Language Use in Movies: The semiotic conditionsof possible understandings Meti, Mallikarjun,Sahyadri Arts college,Kuvempu university,Shimoga.metimallikarjun@yahoo.

com This paper intends to focus the understanding of a language use in movies in termso f s o c i a l s e m i o t i c s . T h e c o n c e p t s o c i a l s e m i o t i c s i s a c o n c e p t o f t h e m u l t i - accentualityof the sign at the centre of semiotic theory and it also tries to apply theother key concepts like style shifting -Anti-language and Anti-groups (Halliday:1 9 7 8 ) a n d t h e t r a n s f o r m a t i o n o f e x p e r i e n c e i n n a r r a t i v e ( L a b o v e : 1 9 7 8 ) o f t h e semiotic theory. These concepts usually draw another semiotic system to express thebasic set of meanings.T h e f o c u s o f t h i s p a p e r i s t h e d e v e l o p m e n t o f w a y s o f u n d e r s t a n d i n g t h e characteristics of multim o d a l t e x t s . T h a t c o n c e r n e n t a i l s t w o i n d e p e n d e n t b u t related projects. One is the analysis of the major modals of representation, throughw h i c h a p a r t i c u l a r t e x t i s r e a l i z e d , a n d w h i c h i t i s p r o d u c e d . T h e s e c o n d i s a n attempt to understand the culturally and historically produced potentials of any onesemiotic mode for making meaning. Our assumption is that specific modes thev i s u a l , t h e g e s t u r e , m u s i c a l s o u n d , i m a g e s , M e t a p h o r s e t c , h a v e p o t e n t i a l s f o r making meanings and have limitations.I n f i l m , D H W E E P A 1 , t h e c h a r a c t e r , N a g i i s t h e r e p r e s e n t a t i o n o f f e m i n i s t projected character. The film at the surface level, it might depict t h e s t o r y o n ANECUT and its r e l a t e d s t o r y. H o w e v e r , t h e r e a l c o n c e r n o f t h e i m p l i c i t repr esentation of the story of screenplay, to show a feminist message t o t h e audience. The other mode is insensitive to the realities ofthe Indian context. It isfeminism without a histor y. DHWEEPA is ver y much a p r o d u c t o f t h e m e n - dominated society she lives in. In fact, as she tries to protect her family and familymembers from the dangerous events. At the same time, at the end of the film herhusband GANAPATHIYAPPA says that niinu neap maatra, ellaa deevara Daye(everything happens, because of gods grace, you are just namesake), this particulardiscourse tend to suggest, the way in which men -domination plays an important role in order to build an oriental discourse. The strength of the film lies in its patientunhurried exploration of the experience of Naagi from an appendage to the men-dominated set up to an individual. Dhweepa also confronts other things whichneed to look into; such as the problem of sexuality, in the sense, Naagis husbandG a n a p a t i y a p p a s u s p e c t s N a a g i ,with Krishna in sexual relation. This is what Kasarvalli makes a subtle feminist discourse. On the one hand, th e image /metaphorical discourses. Such as the Mantapa, which cre

ates a myth in thisparticular film, which SitaR a m a u s e d t o s t a y h e r e a n d s h a r e t h e i r f e e l i n g s . Consequentl y, Naag i a n d h e r h u s b a n d o f t e n g o t h e r e a n d s h a r e t h e i r f e e l i n g s . Metaphorical discourses are becoming very important to punctuate the possibleunderstandings of the movie. It is very much obvious to note at this point, in thef i l m , T A B A R A N A K A T H E , t h e d i a l o g u e , s u r y a h u T T a t a a n o o m u L u g u t a a n o o goottaagatilla -whether sun rises or sun sets, it reveals several possible meaningpotentials or conversational involvement. i.e.Tabar, is in confused state of mind,w h e t h e r f r e e d o m h a s c o m e o r n o t . I n t h e s e n s e , e v e n a f t e r i n d e p e n d e n c e , t h e struggle for justice is still going on beyond the capacity. In this way, the film depictsthe flash back in order to understand the society, the system, the bureaucracy, this isone these metaphorical extensions. It also confronts us to derive another possiblem e a n i n g , w h e t h e r t h i s l i g h t s u p o r n o t i n h i s l i f e . E v e r y f i l m d e p i c t s i m a g e s , metaphors, in multi accentual manner, which create a lot of meanings and meaningpotentials in order to understand the particular texture. The structuralism of thefilmic structure is, are which reveals different possibilities of understandings of thegiven discourse. In the sense, Tabarana Kathe is a protagonist film of a system ofs o c i e t y , g o v e r n m e n t , a n d b u r e a u c r a c y . T h e m o d e o f r e p r e s e n t a t i o n s o f t h e Tabarana Kathe are persisting in, moral evaluation of on occurrence, on action, ora psychological stance related to a set of events of the system.Multi-modality is a phenomenon; it has always been the case that a text was realized through a number of modes of representation and communication. The filmis now much more prominent as a form communication that it has been for severald e c a d e s , t h e f i l m , a s t e x t , i s p r o d u c i n g t e x t s , w h i c h a r e M u l t i modal. That is,p r o d u c e r s o f t e x t s a r e m a k i n g g r e a t e r a n d m o r e d e l i b e r a t e u s e o f a r a n g e o f representational and communicational modes, which cooccur within, are text. Ithas become impossible to know texts reliably by paying attention to speech languagealone; it exists as one representational element in a text, which always multimodaland it has to be understood in conjunction with all the other semiotic mode of thetext.Taayee Saheba reveals the process of the past, being rendered into the present ina manner that does not convert the past into a remote. Static entity that we have torepresent in representations of in it (Manu: 2003) in fact, the past comes through inthe film with a life of its own and actually portrays a vibrant cultural dynamics in itsscheme that seems to suggest a movements into the future. The cultural landmarkthat he lps are traces the growth of feminist awareness in our context. This Taayi Saheba is greatly enhanced by the kind of ambivalence they display towards socialinstitutions and historical situations and not because of the resolutions they offer-inany case this film does not resolve anything in simplistic terms. The common sensehas come under sustained attack from two sources, one theoretical and, an empirical.T h e f o r m originated in the broad field of post -modernism, with the writings o f Derrida(1976) particularly important FeministTheory has lunched a sustaineda t t a c k o n l o g o c e n t r i s m a s a m a j o r e f f e cts of support for the structures ofpatriarchy representation of th e Taayisaheba,brings a feminist awareness.

