Scope: Journal of English Language Teaching p-ISSN: 2541-0326 Volume 01, Issue 02, March 2017 e-ISSN: 2541-0334

SEMIOTIC ANALYSIS OF VALAK AND LORRAINE IN “THE CONJURING 2” FILM

Yulia Sofiani Zaimar

Program of English Education, Faculty of Language and Art, University of Indraprasta PGRI Jalan Nangka No. 58C Tanjung Barat, Jagakarsa, Jakarta Selatan 12530 [email protected]

ABSTRACT

This research offers a broad semiotical overview of the horror film, Conjuring 2. Horror films aim to bring the audience to deep fear. Therefore, these out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust, that are represented in films. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. This research focuses on the main characters, Valak and Lorraine, who lead this film to be a horror. This research is the result of an exploration into the literary reviews of the contemporary horror genre and a semiotic analysis a paranormal, Lorraine. This research concerned with the presence of material bodies in the performing sign and code of binary opposition by using signified and signifier theory. The results show that there are a few ethical and semiotic problems related to reality’s ability to actually take place within, and to break through, fictional representations identified by signs.

Key words: main character, semiotics, horror

ABSTRAK

Penelitian ini mengedepankan pandangan semiotik dalam mengkaji film horror, Conjuring 2. Horror film adalah sebuah genre yang bermaksud membawa para penikmatnya pada perasaan ketakutan. Untuk itu, audiensi mendapat perasaan emosi negatif yang diperoleh dari situasi seram, ketakutan, teror, bahkan perasaan menjijikan, yang disajikan di dalam film. Dalam menciptakan perasaan takut, banyak didapatkan dari adegan yang dianggap tabu, atau yang membawa film ini menghadirkan kekhawatiran yang diperoleh dari mitos-mitos kepercayaan pada suatu daerah. Penelitian ini terfokus pada analisis tokoh utama dalam film ini yaitu sang hantu, Valak dan sang cenayang Lorraine, yang membawa film ini menjadi film yang menakutkan. Penelitian ini mengetengahkan film horror yang dianalisis dengan menggunakan teori semiotik sebagai alat bedah, guna menarik makna dalam teks yang berupa gambar dengan menggunakan teori tanda dan petanda. Hasil penelitian menunjukkan adanya beberapa permasalahan etis dan semiotika yang berkaitan dengan kemampuan nyata dalam membangun sebuah representasi makna dari setiap tanda.

Kata kunci: tokoh utama, semiotika, horror

Copyright©2017 219 INTRODUCTION The key of study in Semiotics This research focusses to relates to the text (literature, film, or analyze The Conjuring 2 film as it is a even a piece of music). Films construct very popular horror film. This research is meaning through signs. Sign has two going to pick out every little aspect of the parts: signifier-signified. Signifier is the trailer to see if it has followed the typical physical part; or the tangible thing we codes and conventions of the horror see or hear. It is what we perceive. genre. This research will allow the writer Signified is the psychological part, the to gain knowledge on what goes into a reaction to the object, the mental picture horror trailer and it will also help, when a signifier evokes; the internal response the writer can refer back to this analysis. to the signifier. The media, including films play an Films are analyzable on the basis important role in human’s life. They of their inherent form and structure. One affect us through their different functions of field which is analyzable in the film is and occupy a significant part for most semiotic study. Film semioticians people. Broadly speaking, the attempted to define film’s specificity in transformations in world media are so terms of a specific combination of codes. great. This led to many academic serious The semiotician defines a film with researches by applying different specific combination of codes. It means approaches; empirical, conceptual, that a film genre has specific quantitative and qualitative. Semiology combination codes to represent the as a qualitative method of research is message or the film story. successfully transferred to media studies The word of semiotic comes from by researchers, who need more the Greek semeîon which means ‘sign’. approaches to explain media’s studies. Many semioticians define the definition In the reality, that horror films, of semiotic but shortly definition of although a more and more popular of semiotic is ‘study of sign’. Semiotics academic interest are far from being an involves the study not only of what we accepted scholarly discipline. There are refer to as ‘signs’ in everyday speech, but very few opportunities to pursue any of anything which ‘stands for’ something research in this area in the comfort of a else. In a semiotic sense, signs take the structured academic environment. The form of words, images, sounds, gestures film itself is the art of visual and objects. Contemporary semioticians abbreviation. Cinema is synesthetic as it study signs not in isolation but as part of arouses senses. Barthes (1972), the semiotic ‘sign systems’ (such as a French Semiotician states in medium or genre). They study how Mythologies, ‘trivial aspects of everyday meanings are made and how reality is life can be filled with meaning’, and this represented. Types of semiotic study in includes even a character’s styles. It this paper is social semiotic. Literature means, by using semiotic, researcher can semiotics focuses on how people analyze every signs in films. At the point, regulate the use of semiotic resources, in the important thing the researcher should the context of literature, and most of be familiar with is synecdoche, that is, them relate to social phenomenon. relationship of the whole part. For Through this research, the writer instance, the crown represents the king gives several suggestions for the next or the queen, the ‘oval office’ stands for researchers to be more sensitive in the ‘President’, while the ‘badge’ recognizing the signs as every sign symbolizes ‘law and order’. should be described in detail including

