Purposeful Anachronism in FIlm Semiotics

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ATHALLA BIJAKSANA

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BACKGROUND TO THE TOPIC INTRODUCTION

Semiotics is the study of signs and symbols and their use and interpretation. Signs and signifiers are important in our understanding of the world because they carry meaning. In modern times, these meanings have become more complex because they have been layered with time, human migration, the mixing of culture and globalization. As an audience, our participation of semiotics in the modern age is increasingly layered and sophisticated as we assimilate, organize and categorize seemingly anachronis-

However, anachronisms can also be used to present novel or insightful perspectives. When anachronisms are intentional and purposeful, they can be used to both capture and influence the zeitgeist. Used as a semiotic device, purposeful anachronisms can add to the film’s storytelling, whether it be through its aesthetic, narrative, or world-building. When meaning rendered and derived through the semiotics of the purposeful anachronism is successful, it can often end up creating a new vision or idea that resonates with contemporary audiences, finding a place in the collective cultural memory. In these cases, the film or TV show will often become a blockbuster hit or gain a cult

PURPOSE OF THE BOOK

The purpose of this book is to present case studies of films in which purposeful anachronistic devices have been used to novel, memorable textbooks on film theory, film language and visual semiotics, and many visual reference and design books on film and TV, there is a significant lack of visual reference and design books on film semiotics as a tool for creators in the industry. Instead of pointing out examples of anachronisms (in their basic meaning), this book looks at case studies in which purposeful anachronisms transcend conventions to create truly fresh and innovative narrative and stylistic devices in film and TV. I hope that this book will be useful for all those working in the film industry when thinking about film semiotics.

SCOPE OF ANALYSIS

To reach a level of analysis in which we can think critically about purposeful anachronisms, it is important we cover a basic understand ing of semiotics, how semiotics are presented in film and TV, as well as

this foundational knowledge, we can delve deeper into the various forms of purposeful anachronistic devices and consider some case studies of films that employed purposeful anachronistic devices to convey their aesthetic, narrative or message.

Identifying the problem…

There are many textbooks on film theory and there are many visual reference and design books on film and TV but there is a lack of available visual reference books on visual semiotics in film.

What is the solution?

Semiotics in film and TV, rich in theory and examples, explores subjective meanings within objective symbols. Rather than exhaustively cataloging signs, consider introducing it through purposeful anachronisms. These deliberate historical inaccuracies reveal how diverse ideas converge to enhance storytelling and prompt critical semiotic analysis.

is it to resolve?

Film and TV are one of the main mediums in which mankind can reflect on and understand ourselves. Without the proper tools to analyze what kind of media we are exposed to, our understanding of said media is superficial and limited. When we add tools such as the field of Semiotics, we can foster our critical thinking to decode the signs and symbols around us and

S E M I OT I CS

SEMIOTICS

Defining semiotics…

Semiotics can be a rather complex subject to its broadest, most basic sense…

Historical definition…

word and its historical use…

First recorded in 1875–80, use of the word semiotic to mean "of the science of signs" was meaning "of the symptoms of disease," which in turn was borrowed from Greek meaning "observant of signs”.

Meaning and Usage

Semiotics is the study of signs and symbols, how people use or interpret them and how meaning is constructed and understood. A sign represents anything that communicates intentional or unintentional meaning, it is something that exists beyond its immediate self. A symbol is a type of sign that signifies its object by an arbitrary convention and are often universal, transcending language and cultural barriers. - - - Take for example, the sense of urgency and danger, helping us instantly understand and respond to it.

Everywhere we look, semiotics are at work. From language and literature, to visual icons and status signifiers, from cultural identity to modern memes, semiotics has a profound influence on how we engage with the world, layering our understanding of it with interpretation and meaning. The meaning we derive from signs and symbols adds to our knowledge but it is important to note that

person decoding it, instead, the meaning already existed and its signs were applied to a pre-existing knowledge. No object or word is without meaning, and sometimes, the meanings of symbols change over time or can have more than one meaning. As we move through life, categorizing our experiences, we learn, and from these archived experiences, shared and mutually accepted meaning forms and binds groups of people into cultures and society.

