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Analysis of Two Different Topics

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Analysis of Semiotics in the Ghost Dog: The Way of the Samurai.

Most institutions do not specify semiotics as an academic discipline. Semiotics is a

discipline that entails different methodological and theoretical stances. Umberto defines

semiotics as an aspect focusing on all aspects that can take the form of a sign. Semiotic studies

focus on studying an aspect representing something else and a sign. Signs in semiotics take the

form of objects, gestures, sounds, and images. In semiotics, one learns the functions of signs as a

section on social life, while as per Charles Peirce, semiotics is closely related to Logic and bring

out the formal doctrine of signs. Contemporary semiotic analysis of signs as a part of sign

systems helps one understand how meaning is achieved through communication and the building

and maintaining reality. Semiotics from Morris embraces semantics together with other

traditional branches of linguistics. Semiotics through the Peirce model help one understand the

Ghost Dog BY Jarmusch from an icon, symbolism, and index perspective.

The triadic model of semiotics consists of representamen, interpretant, and an object.

Representamen is the form of the sign, while an interpretant is the sense made of the sign, and an

object is a reference to a sign (Chandler, 2004). Charles Sanders Peirce creates a modern concept

from Saussure's definition of signs. He introduces the Peircean model as a triadic model

comprising three elements in the format of a triangle. The Peircean model differs from the

Saussurean model in providing a third element that can be referent, object, or beyond the sign

itself. Peirce presents one of the most detailed typologies of signs.

Peirce defines symbolism as an aspect that reflects Logic and stands for someone.

Jarmusch's On Gost Dog symbolism is from an eccentric mélange full of blending film genera

and cultural touchstones from mid-century TV cartoons to 90s hip-hop culture, mafia, and

samurai codes (Chandler, 2004). The icon in the film is very evident because of how it is brought
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out in its natural form. It represents the objects through equivalence, imitation, and replications.

Jarmusch On Gost Dog uses traditional samurai mythology and way of life as an icon in the 20th

century, like Le Samourai, the 1967 neo-noir crime drama. The index is always evident when a

signifier does not represent an arbitrary (Jarmusch, 1999). The connection of the representamen

and object is noticeable and physical. For instance, the name Ghost Dog stands for an uncanny

fusion of an index as it represents the number of cars the main actor steals by following the strict

rules of a samurai.

Semiotics through the Peirce model help one understand the Ghost Dog BY Jarmusch

from an icon, symbolism, and index perspective. The mobster's bad morality and poor

management in the film help to compare with the principal in The Ghost Dog even when the

character's form of criminality is against the ethics of them being stories. The film shows how

the representamen is an object and how they bring out the interpretant. It is evident from the

different kinds of signs not limited to symbol, index, and icon.

References

Chandler, D. (2004). Semiotics: The Basics. In Google Books. Psychology Press.

https://books.google.co.ke/books/about/Semiotics.html?

id=22GWdshwtFMC&redir_esc=y

Jarmusch, J. (1999). Ghost DOG: THE WAY OF THE SAMURAI.

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Visual Communication in the Film Queen of Langkasuka

The film Queen of Langkasuka shows a strong connection between the characters and the

visual communication in the play. The images are turned into storytellers as they are turned into

verbal, which offers visualization. The strength of the entire film depends on the movie's

cinematography. The film brings out visual communication by aiming at the visual content and

the close link among the characters that the scene left to convey the necessary information. The

beauty of cinematography depends on how visual communication procedures shape the

character's view of visual platforms without explaining other characters. The Queen of

Langasuka uses sensitivity to ensure that symbolic visuals and images are the only aspects that

help communicate with the audience.

The Queen of Langkasuka film director follows every step of the filmmaking framework.

The film successfully utilizes the cinematography strategies effectively. The film also has

compelling text that results in visual communication. Visual communication in the movie is very

evident from the part where the actress Sukswat acts as Greeb queen who ascends to the position

of a queen in a challenging environment (Yu et al., 2022). The film represents a visual

communication of a monarch system. It brings out the true identity of the Malay kingdom. Prince

Rawau is brought out as a rebel who wants to take over the current government. A set of social

laws known from the Lacanian psychoanalysis theory is deemed an ideology that stops

individual freedom. Multiple cinematography plays a good role in the political element with their

full meaning.

The Queen of Langasuka uses sensitivity to ensure that symbolic visuals and images are

the only aspects that help communicate with the audience. When visual communication

illuminates through a film, editing plays a key role in keeping everything in order (Mohd et al.,
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2018). Queen Langkasuka film allows viewers to link visual communication with spoken

dialogue through the composite technique. Visual communication is present in the film and ends

in art direction, editing, lighting, and cinematography.

The film has signs that can shape different types of visual communication to ensure the

audience has a better view of it. The connection between viewers' experience and visual content

is an aspect that is unique from the rest of the things within the film. The connection of visual

communication to the audience is important as it allows the audience to understand what they

will watch clearly. In assessing the content of a film, it is essential to ensure that the audience

understands the message and how they receive the information.

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References

Mohd Haizra Hashim, Mu’ati, A., Latif, A., & Mohd. (2018). VISUAL COMMUNICATION IN

QUEEN OF LANGKASUKA (FILM). E-JOURNAL of MEDIA and SOCIETY (E-

JOMS), 1(1), 109–132. https://myjms.mohe.gov.my/index.php/ejoms/article/view/15467

Yu, G., Akhter, S., Kumar, T., Ortiz, G. G. R., & Saddhono, K. (2022). Innovative application of

new media in visual communication design and resistance to innovation. Frontiers in

Psychology, p. 13, 940899. https://doi.org/10.3389/fpsyg.2022.940899