FORREST GUMP- Semiotic Analysis

Semiotic analysis is the study of signs and symbols and how they are used to communicate meaning in various contexts, including language, media, and culture. It is a method of examining how meaning is constructed through signs and symbols, and how those signs and symbols are interpreted by individuals and groups.

The basic unit of semiotics is the sign, which can be defined as anything that stands for something else. Signs can take many forms, including words, images, gestures, sounds, and objects. Semiotic analysis involves breaking down signs into their component parts, such as the signifier (the physical form of the sign) and the signified (the concept or meaning conveyed by the sign), and examining how they work together to create meaning.Semiotic analysis can be applied to a wide range of cultural phenomena, including literature, film, advertising, and political discourse. By analyzing the signs and symbols used in these contexts, semioticians can uncover underlying cultural meanings and ideologies, and reveal how those meanings are constructed and maintained through language and other forms of communication.

Some of the key concepts and theories in semiotics include Ferdinand de Saussure's distinction between the signifier and the signified, Charles Peirce's theory of the three types of signs (iconic, indexical, and symbolic), and Roland Barthes' concept of the "myth," which refers to a set of cultural assumptions and values that are naturalized and taken for granted in a society.

Semiotic analysis can be applied to film in order to examine how meaning is constructed through the use of signs and symbols in the medium of cinema. Here are some steps you could follow to conduct a semiotic analysis of a film:

Identify the signs and symbols used in the film: Signs and symbols can take many forms in film, including dialogue, music, sound effects, camera angles, lighting, and mise-en-scène (the arrangement of elements within a shot). Identify the most prominent and recurring signs and symbols in the film and make note of their specific characteristics.

Analyze the signifiers: Consider how the physical form of the signs and symbols used in the film contribute to their meaning. For example, how does the use of certain camera angles or lighting affect the mood of the scene? How does the use of certain music or sound effects convey a particular emotion or atmosphere?

Analyze the signified: Consider what concepts or meanings are conveyed by the signs and symbols used in the film. What cultural values or assumptions do they reinforce or challenge? How do they contribute to the overall themes and messages of the film?

Consider the context: Analyze how the signs and symbols used in the film are influenced by the broader cultural and historical context in which the film was made. How do they reflect or challenge prevailing ideologies or cultural norms?

Interpret the overall meaning: Use your analysis of the signs and symbols to interpret the overall meaning of the film. How do they contribute to the film's narrative structure, character development, and themes? What messages or insights does the film convey about the world or human experience?

Overall, a semiotic analysis of film can help to uncover the underlying meanings and cultural values embedded in the medium of cinema, and provide insights into how those meanings are constructed and conveyed to audiences.

Forrest Gump is a 1994 American film directed by Robert Zemeckis. Here is a brief semiotic analysis of the film:

Signs and symbols used in the film: The film is full of signs and symbols, including music, costumes, and recurring motifs. Some of the most prominent symbols include the feather that floats throughout the film, which represents the unpredictable nature of life, and the "Run, Forrest, Run!" chant, which symbolizes Forrest's perseverance and determination.

Analysis of signifiers: The use of music is particularly notable in the film, with songs like "Fortunate Son" by Creedence Clearwater Revival and "Free Bird" by Lynyrd Skynyrd reflecting the cultural context of the Vietnam War era. The use of camera angles and lighting also convey meaning, such as the low-angle shots used to depict Lieutenant Dan's struggle with his disability.

Analysis of signified: The film explores themes of destiny, fate, and identity. The feather symbolizes the unpredictability of life and how events can influence our path. The use of humor and irony reflects the film's exploration of the American Dream and how it is often unattainable or fraught with challenges.

Context: The film is set against the backdrop of major events in American history, such as the Vietnam War, the civil rights movement, and the Watergate scandal. The film reflects the broader cultural context of the 1990s, with its emphasis on individualism and the search for meaning in a rapidly changing world.

Interpretation of meaning: Through the use of signs and symbols, Forrest Gump explores the themes of destiny, fate, and identity, while also providing commentary on American history and culture. The film suggests that life is unpredictable, and that we can't always control our circumstances, but we can choose how we respond to them. The film also challenges the idea of the American Dream as a linear path to success, and instead suggests that success is often the result of luck, timing, and perseverance.