“Semiotics itself is not created in a vacuum, all meaning is encoded in that which creates the meaning”
Manon de Reeper, “How to Analyse Movies: Signs, Codes and Conventions, 2013

The Two Founders of Semiotics

Contemporary semiotics has two main branches that emerged simultaneously in the late 19 known as semiology, was developed within literary and linguistic contexts by the Swiss linguist Ferdinand Saussure. The other branch builds on the work of American pragmatist philosopher Charles Sanders that signs acquire the ability to transfer information and although they both posit the defining property of the sign as being a relation between a in their distinct ways.

In the semiotic tradition developed by Ferdinand de Saussure, the sign relation is dyadic, (being in a group of two). Saussure divides a sign into two components: the signifier in the form of sound, image, or a word, and the signified, which is the concept or meaning the signifier represents. Saussure viewed the relation between the

signifier and the signified as being arbitrary and conven- tional. In other words, signs can mean anything we agree that they mean, as well as mean people.

In the semiotic tradition devel-

the sign relation is triadic (being in a group of three) “something that stands for something, to someone in some capacity”. This means that a sign is a relation between the sign vehicle (the specific physical form of the sign), a sign object (the aspect of the world that the sign carries meaning about) and an inter- pretant (the meaning of the sign as understood by an inter-

signs can be classified based on the type of relationship that binds the sign to its object into three categories: icons, indices, and symbols. An icon is the signifier that resembles the signified; an index is a signifier that is indirectly connected to the signified and a symbol is a signifier that does not resemble the signified.

“Symbols are highly evolved signs that are related to actual objects by previously established conventions. People agree to those conventions by relating the symbols to more primitive signs, such as icons, which signify their objects by some structural similarity, and indices, which signify their objects by pointing to them.

and Semiotics, 2000

Ferdinand de Saussure was a Swiss-french linguist who was the first the produce a semiotic theory Saussure stated that the sign is made up of two parts, the SINGIFIER and the SIGNIFIED

Charles Sande peirce, was an American philosopher that also formulated a semiotic theory around the same time as semiotics to be the relationship between

SAUSSURE ’ S TWO COMPONENTS OF A SIGN:

The physical form of a sign such as a sound, word, image, object, motion or gesture that is communicating and conveying meaning.

The concept, thought or meaning that a signifier expresses or refers to, the meaning which is conveyed.

PEIRCE ’ S THREE KINDS OF SIGNS:

Icons are signs that physically represent the thing it refers to.

Symbols are signs that represent a conventional but arbitrary (subjective to individual judgement) relation between the signifier and the signified.

Indices are signs that represent an inherent relationship between the signifier and the signified, and is often culturally specific.

Understanding the terms Semiotics and Semiology…

studies the purpose or meaning of a sign or Semiology is usually used in books published in France to refer to the writings of Roland refer to the writings of Charles Sanders of these two terms usually indicates the thought of the scholar, those who tend to who tend to Ferdinand Saussure use the term Semiology. Today, however, the term Semiotics is more popular than Semiology.

How is meaning interpreted?…

Having looked at the underlying structure of derived from signs and signifiers by considering the work of another important figure in that signs have cultural and ideological implications which are represented through denotative meaning (the literal meaning) or connotative meaning (the implied meaning).

DENOTATION

A denotation refers to the physical reality of the object that is signified. It is a literal meaning of what the sign actually is and does not change from person to person.

- For example, the image to the right denotes that there is a black

CONNOTATION

A connotation refers the feelings, ideas and cultural meanings which are associated with the word or object. These meanings are acquired over time and through shared, personal experiences. Connotations are the key to how we understand things, being built on our subjective interpretations, expectations and ideologies, often

- For example, person may have a happy memory, while the other may remember being chased by a vicious dog.

SEMIOTIC SYSTEMS, BRANCHES AND SUBFIELDS

As a field of study, semiotics has many systems, branches and subfields which all place significance on the communication of meaning.

prising of aspects such as vocabulary, generic structure and the grammar of oral and written language), visual (comprising of aspects such as colour, vectors and viewpoint in still and moving images), audio (comprising of aspects such as volume, pitch, and -

prising of aspects such as movement, speed and stillness in facial expression and body language) and spatial semiotics (comprising of aspects such as proximity, direction, position of layout and organization of objects in space).