Taayisaheba extrapolate an experience of reality from out of the world of realisms t a t e d d i f f e r e n t l y ; i t m e a n s t h a t e m p i r i c a l r e a l i t y i s t r a n s f o r m e d i n t o a n experimental reality. Meaning potential is defined not in terms of the mind but interms of the culture; not as what the speaker knows, but as what he can do- in thespecial sense of what he can do(abstract) linguistically(halliday:1978). Meaningpot entials are very significant features in understanding the texture of a given film.In the film, Taayisaheba, Waade (a palace) signifies the rea lities of the role ofNARMADA, the way in which she suppresses her motherhood and sexuality, in thesense, APPAASAAHEBA has fathered by CHANDRA of a female child, MANJULI.This oriental discourse is the symbol of masculine authority and famine sexuality offeudal-world system. The irony of situation cannot be missed. APPAASAAHEBAhas a mistress, and there by, an out let for his desires, where as NARMADA, the woman in a patriarchal setup, can only have a haranguing from the same man whenshe attempts to fulfill her physical needs(Manu:2003). Potential, what he can do, inthe special sense of linguistics, what he/she can mean and avoiding the additionalcomplication of a distinction between doing and knowing. The meaning potentialcan then be represented as a systematic option in meaning which may be varied inthe degree of their specificity-in what has been called delicacy.Considering the images, metaphors in its social context, then, we can describethem in broad terms as a behavior potential; and more specifically as a meaningp o t e n t i a l , w h e r e m e a n i n g i s a f o r m o f b e h a v i n g . T h i s l e a d s t o t h e n o t i o n o f representing the experience of persons, regional and cultural identity, consequently,r i c h l o c a l t e x t . T h i s g i v e n r i c h l o c a l t e x t d e p i c t s t h e i n d i v i d u a l e x p e r i e n c e i n transforming the universal experience. The narrative structure of TAAYISAAHEBAis unfolding the historical conflicts in order to understand the interplay between thepast and present. In the post-structuralisms point of view, the notion decent erringbecomes very important for interpreting the feminist insights of the modern time. Inthe sense, TAAYISAAHEBA could be a symbol of cultural and political freedom.The symbolic representation of the images and metaphors, are very much relevant inthis film. The creativity, which underlies the sensibility of modern time in this film,is very relevant.This papers focus is on textuality, on the social origins and production of textas much as on the understanding of text\film. We call this practice social semioticst o d r a w a t t e n t i o n t o a l l f o r m s o f m e a n i n g a s a s o c i a l a c t i v i t y , s e t i n t h e f i e l d o f politics; in structures of power; and subject therefore, to the contestations arising outof the differing interests of the markers of texts. This leads to one telling differencebetween social semiotics and conventional forms of semiotics. These interests of them a r k e r o f a s i g n lead to a sign to a motivated relation between signifier ands i g n i f i e d , a n d t h e r e f o r e t o m o t i v a t e d s i g n s i n t h i s s e n s e , i n t h e f i l m TAAYISAAHEBA, BAALASAAHEBA, the r epresentative of the last generationtries to wash away the smell of perfume by washing his hands in the pond and thenincreasing desperation tries to rub damp soil on his hands hoping it would erase theperfume. However, it clings like the tangled web of money, power and masculinity,which constitutes the feudal-world. Defeated, he curls up in a foetal position, like at i r e d a n d h e l p l e s s c h i l d . T h e o t h e r i m a g e i s t h e s m i l e, which light up

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