220 Scope: Journal of English Language Teaching, Vol. 01, Issue 02, Mar 2017, 219-229 its meaning and functions. Moreover, location, as a night light is to help young they should be objective in defining and children with a fear of the dark. With the interpreting signs. In addition, the writer light, there are connotations such as a also suggests the next researchers to use fear and nightmares, which are signifiers the application of mythology or different of the horror genre. Furthermore, along semiotics theories in ‘Conjuring’ with the music, we as the audiences film. This study is classified into know that there is something in the qualitative research since it is intended to child’s bedroom, and so the tension rises, analyze visual and text form. The type of and the audiences feel more involved the study is document analysis since it with the film. The location alone is uses film as the source of the data. enough to signify the genre. In addition, Talking about Conjuring, this film with in depth analysis of the night light, is a kind of a horror film. Horror as a alongside the creepy, high tension music, genre has a very close connection with the genre of horror is signified. semiotics. Considering that horror as a As we are introduced to the genre is all about making various location, the camera angle is high, and cultural references. It is easy to see that looks down onto the sleeping child, most films could not function on a before panning off into another room. deeper level without semiotics. Horror The high angled shot gives the films can also use semiotics by the way impression that someone is looking it uses its characters in the film and how down on the child, which creates further the narrative can tell you about those tension, and further displaying the characters. In the film Conjuring 2, the conventions of a horror film, as fear and main character, Lorraine Warren (Vera weakness is portrayed from the child. Farmiga) makes no comparison to what The shadows that are projected onto the one would think is a female capable of bedroom walls create an atmosphere of eluding an immortal murderer. fear, as anything can be hidden in the The soundtrack and audio in this shadows, especially as the light. By film are very typical of a horror. It uses a seeing the woman main character, Valak, lot of rock or heavy metal music to build this research aims to use two theories as suspense and to get the fast paced feel of the tool to analyze this film, as follows: the film across. The film also uses a lot Semiotic and feminism. Based on those of sharp stings to try and to scare the problems, this research would aim to audience, in a fun way. They use this as answer some questions as follows: What it is very common in horror films to use semiotic signs are found in “The sound to manipulate the audience. This Conjuring” film? Another question is film is based around making light of what messages are conveyed by verbal horror and its stereotypes, because of this and visual sign in “The Conjuring” film? is rife with common horror semiotics to make fun of, but also use to its advantage METHOD in building a serious horror film while The data in this research was taken making fun of others. from a poster advertisement entitled The opening scene of Conjuring “The Conjuring”. It was published by the begins in a child’s bedroom, which is film, on http:/filmpostercollectors.com identified with the child’s duvet set, which is published in March 2016. This bedside night lamp and teddy bear in the research uses qualitative method. corner with other miscellaneous items. According to Baron and Kenny The night light is a key feature of the (1986:1174), a moderator is “a