Furthermore, three main branches in semiotics are semantics, (the relation between signs and the things to which they refer), syntactics (the relations among signs in formal structures) and pragmatics (the the people who use them).

As for subfields, the list is long and growing, ranging from biosemiotics (the study of the production, action and interpretation of signs and codes in the biological realm), to computational semiotics (the study and design of Human-Computer Interaction), to zoosemiotics (the study of animal meaning-making and communication). However, the three main subfields with the longest tradition in semiotics are cognitive semiotics (the study of meaning-making using methods and theories developed in the cognitive sciences), cultural and social semiotics (the study of cultural codes such as fashion, slang, ideology and power structures) and visual semiotics (the study of visual signs).

While it is good to be aware of the semiotics can be divided and classified, don’t worry too much about branches and subfields because for the purposes of this book, we will be focusing on visual semiotics, specifically, visual semiotics in Film and TV. Let’s move on!

TO SUMMARIZE…

semiotics by considering the answers to these questions…

What is the main purpose of semiotics?

Semiotics theory provides a framework for understanding how humans use signs to make meaning of the world around them. An important assumption of semiotics is that signs do not convey a meaning that is inherent to the object being represented. For example, the word "chair" does not have anything to do with the object's natural properties; there is no innate reason why "chair" describes the thing that people sit on. Instead, through repeated use in the English language, "chair" has been made meaningful through its continued association with the concept of a chair.

What is an example of semiotics?

Semiotics is the study of signs. Art historians use semiotics when they study the use of religious iconography in Renaissancepaintings. Everyday people use semiotics when they try to understand the meaning of a movie or a tv show by analyzing the use of symbols.

What is the best definition of semiotics?

Semiotics is the study of how words and other symbolic systems of communication make meaning. The term originates from the Greek word for sign, semeion, which means anything that is used to represent or stand in for something.

VISUAL SEMIOTICS

As discussed in the previous chapter, signs can be anything with meaning. In the field of visual semiotics, visual images are analyzed for the message they communicate.

The study of visual semiotics can be applied to the fields of architecture, fashion, film and TV, technology, transport and signage, which all rely heavily on conveying visual signs with accepted, shared meaning.

At the most basic level, signage in transport uses semiotics which have been universally under stood and agreed upon by law. In the fields of architecture and fashion, design choices are all thoughtfully considered conventions of what the building, or person wearing the garment, wants to convey about their brand or status, respectively.

“At its most fundamental level, a semiology of visual language postulates that visual representations are signifying practices constituting a language.
“Semiotics of Visual Language” 1990

Visual semiotics in the context of architecture ;

Cities often have iconic visual signifiers which are associated cityscapes are likely to incorporate a range of architectural styles, like the traditional forms of past eras, and the varying form of contemporary styles. Tokyo is one such city which is well known for having traditional tea houses located near or next to futuristic skyscrapers. When these architectural styles are juxtaposed against each other, they may appear anachronistic but when considered as a whole, such

knowledge of semiotics, we are equipped with the proper tools to decode how meanings within the visual language of film are created, conveyed and received.

FILM SEMIOTICS

For generations, the medium of film has equipped us with the ability to reflect on ourselves and shape our understanding of the world around us. Film uses a visual language able to

tively conveying powerful ideas that can take root in ways that words alone cannot. As the saying goes, “a picture is worth a thousand words”, commonly used to express how any image can tell as compelling a story, as large amounts of descriptive text can.

What is film semiotics?…

In the 1960 idea that film communicates meaning through signs and codes that are understood by audiences on a subconscious level. Furthermore, by analyzing these signs and codes, one gains a deeper understanding of the meaning semiotics, we are equipped with the proper tools to decode how meanings within the visual language of film are created, conveyed and received.

In the context of film semiotics, visual signs include everything from a charthe film is edited in post production. For example, a director might use specific camera angles or lighting to convey the emotional state of a character. A transformation. A cinematographer might use the rule of thirds to create convey, and even the cultural context in which the film was made.

challenge us and require some deeper Inception (2010) became very popular

KeyTakeawaysFilmsemioticsisthestudyofthevisual language of film and how it conveys meaningandemotion. Toanalyzefilmsemiotics,youneedto have a strong understanding of the visuallanguageoffilm,includingcamera angles,shotcomposition,lighting,color, andsound.Understandingfilmsemioticsisessential foranyonelookingtopursueacareerin thefilmandtelevisionindustry.