Overall, the semiotic analysis of Forrest Gump reveals how signs and symbols are used to convey meaning and explore themes in the film, and provides insights into the broader cultural context and messages of the film.Semiotics of signs

The feather is a recurring symbol in the film Forrest Gump, directed by Robert Zemeckis. Here is a semiotic analysis of the feather:

Signifier: The feather is a white feather that floats and twists in the wind, making its way through the landscape until it lands at Forrest's feet.

Signified: The feather represents the idea of chance and fate. It suggests that events are not entirely within our control, and that unexpected things can happen that influence our lives in profound ways. The feather is also a metaphor for life itself, which is unpredictable and often takes unexpected turns.

Context: The feather appears throughout the film, often at key moments in Forrest's life. It appears at the beginning of the film, as Forrest sits on a bench waiting for a bus, and it appears again at the end of the film as he talks to Jenny's grave. The feather is also seen in the opening credits, which feature a feather floating through the sky.

Interpretation: The feather is a powerful symbol that suggests that life is unpredictable and that events happen for a reason. It suggests that there is a larger force at work in the world, beyond our individual control. The feather also reflects the film's themes of destiny, fate, and identity, as Forrest struggles to understand his place in the world and the events that shape his life.

Use of symbolism: The feather is an example of a visual metaphor that is used to convey meaning in the film. It is a powerful symbol that is used to connect the various events in Forrest's life, and to suggest that everything happens for a reason. The feather is also a symbol that viewers can relate to, as it is a common object that many people have encountered in their lives.

Overall, the semiotic analysis of the feather in Forrest Gump reveals how a single object can be used to convey complex ideas and themes in a film. The feather is a powerful symbol that connects the various events in Forrest's life and suggests that life is unpredictable and influenced by forces beyond our control.

Ahana Banerjee 

861

MCVA

CHARULATA- Mise-en-scene Analysis

Charulata is a 1964 Indian Bengali film directed by Satyajit Ray. The film is based on the novella "Nastanirh" (The Broken Nest) by Rabindranath Tagore. The story is set in 19th century Calcutta and revolves around the life of Charu, the lonely wife of a wealthy and successful publisher, Bhupati.Charu is a sensitive and intelligent woman who feels stifled by her domestic life and longs for intellectual stimulation and companionship. She spends her days reading and writing, but her husband is too busy with work to spend time with her. Charu's loneliness is compounded by the fact that she is childless.

Into Charu's life comes her husband's younger cousin, Amal, a free-spirited writer who shares Charu's love of literature and art. Charu and Amal quickly develop a close friendship, spending hours together discussing literature and exploring the city. Charu begins to fall in love with Amal, but he is unaware of her feelings and sees her only as a friend and intellectual equal.When Bhupati discovers Charu's infatuation with Amal, he is devastated and confronts Amal, accusing him of taking advantage of Charu's loneliness. Amal leaves the house, and Charu is left alone, heartbroken and disillusioned.

In the end, Charu realizes that her love for Amal was a fleeting infatuation, and she decides to focus on her writing and her own intellectual pursuits. The film ends with Charu sitting alone in her room, writing a letter to Amal, expressing her gratitude for their friendship and wishing him all the best in his future endeavours.

In 1966, after the release of his twelfth feature film Charulata or The Lonely Wife, director Satyajit Ray wrote that he had chosen the field of “intimate cinema — the cinema of mood and atmosphere, rather than that of grandeur and spectacle.” In Charulata, Ray’s masterful use of camera and narrative style, combined with a minimal use of dialogue, has enabled him to film one of the most nuanced social critiques of the Bengali Renaissance in the early twentieth century. His examination of sexual and gendered tensions is grounded in the eyes of the protagonist Charu, a modern woman in colonial India who’s sense of curiosity and desire for knowledge slowly transforms her from an object of desire into a “desiring subject” capable of articulating her own needs and wishes.

