror
    Vivid: Journal of Language and Literature - Vol. 9 No. 2 (2020) Online version available in : http://jurnalvivid.fib.unand.ac.id Vivid: Journal of Language and Literature | ISSN (Online) 2502-146X | Linguistics Pragmatics Analysis of Presupposition as Found in The Tagline of Horror Movie Posters Yelmi Roza1, Ayumi2 1,2 English Department, Faculty of Humanities, Universitas Andalas, Padang, Indonesia SUBMISSION TRACK A B S T R A C T Recieved: August 16, 2020 This research is about pragmatics analysis of presupposition as found Final Revision: November 21, 2020 in the tagline of horror movie posters. This research aimed to discover Available Online: December 10, 2020 presupposition triggers and type of presupposition in the tagline of horror KEYWORD movie posters. In this research, the data were collected by downloading 14 Movie, presupposition, presupposition triggers, tagline, taglines in horror movie posters. Then, the data downloaded were divided type of presupposition according to the presupposition triggers and the types of presuppositions. CORRESPONDENCE The data were analyzed using two theories, presupposition triggers by Phone: 082283454966 Kartunnen (1973) and Yule’s presupposition types (1996). The result of E-mail: [email protected] the analysis shows an argument and a table. The results show that from 42 presupposition triggers found in the tagline of horror movie posters, definite descriptions are the most dominant presupposition triggers. Other presupposition triggers are the change of state verbs, factive verb, and counterfactual conditional. Meanwhile, out of 6 types of presuppositions, there are only four types of presuppositions found in the tagline of horror movie posters: existential presupposition, lexical presupposition, factive presupposition, and counterfactual presupposition.
    [Show full text]
  • Yang Semuanya Hampir Sama. Tetapi, Meskipun Memiliki Gaya Cerita Seperti Itu, Minat Akan Film Horror Barat Di Indonesia Sendiri Sepertinya Tidak Ada Habisnya
    yang semuanya hampir sama. Tetapi, meskipun memiliki gaya cerita seperti itu, minat akan film horror barat di Indonesia sendiri sepertinya tidak ada habisnya. Ada satu hal yang menarik dan menjadi perbincangan masyarakat setelah film The Conjuring ditayangkan, yaitu Anabelle. Mengapa Anabelle bisa muncul dalam cerita The Conjuring ?, hal tersebut ternyata merupakan sebuah media, dimana Anabelle, adalah salah satu unsur penting, dimana dari situlah munculnya ide dan istilah The Conjuring Universe. Anabelle lain dan tidak lain hanyalah sebagai sebuah sarana untuk menyampaikan kalau film The Conjuring ini, tidak berhenti pada satu sekuel saja, melainkan menjadi cikal bakal seluruh cerita horror dalam The Conjuring Universe ini, yang artinya hal tersebut juga menjadi sebuah ide atau industri marketing dari pihak produksi film tersebut. Film yang memiliki sekuel dan franchise tertentu, selalu menjadi penantian banyak orang, seperti Harry Potter, Avengers, The Fast and The Furious, yang nantinya bisa menjadi dan dikembangkan ceritanya menjadi sebuah spin – off dalam sebuah sekuel. Kalau dalam The Conjuring memiliki Anabelle, bagaimana dengan Pengabdi Setan ?. Penulis merasa kalau Pengabdi Setan akan memiliki sekuel, karena dilihat dari bagian ending filmnya menunjukkan, kalau ternyata sekte para penyembah setan tersebut sudah berkembang dan terus menyebar di nusantara. Tetapi semua itu kembali kepada para pihak produksi. BAB V Horror Barat dan Timur: Sebuah Kesimpulan A. Kesimpulan Penelitian ini memiliki kesimpulan kalau film horror adalah film yang memang tidak pernah ada habisnya, mulai dari segi pengembangan cerita, hingga bagaimana teknis saat produksi dimulai. Selain itu, ciri khas juga menjadi sebuah hal yang paling dinantikan oleh orang – orang yang menjadi penonton dalam film horror. Selain perkembangan film horror, ideologi serta mitos yang diangkat dari budaya masing – masing negara juga menentukan seberapa menariknya film horror tersebut.
    [Show full text]
  • Onder De Motorkap Van Het Mcu: Een Onderzoek Naar De Bouwstenen Van Een Cinematic Universe
    ONDER DE MOTORKAP VAN HET MCU: EEN ONDERZOEK NAAR DE BOUWSTENEN VAN EEN CINEMATIC UNIVERSE Een wetenschappelijke verhandeling Aantal woorden: 26.833 Tibo Duhamel Studentennummer: 01400216 Commissaris: Prof. Dr. Lennart Soberon Promotor(en): Prof. Dr. Stijn Joye Masterproef voorgelegd voor het behalen van de graad master in de film en televisiewetenschappen. Academiejaar: 2017 – 2018 2 3 Dankwoord Mijn immense dank gaat uit naar mijn familie, vrienden en mijn vriendin Aurélie. Zij waren een grote steun in tijden van stress, dat jammer genoeg onderdeel is van het schrijven van een masterproef. In het bijzonder wil ik mijn ouders bedanken, waarbij mijn moeder zowel mijn spellingchecker als mijn woordenboek was. Tenslotte wil ik professor Stijn Joye bedanken. Hij vormde een gigantische hulp tijdens het schrijven en wist ook altijd snel te reageren met het gepaste advies op eventuele vragen of moeilijkheden. 4 Abstract Sinds het ontstaan van het Marvel Cinematic Universe (MCU) wordt de term “cinematic universe” in talloze contexten gebruikt. De recente aard van dit concept zorgt echter voor een gebrek aan een consistente definitie. Dit werk vormt een nadere blik op de werking van een cinematic universe, dit aan de hand van de literatuur rond het MCU. In het bijzonder werden drie kernthema’s bekeken: de intertekstualiteit tussen de films, het voortzetten van het narratief via transmedial storytelling en de invloed van de identiteit van de studio op het uiteindelijke universum. In het onderzoeksgedeelte werden deze begrippen uit de literatuurstudie vergeleken met twee andere cases: het DC Extended Universe (DCEU) en het Dark Universe (DU). Hoewel alle drie universums aangeven een ‘cinematic universe’ te zijn, blijken er toch diverse verschillen te bestaan in hun werking.
    [Show full text]