Hereareafewquestionsto considerwhenanalyzingfilm semiotics: Whatobjectsorimagesarerepeatedthrough-outthefilm? Howdoesthedirectorassociateacharacter with small signs, such as certain colors, clothing,food,orlanguageuse? Howdoesasymbolorobjectrelatetoother symbolsandobjects,thatis,whatisthe

HOW CAN WE ANALYZE FILM SEMIOTICS?…

shot-by-shot analysis. This involves breaking down a film into individual shots and analyzing the elements of each shot. When analyzing film semiotics, some of the things we can look at are; camera angles, shot composition, cinematography, lighting, colour, set design, costume choices, consider a few of these elements, point by point

example, Zero wears a purple blazer, as other revealed later on in the film.

THROUGH FILM PUNCTUATION

between scenes is also useful to note when analyzing film semiotics. For example, in Jean-Luc 1960), sudden switches from the film back into reality, and then back into the film again. This way of editing, called jump attempts to convey its themes of existentialism.

THROUGH ANACHRONISMS

Another way we can analyze semiotics in film and TV is by considering the use of anachronism. Anachronisms are a way to imply context without drowning a script in exposition or frequent and unoriginal dialogue that can take away from a story. The use of anachronism opens a whole new way to make a statement, add humor, or make the story more relatable. Finally, although it also plays a role in how the film is received. For example, many horror films rely heavily on sound to create tension and make an impact on how we react to the film.

Signs, Codes and Conventions

In semiotic analysis, the smallest units of meaning trends come and go, we as a society have generally come to accept that clothing encodes signs which informs others of what the wearer wants to convey about themselves; a suit is likely to indicate adherence to the corporate world, just as a black band t-shirt may indicate an alternative lifestyle. The way someone dresses is a collection of signs, a code.

For example, an all black outfit, black nail polish, dyed hair and piercings are all signs that fit together to create meaning, the wearer is signaling that they are a rebel, or goth. You could say meaning has two

sign occurs in a group, or in a particular context, it becomes a code, and it can suggest or connote extra meaning.

is another term in film analysis, frequently used to indicate an established way of doing, understanding, or presenting something. Convention presents behaviour and ideas that are generally accepted norms, they are so deeply embedded in

tions of characters and events, turning into stereotypes that don't always reflect reality and can be terrorists, and Indians as having thick accents, which are misleading stereotypes. Film conventions often simplify the portrayal of good and bad characters. Heroes like cops or superheroes can cause destruction and still be seen as heroes, while villains are depicted as purely evil. These black-and-white conventions ignore real-world complexities. Genre and narrative, as well as editing and shot types, reinforce these stereotypes.

In the context of film, there are four types of signs and codes; Indexical signs, symbolic codes, iconic signs and codes, and enigma code. Let’s break these down point by point…

• Indexical signs:

These are the most basic of signs in film. Indexical signs indirectly point to a certain meaning – they act as cues to existing knowledge. For example, smoke means fire, panting means exercise, a ringing bell means end of class.

This type of signs is constantly used in (all types of) media and are very common.

• Symbolic codes:

Symbolic codes often denote something they have nothing to do with at first glance, but only because the code exists and because we use them society-wide. For instance, the red heart symbolises love, the white dove symbolises peace, the colour green symbolises jealousy.

•Enigma code:

This is an important type of code used in film: it creates a question which the film “text” will then go on to answer. This is often used in trailers of movies as well as posters. They make people wonder. For example, “who murdered the protagonist”, or “how will they survive the apocalypse”. They pique curiosity and intrigue the viewers, with the intention of making them go see the movie.

• Iconic signs and codes:

These are the literal signs and codes: a cop means a cop. They are meant to appear like the thing itself. However, they always represent more than just the thing itself. When we see a cop, we also associate this with our cultural ideas of “justice” or “the law”, or even masculinity or toughness. These codes also reinforce the ideas we have about these concepts in our culture, it reinforces the ideological meaning of those concepts.