Charulata, based on Rabindranath Tagore’s The Broken Nest, is set in Calcutta in the late nineteenth century when Western education had helped develop the bhadralok class, a unique and uncertain amalgamation of Western liberalism with traditional “Eastern” notions of the home and gender roles. The story revolves around Charu (Madhabi Mukherjee), the lonely and intelligent wife of Bhupati (Sailen Mukherjee), an editor and publisher of a political newspaper. Charu and Bhupati are both a part of the Bengali intellectual elite and are interested in the arts and literature. Though the married couple share a bond, Charu is evidently lonely and longs for companionship. Sensing this Bhupati encourages his cousin Amal to give his wife “guidance” and develop her writing skills. As the story unfolds an intimate relationship begins to develop between Amal and Charu but ultimately Amal is unable to reciprocate his romantic feelings due to the guilt involved in betraying his cousin Bhupati. After Amal leaves the couple to pursue his higher education in London, Bhupati is shocked when he sees his wife heartbroken by the departure of Amal. Charulata concludes in a moment of stasis with a freeze frame of Bhupati and Amal reaching out for each other but their hands never quite meet, reflecting a relationship that is just struggling to hang in the balance.

The Final Scene in Charulata

Ray’s use of minimal dialogue, thought-provoking motifs, and innovative camerawork is evident in the opening sequence of the film. The long segment begins with Charu walking idly in her large mansion searching for a way to pass her time by knitting, reading, and spying on the outside world from the boundaries of her lavish drawing room. Ray makes use of tracking shots and zoom effects to emphasize the wealth and luxury in her surrounding as well as make it seem that Charu is desperate for some movement within the trapped inner sanctum of her family home (00:04:15).

This filming technique is then punctuated with close up shots through opera glasses. Here the viewer is witness to how Charu’s point of view through opera glasses is limited in scope and how her spatial confinement makes the otherwise banal outside world seem full of life and movement (00:06:16).

Charu moves almost like the birds in the elaborate cage in her home’s hallway, from one window to another she desperately tries to watch passer-by’s doing seemingly mundane things. As the scene concludes Charu’s gaze moves from the external to the internal as she sees her husband, Bhupati, walk past her without acknowledging her presence in the family hallway. Ray’s strategic use of the opera glasses in this scene at 00:10:11 seems like a continuation of the previous scene. No matter how physically close Bhupati might seem to Charu, it is evident that he too belongs to the external world. Ray uses the ten minutes of this opening scene with very little dialogue to establishes the confines of the home and the foundation of Bhupati and Charu’s emotionally distant relationship.

Another well-constructed sequence in the film worthy of mention is the swing scene in which Charu comes to the unexpected realization of her latent attraction toward Amal. At 00:42:00 the eyes of the viewer are stuck on Charu, singing while she sits on the swing that moves back and forth. We then see Charu’s point of view, crooked and oscillating with the swing, as she looks at Amal while simultaneously singing Tagore’s “Phule Phule Dhole Dhole”, “the cuckoo moves from bower to bower, cuckoo, cuckoo, she cries, deep within my head is yearning…alas…alas.”

It is symbolic that the opera glasses also feature in this scene when Charu looks at a mother caring for her child within another home (00:46:30). What distinguishes this scene from the previous scene using the opera glasses in the drawing room is that now Charu is sitting outside looking in. Not coincidentally, this is the moment when Charu has the sudden awareness of her feelings toward Amal. At 00:46:40, Satyajit Ray strategically uses Madhabi Mukherjee’s gaze and an array of facial expression to denote complex and subtle changes in Charu’s emotions towards Amal. At 00:47:10 Charu gives the viewer just a slight hint of a smile that slowly transforms into shock over the realization that her love has been able to take her by surprise. Finally, Ray’s interesting use of the movement of the swing trapped between two points on a tree and the sense of dizziness accompanied with it mirrors Charu’s state of mind as it deals with this new dilemma and hesitation moving forward.

Such a nuanced depiction of the complex nature of familial relationships in the Bengali Renaissance would not have been possible without Satyajit Ray’s clever filmmaking techniques and handling of delicate subject matter. The incredible success of Charulata is not surprising as the film had the power to relate to audiences both across India and overseas.

Mise-en-scène refers to the visual elements of filmmaking, including the setting, lighting, costumes, and camera angles. Here is an analysis of the mise-en-scène in Charulata:

Setting: The film is set in 19th century Calcutta, and the setting is crucial to the film's themes of isolation and confinement. Most of the film takes place inside Charu's large and ornate house, which feels claustrophobic and oppressive. The decor is elaborate and ornate, emphasizing the wealth and status of Charu's family, but it also feels outdated and stifling.

