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Media Semiotics Jonathan Bignell Media semiotics AN INTRODUCTION Second edition Manchester University Press Manchester and New York distributed exclusively in the US1l by Pafi1raw Copyright((:: Jonathan Bignell 1997. 2002 The right of Jonathan Bignell to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 First edition published by I\!Ianchester University Press Reprinted 1998, 1999, 2001 This edition published 2002 by Manchester University Press Oxford Road. l'vlanchestcr I\1113 9NR, UK and Room 400, 175 Fifth Avenue, Ne\\' York, NY 10010, USA ww\v.manchesteruniversitypress.co.uk Distributed exclusively in the USA hy Palgn1vc, 175 Fifth Avenue. Ne\V York, NY 10010. USA Distrihuted exclusively in Canada by UBC Press. University of British Columbia. 2029 1i\7est l'vla\l, Vancouver, BC, Canada V6T lL'.2 British Library Cataloguing-in-Publication Data A catalogue record is available from the British Library Library of Congress Catalogi11g-i11-P11blication Data applied for ISBN 0 7190 620'3 '3 paperback This edition first published 2002 HJ 09 08 07 06 05 04 03 02 10 9 8 7 6 5 4 1 2 1 Typeset in Photina by Northern Phototypesetting Co Ltd, Bolton Printed in Great Britain by Bell & Bain Ltd, Glasgonr To Victor and Janet Bignell Contents List of illustrations page xi Preface and acknowledgements xiii Introduction 1 1 Signs and myths S THE SE:\lIOTIC POINT OF \.'[E\·V 5 SIGN SYSTEMS 8 CCHvIPONENTS OF THE SIGN 11 SEQUE/\:CES OF LlNCUlSTfC SIGNS 13 VlSOAL SICNS 14 CONNOTATION AND rvlYTH 16 rVIYTHOLOGIES OF \VRESTLIN(; ] 7 t'vfYTH AKD SOCIAL '.vlEANINGS 20 l'vIYTH AND IDEOLOGY 24 SOURCES AND FURTHER READING 26 SiiCGESTIONS FOR FURTHER \\'ORK 27 2 Advertisements 2 8 INTRODUCTION 28 THE ADVERTISING BUSINESS 29 ANALYSING ADVERTISINl; 30 THE SEMIOTIC CRITIQUE OF ADS 32 IDEOLOGY IN ADS 34 THE IDEOLOGY OF ADS 36 PROBLE\.JS !N THE fDEOLOGICAL ANALYSIS OF 1\DS -37 VOLKS\VACEN GOLF ESTATE 39 THE V\V GOLF ESTATE AD'S CONTEXTS :\NU READERS 43 \VONDERBRA 46 THE \VONDERBRA AD'S CONTEXTS AND READERS 50 SOURCES /1.1\D F(!RTHER READING 52 Sl!GGESTIONS FOR FURTHER \VORK 53 viii Contents 3 Magazines 55 INTRODUCTION 55 THE fv1AGAZINE BUSil\'ESS 56 lVIYTHS OF GENDER lDENTlTY 59 THE READING SUBJECT 63 ADDRESS AND [DENTITY 66 MASCCLI!\E AND FEi\:fININE '\VORLDS' 71 THE LL\flTS OF THE I!'v1AGINARY 75 SOURCES AND FURTHER RE1\DING 77 SL1GGE.ST[ONS FOR FURTHER \VORK 78 4 Newspapers 79 INTRODUCTION 79 THE NE\·VSPAPER BUSINESS 80 NE\:\iS VALUE 82 ,\lE\VS DlSCOlTRSE 88 HEADLINES AND GRAPHICS 92 PHOTOGRAPHS IN THE NE\·VS 94 NEVv'SP1\PER READERS 99 SOURCES AND FlJRTHER READING 103 SUGGESHONS FOR FURTHER WORK 104 5 TelePision neivs 105 INTRODUCTION 105 NE\VS IN THE TELEVISION SCHEDULE 106 DEFINING TELEVISlON NE\VS 110 i\.1YTHIC MEANINGS IN TELEVISION NE\VS 112 THE STRUCTURE OF TELEVISION NE\VS 116 i\1YTH AND IDEOLOGY lN TELEVISION NE\VS 121 MAKING SENSE OF TELEVISION NE\VS 124 GLOBAL NE\VS 126 SOURCES AND FURTHER READING 129 SUCGESTIONS FOR FURTHER \VORK 129 Contents ix 6 Television realisms 131 [ NTR 0 D !_i CT I 0 N l 31 CO?\TEXTS OF NO?\-FICTlON TELEVISION 133 CODES OF TELEVISION REALIS!\.1 130 TELEVISION J\ND SOCIETY 139 DRA:'v1ATISING THE REAL 144 VlE\VER INVOLVEi\.fEKT 148 SOURCES AND FURTHER READfNC 153 suc;Cl\STIONS FOR FURTHER \VORK 153 7 Tele\'ision fictions 155 INTRODUCTION 155 A!fDl!iNCES FOR TELEVISJO~ FICTION 156 CODES OF TELEVISION FfCTlON 158 FICTION AND llJEOLOCY 161 POSTl\·fODERNIS!\l /\:\D TELE\'lSlON 168 TELEVISION 1\UDIEN"CES 172 SOI.!RCES i:\ND FURTHER RE1\DINC 177 SUGGESTJO'.\IS FOR PURTHER \VORK 177 8 Cinema 179 I NT R 0 IJ II C'I' ION 179 THE FTLM BTJSINESS 180 CINE\lA SPECTr\TORSI-lIP 183 THE GENDERED SPECTATOR 186 FlL:-..1 SIGNS At\D CODES 190 FtL,l\I ;'\i\RRATlVE 195 FIL!\J GENRE 199 C!NEJvIA AUDIENCES 202 SOURCES AND FURTHER READlNC 205 Sll(;GESTIONS FOR FCRTI-IFR \YORK 205 x Contents 9 Interactive niedia 207 INTRODUCTION 207 i'vlOBILE C0!\.1MUNICATIONS 207 INTERACTIVE TELEVISION 211 COl'v1PlJTER GA!vlES 216 THE INTERNET AND \,\'ORLD \VIDE VVEB 219 CONCLUSION 223 SOURCES AND FURTHER READING 226 SUGGESTIO:-.JS FOR FURTHER \VORK 227 Bibliography 228 Index 238 List of illustrations l\ifagazinc advertisement for V\1\7 Golf Estate paye 40 (photograph by i'v1alcoln1 Vcn\'ille, courtesy of llMP llDB Needham) 2 \'Vonderbra poster advertisement 46 (reprinted courtesy of TBWi\) 3 The Sun. front page 7 February 2001 82 (Nevvs fnternational, 2001) 4 The Tinies, front page 7 February 2001 83 (Tiines Ne\vspapers Lin1ited. 2()() 1) 5 Nfartyn Lc\1vis reading BBC ne\1Vs 1 14 (courtesy of BBC Picture J\rchivc) 6 Peter Sissons reading BBC ne'i,VS 11 5 (_courtesy of BBC Picture Archive} 7 Crilnetvatch IJK presenters in the studio 143 (courtesy of BBC Picture 1\rchivc) 8 .r...1aurecn and Dave Rees in Driving School 146 (courtesy of BBC Picture i\rchhre) 9 A police raid in The Cops 1 64 (courtesy of BBC Picture Archive) 10 ivlargaret and Victor i\.1cldre\1V, One Foot in the Grave 166 (courtesy of BBC Picture 1\rchivc) Preface and acknowledgements The first edition of this book was published in 1997, and arose frorn my experience of teaching a course called 'l\ifcdia Serniotics'. Each year a group of undergraduates explored se1niot:ic theories in relation to V\rords, still images and 111oving i111ages in a range of contemporary media. 