ANACRONISM

ANACHRONISM MEANING AND USAGE

Defining anachronism…

Before analyzing the three main types of anachronism, let’s first define what an anachronism is, and how an anachronism can be expressed…

In its simplest definition, an anachronism is a chronological inconsistency that occurs when objects, events, or people are out-of-place within a larger context. Even language such as colloquialisms and

historical periods can be considered anachronisms.

In its deeper meaning, anachronism can also mean an act of attributing an object, event, person or custom in a historical period to which it does not belong, for an

To understand the nuance between a simple anachronism and an attributed

knight riding atop a white horse, wielding a sword in battle, and suddenly you see that same knight wearing a wristwatch.

wristwatch was clearly an oversight, an anachronism in its simplest sense, an object that is out of time and out of place

Now, imagine that same knight atop the same white horse, however this time, instead of wielding a sword, the knight brandishes an 60E3 machine gun. Such an obvious anachronism is clearly intentional, it is an anachronism that has been attributed to the scene for some purpose, comedy. When we speak of purposeful anachronism, we mean anachronism which has been attributed to juxtapose against its context, in order to achieve some narrative, comedic or aesthetic

Historical definition…

The phrase anachronism was first widely used in the mid 17th century and comes from the fusing together of two Greek words that translate into meaning "against time”… Historically, anachronisms can be found in all forms of art, including paintings, literature, film, television, and video games. The element that causes an anachronism can be a person, object, phrase, event, or anything else that causes an inconsistency.

Anachronism means antiquated or out-of-place

Now that we’ve covered an example of how an anachronism can be an intentional or unintentional, let’s understand the origin of the word and its historical use…

Reasons for Anachronisms

The reason for the anachronism can vary depending on the intention, resulting in a variety of types and examples. If used intentionally, the primary use is to shock, humor,

variety of reasons for anachronism to occur in film, it could just be that the producers made a mistake when purpose most of the time is to provide the viewer with a popular object to relate to a certain time period. While the item may not be historically accurate, stereotypes can help readers understand around what time period the film takes place in. For example, if a movie showed a character donning a cowboy hat and boots, even without any confirmation of the time period, the viewer can come to the conclusion that they are watching a movie taking place in the wild west or around that time frame.

Why use anachronisms?…

Here are some of the most common reasons to use anachronism…

• To add humor: Anachronisms can deliver a surprise or a sarcastic scenario. The Genie in Aladdin did this with his Jack Nicholson impersonation. Since Aladin took place in

• To make a statement: Anachronisms can be attention grabbing. Steampunk, for example, is known for its edgy use of anachronism. Steam powered engines with heat chronologically, but they sure do make a statement.

• To make the story more relatable: fashion, or customs are often woven into timepieces in order to make them more relatable. This happened with the use of modern-day language in Rosaline, a retelling of

Why anachronism matters…

Anachronism matters because it can impact the authenticity and atmosphere of a story. Using modern

instance, can distract the audience and pull them out of the story, it ruins the atmosphere and credibility of the

a priority in a particular story. Writers may deliberately choose to create an alternate version of the past; for example, they may choose not to replicate racist or sexist attitudes so as not to endorse them. In other cases, they may want to make historical content more relatable to contemporary audiences.In short, anachronism can be

• Accurate Representation: Firstly, avoiding anachronisms is critical in maintaining historical accuracy. For historians, anachronisms can distort the true representation of a historical period.

• Artistic Expression: anachronisms can be deliberately used to create a unique aesthetic or to convey a particular message.

ANACHRONISMS IN FILM AND TV

Anachronisms in film is when a sign, code or convention is out-of-place with the film’s world-building, narrative, or aesthetic. There are many examples of anachronisms in film and TV due to lack of research (such as the use of kilts in Braveheart) or sheer negligence (such mistake, but they can also be used intentionally.