Lighting: The lighting in the film is often dim and shadowy, which creates a sense of melancholy and introspection. Ray uses natural light sources, such as windows and candles, to create a soft, warm glow that contrasts with the dark corners of the room. In one scene, Charu and Amal are lit by a shaft of sunlight streaming through a window, which emphasizes the intimacy of their conversation.

Costumes: The costumes in the film are period-appropriate and add to the sense of historical authenticity. Charu's dresses are elaborate and stylish, emphasizing her wealth and status, while Amal's clothes are more casual and simple, reflecting his bohemian lifestyle.

Camera angles: Ray uses a variety of camera angles to convey the characters' emotions and relationships. In scenes where Charu is feeling isolated or sad, the camera is often positioned at a low angle, emphasizing her vulnerability and powerlessness. When Charu and Amal are having intimate conversations, the camera often moves in close to their faces, creating a sense of intimacy and connection.

Props and objects: Ray uses props and objects to convey the characters' inner lives and emotions. For example, Charu's books and writing desk represent her love of literature and her desire for intellectual stimulation. The broken chessboard, which appears several times in the film, symbolizes the brokenness of Charu's marriage and her sense of isolation.

Overall, Ray's use of mise-en-scène in Charulata is subtle and nuanced, creating a richly detailed world that emphasizes the characters' emotional states and relationships.

Ahana Banerjee 

861

MCVA

Parasite Narrative Analysis

 Parasite is a 2019 South Korean black comedy thriller film directed by Bong Joon-ho, who co-wrote the screenplay with Han Jin-won and co-produced. The film, starring Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam, Jang Hye-jin, Park Myung-hoon and Lee Jung-eun, follows a poor family who scheme to become employed by a wealthy family, infiltrating their household by posing as unrelated, highly qualified individuals.

The Oscar jury has been demonstrating its love for heavy, eccentric and maximally tolerant films year after year. “Parasites” directed by Bong Joon Ho can hardly be called heavy (after all, it is also a comedy) or as tolerant as possible. The only thing that connects the film with the “Oscar” is unconditional eccentricity and novelty, which, as it turned out, were enough to win four prestigious awards. Two of them are for the Best Foreign Feature Film and for the Best Film. Thus, the “Oscar” identified “Parasite” as the best film on the planet in 2020.

The film starts with the Kim family, a South Korean family struggling with poverty in a poor neighborhood in an unnamed city. Ki-taek and Chung-sook, the patriarch and matriarch, are having trouble finding employment, and their children, Ki-woo and Ki-jung are trying to help in whatever way they can. After struggling to make ends meet folding pizza boxes for a local pizza restaurant, the Kims are visited by one of Ki-woo's wealthier friends, Min-hyuk, who offers to refer him to a job tutoring for a wealthy family, the Parks.

Ki-woo visits the Parks in their gigantic home, where he is introduced to the spacey and out-of-touch Mrs. Park. He also meets Da-hye, the flirtatious teenager he will be tutoring, and Da-song, her younger brother, for whom Mrs. Park is trying to find an art tutor. Seeing an opportunity to get his artistically talented sister, Ki-jung, a job, Ki-woo says that he knows someone named "Jessica" who went to college in Illinois, who might be perfect for the job. Ki-jung gets the job after impressing Mrs. Park with some pseudo insights about psychology, and Mrs. Park hires her as both a tutor and an art therapist.Soon enough, Ki-woo and Ki-taek secure positions in the Park household for their parents as well. They get Ki-taek a job as Mr. Park's driver, after Ki-jung leaves her underwear in the car to make it look like his previous driver was having a sexual relationship in the car. After hearing about the peach allergy of the housekeeper, Moon-gwang, Ki-jung and Ki-woo trigger an allergic reaction and make it look like she has tuberculosis. Chung-sook takes over as the housekeeper.The Parks go on a camping trip for Da-song's birthday, leaving the house empty. The Kim family moves in for the weekend and luxuriates. It's all fun and games until Moon-gwang shows up, insisting that she left something at the house. The rest of the family hides as Chung-sook lets her in and Moon-gwang reveals a bunker in the basement of the house, a lair that was installed by the architect who built it, and which even the Parks have no knowledge of. Down in the basement is Geun-sae, Moon-gwang's husband, who is hiding from loan sharks there. Moon-gwang begs Chung-sook not to say anything to the Parks, but Chung-sook threatens to tell them.Suddenly, the Kims fall down the stairs of the bunker in a pile, after listening in on the conversation. Realizing that they are all related, Moon-gwang takes an incriminating video of them and threatens to send it to the Parks. A fight breaks out in the living room of the house, and the Kims manage to get Moon-gwang and her husband down into the bunker, but suddenly, Mrs. Park calls and tells Chung-sook that they are heading home after the campgrounds flooded from a rainstorm. The Kims get trapped in the house, hiding under the coffee table when the Parks arrive home. When Moon-gwang tries to ascend the stairs and reveal herself, Chung-sook kicks her down, concussing and killing her.