1\t least one person ahvays asked \Vhether there was one really useful book that I could reco1n­ rr1end. Such a book vvould introduce the key theoretical issues, den1onstrate hov·.r they can be applied. discuss the various prob­ lems which rnedia material presents to semiotic theories, and outline the shortcomings of semiotic analysis as \vell as its strengths. The book vvould \.Vork as a course text. \Vith progres­ sion fro1n topic to topic. and would also be an aid to revision and further work after the end of the course. 1VIedia Serniotics: An Introduction aitns to achieve these objectives, and the first edition has been widely used by students studying media. Since 1997 I have received many useful comments frorn tutors and students about the book, and the ne\v edition incorporates revised and extended sections which lake account of this feedback. The media landscape has changed since 1997. especially in the grovv·­ ing importance of 'new media' (the Internet. interactive software. inobile communications, etc.). This ne\v edition of 1\!Iedia Serni­ otics includes revisions to all the chapters to bring thetn up to date. and also includes new sections on recent media develop­ ments. I v1,1ould like to repeat the ackncnvledge1nents to people "\Vho helped directly or indirectly with the first edition of this book: to tutors who inspired my 'Vvork. including Stephen Heath and Stuart. Laing; to supportive colleagues in my forn1er post at the IJniversity of Reading; to fOrmcr postgraduate students '1.Vhose ideas influenced my o\vn, including Tania Christidis and Ian Stev1,rart; and to all those students who have taken n1y course in Media Semiotics and road-tested the ideas in this book. The work on the second edition has been made easier by the supportive environment of the Department of 1'v1cdia 1\rt.s at Royal B.ollov1ray. xiv Prej{ice and acknowledgements University of London. and I would like to pay tribute to the staff and students I -ivork 'i·Vith there. In particular, conversations \Vith students 'ivorking -ivith setniotic 1nethods have helped me to think through so1ne of the tnaterial in this edition. and I arn grateful to 1\ndrevv ()'l)ay, l)ee 1\my-Chin, Georgina !'vJassie. Helen (]uin­ ney. and many others. Illustrations are an irnportant but son1etin1es problematic aspect of books about the media, and l would like to thank those people v,rho helped me to obtain the illustrations in this edition, especially the staff of BBC Picture Archives, and David Sutcliffe for photographing three of the illustrated items. For copyright permissions. l gratefully acknowledge TBWA for the Wonderbra advertisement. DMP DDB Needham for the VW GolfEstate adver­ tisement photographed by Malcolm Venvillc. and BBC Picture Archive f()r the stills frorn BBC programmes. l am grateful to Mike Cormack for his helpful comments on the original proposal for the book. and to Sean Cubitt for his careful reading of the inanuscript of the first edition. i\!Janchester Lfni­ versity Press has enthusiastically supported the second edition, and l an1 grateful to its staff for their cncouragernent and close involvernent in this and other projects. Louise 1\llcn provided valuable help in suggesting ,,vays of n1aking the second edition n1ore useful in teaching. and [ an1 also grateful to the other tutors 'iVho have provided feedb;:lck. Lib Taylor has been there throughout the evolution of the book. and l thank her once again for her support. encouragc1nent and love. Introduction Every day we encounter and make use of a huge variety of media. Some of them fall into the category habitually referred to as 'the media', like newspapers, magazines. television, cinen1a or radio. All of these are obviously communications media. which make available a_ wide range of messages and meanings. But the term 'media' refers more widely to all those things which are channels for communicating something. If we widen the term 'media' to include anything which is used as a channel for com­ municating meanings, a large part of our experience of the world involves interactions with media.
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