When artistic license is granted, purposeful anachronistic devices regarding style, narrative and theme can be useful tools to convey messages, add humour to the story, or introduce fresh perspectives. Let’s take a look at some case studies in which anachronism has been purposefully implemented for specif-

CAS E ST U D I

E S

NARRATIVE ANACHRONISM

BACK TO THE FUTURE

Release date: July 3, 1985

Director: Robert Zemeckis

Distributed by: Universal Pictures, Universal Pictures Home Entertainment

Cinematography: Dean Cunde

‘Calvin

Klein’ under wear, which prompts

to call him ‘Calvin’, saying, “That is your name, isn’t it? Calvin Klein. It’s written all over your underwear.”…

1985 science fiction film that involves time travel, playing with anachronistic elements deliber ately as part of the storytelling. In this iconic film, 1980 Fox) accidentally travels back to the 1950 jeopardizes his future existence. The time-ma chine, a time-traveling automobile built by his (Christopher Lloyd) was based on an actual car model from the 1980 rean. The anachronism of a 1980s car in a 1950s setting was an intentional choice, the timetraveling automobile not only drove the fantastical elements.

Fun Film Fact

stainless steel sports car with gull-wing doors that opened up instead of out. Unfortunately, due to quality issues, the DeLorean was only on the market from 1981-1983, with fewer than 9,000 cars ever made. However, its use in the timeless icon, cementing its place in pop culture.

Marty’s orange puffer vest, to which the townspeople of the 1955 ask “Did you jump ship?”, thinking him odd for wearing a ‘life jacket’…

PURPOSEFUL ANACHRONISM THROUGH PLOT

2009) is a war/adventure film that presents a historically inaccurate assassithe plot goes, a Nazi propaganda film featuring Corporealincluding Hitler, set to attend the event. Allied intelligence star working for the Allies (Diane Kruger), to attack the event. Unbeknownst to them, the cinema owner and only survivor of her Jewish family from earlier on in the film Nazis inside. In the climax, the cinema owner dies in her attempt, but the theater burns with all the Nazis trapped

Quentin Tarantino’s Inglourious Basterds

Release date: October 16, 2009

Director: Quentin Tarantino

Distributed by: Universal Pictures

Languages: English; German; French

Fun Film Fact

Fans of Tarantino will know that the director is no stranger to rewriting history, often portraying ‘altered history’ in his films. Tarantino envisioned Inglourious Basterds as the first film in a “revenge trilogy," continued by Django Unchained and an as-yet-uncompleted third film. Django Unchained rewrites history by allowing an escaped black slave to kill off white slaveholders. Similarly, Inglourious Basterds rewrites history by allowing Jewish American soldiers to kill off Hitler.

STYLISTIC ANACHRONISM

“Don’t make a film if it can’t want to make. It’s a sick joke, and it’ll kill you.”
- David Lynch on Dune (1984)

During this time, tea gowns were popular from 1870 to 1910 and were typically worn indoors by women who were hosting guests for tea. They were often made from luxurious fabrics like velvet and brocade, and trimmed with lace, flounces, bows, and more.

1984) has been described as a film that was crushed under the weight of its own ambition. An adaptation of the book by Frank Herbert, the source material itself is complex, containing political, religious and ecological themes, and attempts to simplify and condense into a standard 2hr Hollywood movie comes with serious compromises. As Lynch himself came to realize.

Victorian fashion trends developed in the United Kingdom and British Empire from the 1890s.

Lynch may have the first to try. In the -

dro Jodorowsky attempted to adapt Dune into more than ten hours of cinema.

charm for its surreal and memorable aesthetic. Filled with visuals which give the impression of a vast universe with technology wildly abstract, ethereal. The navigator himself is otherworldly, almost disgusting, but fascinating.

Dune has gained a cult following over the years, with some viewers appreciating its ambitious scope, visual style, and unique interpretation of Herbert's novel. Ultimately, the reception of the film is subjective, and while it may not appeal to everyone, it has its own distinct, idiosyncratic charm for those who appreciate Lynch's unconventional approach to storytelling.

STYLISTIC ANACHRONISM

MARIE ANTOINETTE

Release date: May 24, 2006

Director: Sofia Coppola

Distributed by: Columbia Pictures

Based on: Marie Antoinette:

The Journey; by Antonia Fraser

Cinematography: Lance Acord

The film Marie Antoinette, a modern retelling of the life of the infamous French queen, incorporates several anachronistic elements.