When Da-song wants to sleep in a tent outside, Mr. and Mrs. Park sleep on the couch to watch over him. Ki-taek, who is hiding under the table, hears Mr. Park discuss his unsavory smell. Eventually, the Kims are able to escape, but when they return home, they find their apartment is completely flooded. The next day, Mrs. Park calls each of them in to work on Da-song's birthday party, which will take place on the lawn. When Ki-woo goes into the basement, Geun-sae attacks him and bludgeons him in the head with the rock. Geun-sae then emerges onto the lawn party, stabbing Ki-jung in the chest with a knife. As Da-song faints in fear, Mr. Park yells at Ki-taek to throw him the car keys, so that they can take Da-song to the hospital. When Ki-taek throws the keys, they land under Geun-sae, who is fighting with Chung-sook.After Chung-sook stabs Geun-sae with a meat skewer, Mr. Park grabs the keys from under him, but in the process, scowls at Geun-sae's smell. This sets off Ki-taek, who stabs Park in the chest before running away and escaping into the basement bunker unseen.

Ki-woo wakes up in the hospital and learns about what happens. He stands in the woods near the Parks' house, which has been bought by Germans, and observes that the censor light is turning on and off in a pattern—Morse Code. He translates the code and realizes that it is a message from his father, who is living in the bunker. He writes his own letter back, in which he dreams about buying the house for himself and reuniting his family.

The main characters of the film are the poor South Korean family Kim, whose members, nevertheless, are talented and not the most stupid people. They are not unconditional hostages of the situation, because being poor does not mean losing any opportunities for happiness. But the members of the Kim family seem to have resigned themselves to the last statement, and throughout the plot, they only do what they are trying to improve their lives in a not most legal way. They are opposed by the family of the rich Pak, who, unlike the poor Kitheks, live almost on the highest point of the city, thereby further emphasizing their status.Parasite doesn't follow a typical three-act structure, because it is actually two movies combined into one. Bong Joon-Ho uses imagery like windows and stairs to establish themes early in the movie that occur later in the film.

Parasite has broken boundaries, records, and brains the world over — and rightfully so. The movie is a master class in writing, directing, acting, editing, and cinematography.

Each home was designed with front-facing windows that essentially mirrored the windows of the other home. For the poor family, the window is small, and their view is of a drunkard relieving himself. For the rich family, a larger, more expansive window (described as having an aspect ratio of 2.39.1) was created, one that looks out over a beautiful garden. Additionally, the poor family lives underground, while the rich family lives on a hill.

While Bong’s framing and shooting style helped convey the tone of the film, Kyung-pyo’s lighting also had a major impact on how we view the characters and settings. For example, to further distinguish the differences between rich and poor, Kyung-pyo played with sunshine — and the lack thereof.

In the rich family’s mansion, most of the house’s interior is comfortably washed in warm-hued natural light all day. In the poor family’s basement, sunlight only comes through a small window.

Parasite is best described as a melancholy ghost story, albeit one disguised beneath umpteen layers of superbly designed (and impeccably photographed) generic mutations. Thrillingly played by a flawless ensemble cast who hit every note and harmonic resonance of Bong and co-writer Han Jin-won’s multitonal script, it’s a tragicomic masterclass that will get under your skin and eat away at your cinematic soul.

-Ahana Banerjee 

861

MCVA