Semiotic Analysis of Valak… (Yulia Sofiani) 221 qualitative (e.g., sex, race, class) or word semiosis which is a term used in quantitative (e.g., level of reward) semiotics to designate the production variable that affects the direction and/or and interpretation of a sign (Busmann, strength of the relation between an 1996). Semiotic theory focuses on the independent or predictor variable and a social and cultural meaning of signs and dependent or criterion variable”. Given codes (Scholes, 1982). Signs consist of that the sampling frame adopted in the an image, a word, an object or even a current study contained films from a certain type of practice. The meaning of broader timeframe than what was signs depends on the relationships available to previous content analysis of between the signifier (the image, word, slasher films, the time period of release object, or practice), the signified (the for films may be a moderator of the implied meaning), and the referent (what relationship between victim gender and the image, word, object, or practice characteristics of violent presentations. refers to) (Scholes, 1982). A yellow yield To test for the potential moderator effect sign is a signifier that conveys the of time of release. meaning of the signified, to yield to other Firstly, this research would give a cars. The referent is the actions referred little explanation about semiotic. Horror to, in this case, yielding to other cars. films can also use semiotics by the way People learn that the colors red and green it uses its characters in the film and how as signifiers have certain signified the narrative can tell you about those meanings between stop and go, with the characters. Using Semiology, it is not the referent being stopping and starting a car way to analyze a film, by seeing scene by on the street based on a set of cultural scene. Semiology as a qualitative codes and conventions (Thwaites, 2002). method of research was successfully Using a semiotic Barthes transferred to media studies by following Peirce, with data collection researchers who needed more guided Sign Systems, this study approaches to explain media examines contributions of the satan sign phenomena. Barthes works to show new of Conjuring to horror films, a genre semiotics doctrine that allowed with a long cinematic history and analyzing the sign systems to prove how distinctive signifiers that provide a solid even nonverbal communication is open starting point for addressing why to interpretations through connotative characters appear in films. Thereby meanings. The aim of this research is to validating the importance to visual describe and to explain how semiology storytelling of this familiar occupational as a method borrowed from linguistics is symbol. Elements in a cinematic work highly used in media of analytical are all the ingredients that comprise a qualitative studies especially from film, including not only obvious ones Roland Barthes’ perspective, his (characters, costuming, set components, approach studied semiotics with a new dialogue, special effects) but also less spirit within media messages or images conspicuous features that affect how that appear purposefully to the receiver. meaning is perceived (music, sound What semiology semiotics is also effects, lighting, opening titles and called semiology that was first defined closing credits, camera angles and by the Swiss linguist Ferdinand de movement, editing cuts and transitions, Saussure as the science of signs pace, stylistic flourishes, and so on.). (Chappman and Routledge, 2009). Every feature that film makers use to Semiology as a science is related to the construct their works is an element

222 Scope: Journal of English Language Teaching, Vol. 01, Issue 02, Mar 2017, 219-229 assumed to be integrated for reasons. In culturally arbitrary nature of this binary addition, academics include elements opposition and describing the deeper that affect the perception of the story consequences of this structure such as a film’s publicity presented. throughout a culture. By seeing the action of Valak and This research objectives for ‘The Lorraine as the main characters, this Ghost Woman’ was not to convert research also uses a Binary Opposition audience into horror fans, although that theory to depict the difference of both. did sometimes happen, but to open up Actually, binary opposition is not part of horizons for both horror and feminisms. semiotic theorist, but structuralist. Firstly, this research offer horror as a site Nevertheless, both are similar. of critical reflection readers who might Structuralism comes from Ferdinand de be unaccustomed to combining their Saussure, but Semiotic came from feminism with film or literary theory. Roland Barthes. Structuralism actually Secondly, this research would to expand came into being as a distinct method of on well-known semiotic theoretical investigation. Nevertheless, Semiotic analysis that seemed to lock it into did not point to research inter-textual, perpetual struggle with horror, raising but the pleasure of reading, and others. intriguing questions of gendered For instance, his analysis of garments as spectatorship. signs speaks about the ‘system’ made up In what follows, the writer will of toque, bonnet and hood (pieces that briefly review a few of these theories in cannot be worn at the same time), and the discussing the experiences of the ‘Ghost ‘speech’, or ‘syntagm’, which involves Woman’ who repeatedly demonstrated the juxtaposition of different elements. It that the feminist classroom can engender can prove in Barthes (1981:135) interpretive strategies beyond the scope proposition as the followings: of the ‘male gaze’ first conceptualized “Semiotic does not try to by Mulvey (1999) in “Visual Pleasure describe the structure of the and Narrative Cinema”. Mulvey’s work; it is not a matter of influential essay tends to exclude the recording a structure, but rather possibility of a gaze that is not only of producing a mobile acutely aware of what horror does with structuration of the text (a and to women, but also of what feminists structuration which is might do with and to horror. displaced from reader to reader throughout history) ... Textual RESULTS AND DISCUSSION analysis does not try to find out The Conjuring story is set in 70’s, what it is that determines the and the shots do actually give a feeling text (gathers it together as the that the characters are actually in 1970’s end-term of a causal sequence), only. Paranormal investigators help a but rather how the text family which is terrorized by a spirit in explodes and disperses.” their house. Moreover, the idea of Many systems of meaning are keeping all solutions of their past case based on binary structures into their own house, was hell. The (masculine/feminine; black/white; and screenplay of this film is good, they keep natural/artificial), two contrary the main focus on the family comprising conceptual categories that also entail or of Roger (Ron Livingston), Carolyn (Lili presuppose each other. Semiotic Taylor) and their daughters. While the interpretation involves exposing the other plot revolves around Ed (Patrick