The infamous pastel blue Converse shoes in Marie Antoinette, shown during the "I Want Candy" sequence. Coppola later revealed in a 2006 IGN interview that it was her brother Roman who had included the shot, "for fun", and it was only during editing that she decided to leave it in.

with a pair of Converse sneakers in the background, which did not exist in the late 18 predecessors were first released in 1917. This anachronism is deliberate—director Sofia Coppola wanted to portray her protagonist as a naive teenager who had never known a sneakers help illustrate her teenage outlook and innocence. unfamiliar with late 18th-century monarchial customs, can more easily relate to the character without an explicit cue in the script. As a result, the story told can be more fluid without delving into exposition, yet the audience can still find the implicit meaning of these anachronistic items.

THEMATIC ANACHRONISM

NOPE

Release date: August 17, 2022

Director: Jordan Peele

Distributed by: Universal Pictures

Cinematography: Hoyte van Hoytema

Music by: Michael Abels

2022) is a subversive film, breaking down accepted conventions of genre in its use of anachronistic elements. Classified as a horse-wrangling siblings attempting to capture evidence of an unidentified flying object. The space aliens is subversive and breaks down accepted meanings of film semiotics in the tradition of Hollywood. Named one of the top ten

films of 2022, the film grossed $172 million worldwide and received positive reviews for its ambition, performances, cinematography, themes, direction.

Fun Film Fact

NOPE’s anachronistic blending of genres can likely be drawn to Peele’s main inspirations for the film. Peele cites King King (1930), Jurassic Park (1993), Close Encounters of the Third Kind (1977), Jaws (1975), Signs (2002) and The Wizard of Oz (1939) as his main inspirations for the film.

various genres yoked together under the framework of an alien abduction movie, but there is nothing so unexpected as its decision to tell the story of Hollywood from the vantage point of these crew members. These are the people who make movies happen, but are, at best, set decoration when it comes time to

Blair McClendon from Mubi writes…

social situation where those who have been left out begin to command the frame. This is a popular moment for “recentering” narratives around the historically marginalized, but all too often project in Nope, and throughout his career, has pushed the question of representation further than mere presence. His form of revisionism tries to discern whether it is possible for cinema to be integrated into the idioms of American cinema.”

ANACHRONISTIC LANGUAGE

+ Juliet

Release date: October 27, 1996

Director: Baz Luhrmann

Distributed by: 20th Century Studios

Adapted from: Romeo and Juliet

Romeo

Romeo + Juliet, the modern 1996 retelling of William

ronistic language. All of the dialogue is in Elizabethan English, even though the story takes place in modern

contrasted with the old-fashioned speech makes for a bold statement. When was the last time you noticed someone speaking in full Elizabethan? Weird, right? As to whether this use of anachronism benefitted or hindered the story, the reviews are mixed. The mixed responses to Romeo + Juliet highlight the challenge of using anachro cord. Yet, DeCaprio and Danes won several accolades and the film is still used today by English teachers to introduce their students to Elizabethan English.

Fun Film Fact

Baz Luhrmann aimed to make Shakespeare more accessible by modernizing "Romeo and Juliet." He wanted to break the notion that understanding Shakespeare required special knowledge. Luhrmann was inspired to take on this project due to his own initial intimidation by Shakespeare, which changed after seeing Neil Armfield's provocative production of "Twelfth Night". Luhrmann hoped his innovative take on "Romeo and Juliet" would have a similar impact on

GLOSSARY

Audio ; sound, especially when recorded, transmitted, or reproduced.

Anachronism ; a thing belonging or appropriate to a period other than that in which it exists, also an act of attributing a custom, event, or object to a period to which it does not belong.

Biosemiotics ; a field of semiotics that studies meaning and interpretation of signs, codes and communication processes in the biological realm.

Code ; a system of words, letters, figures, or other symbols substituted for other words, letters.

Cognitive semiotics ; a field of semiotics that studies meaning and interpretation in linguistics, psychology, anthropology, philosophy.

Computational semiotics ; the application of semiotics to computer hardware and software design and, conversely, the use of computation for performing semiotic analysis.

Connotative ; having the power of implying or suggesting something in addition to what is explicit.