Semiotic Analysis of Valak… (Yulia Sofiani) 223 Wilson) and Lorraine (Vera Farmiga) Connecting from the screenshots, the who play the paranormal investigators. titles are positioned methodically, This research specially chooses because, although they are on a dark Lorraine because of her vulnerability she back ground they can be seen easily by brings into both the plots with her the audience. If they are on a background performance, special reference to the which is white, the text will be black in first scene when she enters Carolyn’s color and the position, which being home, or when she goes inside cupboard reserved. The first titles which appear are to check for clues. Valak is the main the introduction of the families which are antagonist of the 2016 live action horror involved in the film, then follows the film, The Conjuring 1 and 2. Valak director. appears in this film as a demonic nun By seeing main character of Valak, before Lorraine Warren and as The this research analyzed the semiotic signs Crooked Man before the members of the used film by examining semiotic Hodgson’s family and Ed Warren. theories. Semiotic study can analyze not First of all, the research would only written and spoken language but begin to explain a few seconds where can also analyze visual element of the there is a black screen, following on advertisement. The focus of this research from a voice over begins. There is a is to analyze the semiotic signs and the woman’s voice explaining how gloomy messages conveyed by verbal and visual and scary. There is a cut to an extreme signs, especially in “The Conjuring” close up of a doll’s eye and some of her film, which has a very amazing story and face. She looks very scary and weird. based on the true events. Again, this emphasizes the genre of The Conjuring film also has much horror. During the opening sequence, semiotic signs which can be analyzed in there are some different theorists used. this research. The audience should know For example, there are two girls who the meaning of the semiotic signs in this could be seen as the ‘helpers’ as they film such as the meaning of scene, the describe how they allowed a ghost to verbal and visual aspect. This research enter the body of the doll. This is a will cover the signs, codes and signifier theory from Barthes. The doll conventions in a film that can tell a lot could be seen as the villain, using this about the messages that the creators are same theory. This film opening however, trying to convey. Some film makers are breaks Todorov’s narrative theory as aware of the use of signs, codes and there is no equilibrium; the film begins conventions in their work, though some with them talking about the editing are not. In that case the symbolism, script. which makes it a little harder to interpret, The conjuring was a supernatural and so forth. horror film directed by James Wan. The The study of these signs, codes and audience can see from the screenshots, conventions in this film is and the writer has added most of the called semiotics, or semiotic analysis. opening sequence is either black or white Semiotic analysis is a way to explain or every dark this is what helps to portray how an audience makes meaning from the genre of the film. The darkness codes. All meaning is encoded in that connotes a feeling of terror and eeriness, which creates the meaning. No object or this is important to this genre because word is without meaning. Some cannot that is what they are trying to make the read or see something without audience feel something is different. associating it to a certain idea, the

224 Scope: Journal of English Language Teaching, Vol. 01, Issue 02, Mar 2017, 219-229 meaning. People have been taught how clothes are black, combining white. In to decode what they see, read and hear. Conjuring, it is just black in whole. The To decode meaning, it means how we color difference must contain sign that make sense of human’s surroundings. Satan can be anyone that can destroy Connecting Valak, is depicted very anything, including humans. In addition, differently from what was portrayed in the black color connotes the dark sinister the film. Valak is described as the 62nd theme of the horror genre. Talking about of the 72 demons of the Goetic. What denotation theories in semiotic, makes him different from the other connecting this film, family photos powerful demons is that he generally appear on screen denotes happiness & keeps to himself and is not accompanied innocence compared to the darker by an entourage of any other. It can be themes later in the trailer. told as a code. By using the theories, the film However, what is important to attempts to broad concepts of media realize is that the decoded meaning was hysteria about possession, the not created by the person decoding it, sanctification of human’s faith in both instead, the meaning already existed. God and the paranormal, maybe a They merely took the signs and applied critique of the British public housing their pre-existing knowledge. For system under Tory’s rule into its final example, if people read the word act. It can be proved in picture below: ‘failure’, he or she decodes it by relating it to the value your culture assigns to the concept of failure and its antonym, success. This is why most researchers from West interpret it very differently to someone from an Eastern. Although it doesn’t mean we cannot create meaning on own, the meaning proximately comes from some pre-established cultural notion. In semiotic analysis, the minimum Figure 1 of meaning are signs. For example, the way someone dresses is a collection of This picture can also analyzes that signs that informs others about the this film demonstrates several person; clothing encodes the smallest of conventions of horror; evil spirits, the signs. Like in Conjuring film, the satan scary appearance of hanging bodies, uses nun clothes. It should contain paranormal investigators, and dark meaning behind the clothes. On this, atmosphere by playing scary music. most basic level, there is the sign: the Connecting denotation theories, these denotation, which is the literal are the literal signs and codes: a means meaning. In denotation meaning, Nun of a nun. In this film, it is not meant to means a holly woman, who stay in appear like the thing itself. However, it Church, gives her live for God. always represents more than just the Nevertheless, when a sign occurs in a thing. When we see a nun, we also group, or in a particular context, it associate this with our cultural ideas of becomes a code, and it can suggest or ‘woman’, ‘holy’ or ‘the love’, or even connote extra meaning. kindness. Those things are called as Usually, the color of the Nun’s iconic sign code. Nevertheless, besides

Semiotic Analysis of Valak… (Yulia Sofiani) 225 these codes, there is another named is deeper than the latter one. It Enigma Code, that has been explained refers to those elements that before in theoretical framework. This give opposite meanings, i.e., iconic sign can also explain about have polarities and antithesis. paranormal, in this film, named The concept of polarities or Lorraine. When we see a paranormal, we binary oppositions is central to also associate this with our cultural ideas the theory of Structuralism. By of ‘predicting future’ or even ‘scary’. these binary oppositions, a Nevertheless, Enigma Code in this film, structuralist understands the Lorraine is depicted as a person who is reality. not scary and loveable. Relating the theories and the films, This research will be going the symbolic code is related to binary through to analyze another picture from oppositions on which the structure of a that film: story or text rests. The story under the discussion is structured on the basis of opposites, the binary oppositions. The story is concerned with two major characters, Valak and Lorraine, who both are entirely opposite to each other in their approach, outlook, and personalities as they belong. This film also revolves around binary opposites, like God-Evil. Back to the signified and signifier Figure 2 theories, it has told that it is used for representing and interpreting something Based on that picture, semiotically, by a sign. Researching Valak’s name and connecting the codes to the action, the action, using this theories, based on the act usually is the introduction of the source from internet, Valak (or Ualac, characters and a setting where characters Valac, Valax, Valu, Valic, Volac) is none must endure the horrors. The setting is other than the Great President of Hell. usually a new strange place which Generally speaking, he’s hot shit in the influences the characters to be isolated. demon world. Based on that statement, Another action sees the build of tension this research will continue to analyze increase as the identification of the another picture below: horror is introduced but not made aware by some of the other characters which leads them getting injured or suffered by the ghost. By seeing the whole act, this research also sees some binary opposition. The binary opposition is a kind of code. Almost in every films, audience usually meets many binary opposition, like good person and bad Figure 3 person. This is explained bravely in

Barthes theory in Barry (2002:151): In analyzing that picture, it can be “The code is somehow like the told that demonic possessions are mostly semantic code but its function attributed to Christianity. This research is