Convention ; a way in which something is usually done, especially within a particular area or activity.

Cultural semiotics ; the study of culture as a symbol or semiotic system.

Denotative ; denoting or tending to denote

Enigma code ; a code referring to mystery within a text. Clues are dropped, but no clear answer are given.

Film semiotics ; the study of sign process including the production of meaning, as they pertain to moving pictures.

Gestural ; of, relating to, or consisting of gestures.

Icon ; a person or thing regarded as a representative symbol or as worthy of veneration.

Iconic sign ; signs where the signifier resembles the signified.

Index ; an indicator, sign, or measure of something.

Indexical sign ; the phenomenon of a sign pointing to (or indexing) some element in the context in which it occurs.

Interpretant ; a sign or set of signs that interprets another sign.

Linguistic ; the study of human speech including the units, nature, structure, and modification of language.

Parachronism ; an anachronism marked by the assignment of something (as an event) to a date later than the actual historical one.

Pragmatics ; the study of the practical aspects of human action and thought.

Prochronism ; an anachronism marked by the assignment of something (as an event) to a date earlier than the actual historical one.

Semantics ; the study of meaning in language.

Semiology ; the study of signs, symbols, and signification. It is the study of how meaning is created, not what it is.

Semiotics ; the study of signs and symbols and their use or interpretation.

Sign ; an object, quality, or event whose presence or occurrence indicates the probable presence or occurrence of something else.

Signified ; the meaning or idea expressed by a sign, as distinct from the physical form in which it is expressed.

Signifier ; a sign's physical form (such as a sound, printed word, or image) as distinct from its meaning.

Spatial ; relating to, occupying, or having the character of space.

Symbol ; a thing that represents or stands for something else, especially a material object representing something abstract.

Symbolic code ; symbolic codes show what is beneath the surface of what we see.

Syntactics ; a branch of semiotic that deals with the formal relations between signs or expressions in abstraction from their signification and their interpreters.

Visual ; relating to seeing or sight.

Visual semiotics ; a sub-domain of semiotics that analyses the way visual images communicate a message.

Zoosemiotics ; the semiotic study of the use of signs among animals.

REFERENCES

Books on Semiotics

David Crow, “Visible Signs: An Introduction to Semiotics in the Visual Arts”, 2015

Web Articles on Semiotics

https://hiltondesignblog.wordpress.com/2015/11/05/introduction-to-semiotics/ https://dyessdesign.medium.com/semiotics-the-unspoken-language-of-graphic design-592db4f6c226

semiology-science-of-signs-2017911t23147684z https://www.behance.net/gallery/99877657 https://www.behance.net/gallery/9474813/Explaining-Semiotics-Infographic

Books on Anachronism

tephanie Russo, “The Anachronistic Turn: Historical Fiction, Drama, Film and TV”, 2024

Web Articles on Anachronism

https://www.filminquiry.com/analyse-movies-signs/?expand_article=1 https://film-history.org/approaches/presentist-anachronism-and-ironic-humour-periodscreen-drama https://arcadiaquill.com/22356/performing-arts/the-use-of-anachronisms/ https://bookandfilmglobe.com/film/anachronisms-in-movies/ https://www.criterion.com/current/posts/558-walker-apocalypse-when https://medium.com/greg-can-write/the-long-goodbye-939fd94b5ee5 https://www.newstatesman.com/culture/2015/01/why-do-we-care-about-anachronismsfilms

https://variety.com/2019/film/news/anachronisms-movies-tv-1203206161/Web Articles on Films

https://www.academia.edu/14778425/

Semiotics studies signs and symbols and their meanings, which have become more complex with time, cultural mixing, and globalization. In film and TV, anachronism (out-of-place elements) can result from oversight or be used intentionally to offer new perspectives. Purposeful anachronism can enhance storytelling, capturing and influencing contemporary culture, often leading to blockbuster success or cult status. This book explores case studies of films using purposeful anachronism effectively, aiming to provide valuable insights for film industry professionals on using semiotics creatively.

The SKRT Press

South Petukangan, Pesanggrahan, South Jakarta City, Jakarta

978-0-262-01984-2

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Purposeful Anachronism in FIlm Semiotics by Miebi Sikoki - Issuu