226 Scope: Journal of English Language Teaching, Vol. 01, Issue 02, Mar 2017, 219-229 going to avoid the Christianity-based In analyzing this picture, actually, answers because my knowledge on the she can see visions into the future or past. subject goes as far as me being a She isn’t experiencing it but she dreams Christian and believing in God. it. Like dreams, it sometimes affect Therefore, it is told that the thoughts are human’s physical movement. People quite simple and don’t go very far in usually screams, or in her case, get a nose depth. Valak is a cruel and absolutely vile bleed. The demon didn’t said this to her demon. It trapped a poor old man's spirit as this would lead to his downfall. in order to taint his name and torture an Rather, a third party joined in. In ancient innocent, struggling family in the times, visions and dreams are sent by a England. By using this spirit as a pawn, higher being to warn of future events. Valak tormented and traumatized this Where did Lorraine write this demon’s family and made this old man appear to name? In the Bible, right? She was be the bad man. Now, it’s down in the pondering about this demon and so she myth that name-calling is crucial in read the Bible for guidance. The film did exorcism. Actually, it has not been say the demon tried to hook her faith and known, how it came to that but demons, with that same faith helped her deduce it. according to the myths and stories, do This case is called the Cure for the follow commands from a being of higher Common Code. Specific semiotics authority or faith. studies a relatively fixed placed field of Actually, Valak never really told communicative, explained the extent that Lorraine her/his/its name. It was just one the field is ruled by an underlying code of Lorraine’s many visions. She has been correlating signs to their meanings. In shown as someone gifted with that sort exploring dreams connecting semiotic of thing. So she figured it out and got so theories, it was told that dreams are darn scared that she ended up scratching intriguing phenomena of the mind. it onto her bible. By connecting the Seeing the picture above, there Valak’s name as a king of demon and his seem to be certain shared processes, for clothes as a nun, it builds a connotation example, that is important to both that James as the writer, took this idea dreaming and language. Some of these and he added the detail to be like nun, have been well-explored in the century because he wanted to convey an idea that since Freud published The Interpretation the demons always try to deceive with of Dreams. By seeing the picture above, their skills to destroy humans. Conjuring this research have explored the role of depict that, the demon wanted to shake metaphor, metonymy, and punning in the every human faith, in this case Lorraine. formation of dream imagery. Many So it is designed in such a way that a nun dream texts, like had happened in (known as twisted sister). Lorraine’s life in Conjuring 2 would seem to lend themselves to analyze along the lines developed by narratologists for other sorts of texts. The basic elements of narrative have been put forward by, for example, Chatman (1978), in reference to Todorov’s formulation of the structuralist’s view of narrative in the 1960s (Barthes, 1994). Chatman divides narratives into two basic parts, Figure 4 story and discourse. Chatman (1978:19)

Semiotic Analysis of Valak… (Yulia Sofiani) 227 identifies those two basic parts as below: foregoing analysis semiotic film entitled “A story (histoire) is the “The Conjuring 2” film, there were some content or chain of events aspects which formulated in the horror (actions, happenings), plus film. In reality, demons are dangerous what may be called the beings that can lead us on to a very dark existents (characters, items of road when we invoke them. When they setting); and a discourse are propitiated, they are allowed into a (discours) is the expression, person’s life; propitiation is when we the means by which the content give them permission to become a part of is communicated. In simple our lives. From the visual and sound terms, the story is what in a aspect, this research understood the narrative that is depicted, genre of the film was horror and discourse is the how.” happened few years ago. There was also an analysis about messages which were carried by the action of the two main characters, even they come from different world (demons and humans). By seeing the main character, Valak, and its nun clothes, using semiotic theories, clothing is not a verbal sign that can be interpreted differently depending on the discourse, situation or culture. It’s in this way that the semiotics of fashion Figure 5 can be linked to social semiotics. Fashion can go beyond symbolizing a By seeing the picture above, profession, it can also communicate connecting the holiness of the nun dress ideas about an individual’s personality, in Conjuring, it is used by the demon to social status, or religious belonging, like deceive the Lorraine with her faith. In nun clothes in conjuring. Connecting to other explanation, it can say that the reality based on Conjuring film, instead, reason of the demon in The Conjuring 2 the way how people watch films and the is depicted as an evil nun is explained by way they perceive everyday reality are the cognitive images in Semiology. This approximately similar, in that both are means that the semiotic mechanism is determined by conventions or codes. using theatrical custom or cult tradition Reality is itself a complex system of to subliminally emotional reactions, signs interpreted by members of the transferred by horror film culture, exactly the same way as are motif. Therefore, this research begins to films. note to the possibility that such medieval At the end of this research, the roles as demons and nuns are engaged in writer would like to say that there are a holly battle, transferred by modern many semiotic signs and codes in mass media products such as The researching literary works, including Conjuring 2 film. films. Instead, of talking about horror films, the audiences, even the writers CONCLUSION cannot forget, that horror is for some After researching The Conjuring people pleasurable. Whether horror films film, this research would give a exploit audience’s fears of death and conclusion in this part. Based on the decay, either of the physical body or the

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