Seminar 3: Semiotics

A sign is a meaning within cultural codes, which are accepted systems of meaning.

signifier     
______ -----> Denotative/connotative
signified          (myth)

Myth is a simplified version/social shortcut for understanding
For illustrators understanding this is important because adding another image to where it doesn't adhere with the already withstanding code makes it interesting and gets it noticed!

Task: Semiotic analysis of an illustration, look at:
the connotations and mythical meaning 
the cultural codes
the difference between denotation and connotation
types of sign at work within the image
what is means, how its exemplified, why does it have those meanings?
denotative features: 
connotative interpretations:

Mythic character:
specific character:



I will be looking at the American illustrator Brad Holland's work 'Red'. He is renowned for conceiving and producing striking visual concepts for a range of contextual uses. This particular image is to promote a production entitled 'Red' by the Wharf Theatre Co. The visual message conveys a comment on the effect the Communist Revolution and Red Guard had on traditional Chinese theatre. The face is in theatre makeup, so is an actor directly affected by this movement; the image is cropped so just her face is visible; the emotion lies in the face, it is a very powerful tool for the actor, however hers appears expressionless and she is not free to express herself; emotionally or politically.
Communists aimed to remove the traditional ways of the theatre which they believe was propaganda reflecting the views of those in power, they introduced rules but in doing so restricted the creativity of the theatre. Even the villain was not as important in what the hero was working against, and there was no variation tolerated in the design of this character as that would be seen as distorting the message of the play, and possibly supporting the bourgeoisie. These characters were given the burden of carrying out the story of the play and had to do it in a way that is in full support of the communist parties ideas. The other characters mentioned in the three prominence's were the general 'hero's and the 'positive'  characters/the crowd.  The latter's soul purpose was to raise up the main heroic character as well as to establish a relationship between them; there was never specific qualities assigned to characters but through their relationship the hero is seen as 'one of the people' and sympathetic to the problems of the average person. The 'negative characters' which are sometimes not mentioned, were often portrayed as the Japanese officers or nationalist movement, or armies or spies. These characters were enemies of the proletariat class, however they were not needed as the class struggle could be portrayed without them. The 'changing characters' were very important in portraying the goodness of the main heroic character; they were not bad people, they were simply mislead and they were corrected, thanks to the heroic characters. This change in the literature stifled those in the creative industry and those in the audience looking for freedom and self expression. The girl crying red tears expresses the pain and frustration of the repressed people and their art. 

This was not the only way the communist party utilized theatre; touring troops were a problem because the government viewed anyone who was an itinerant was not assisting society, however they were a solution to spreading the message of communism to the country; so they were allowed to travel but had to have a 'home town' from which they were working from and while they visited villages they were to help out. Eventually amateur theatre set up by the government also spread the communist message. The girl in the image cries red tears, has red lips and cheeks and the image is even titled 'Red'; she is covered in communist connotations, advertising it just like the actors; not out of choice. Her face gives nothing away, yet the wounded eyes repulses the audience, suggesting that although the theatres went along with the communist action, it killed the art and their passion. 

The media channels and theory supporters overwhelmed those who were against the theories put forth by the party; they rejected the rigidity and imposition of the formula for creative work. Western theatre in china was established by the 1930's, but during the cultural revolution, particularly 1966-76, all aspects of western theatre were completely band. 
The image is titled 'Red' which is a device to make the audience think about the other connotations we have to the simple word 'red'. Blood has a direct link to this colour and especially when put in reference to the 'Red Guard' reminds us of the brutal murders; in the image itself it reflects too the brutal 'murder' of theatre by the Red Guard and by Communist regulations. The Red Guard started as China's youth responding to Mao's appeal for a violent class struggle to get rid of the 'revisionists' (he said that bourgeois elements were infiltrating the government and society at large aiming to restore capitalism) but it spread to the military, urban workers, and the communist party leadership itself. This resulted in mass murder 

Her face stays utterly composed yet her eyes pour red tears; the blood of the millions of people who were persecuted in the violent struggles and who suffered a wide range of abuses including public humiliation, arbitrary imprisonment, torture, sustained harassment, and seizure of property; along with the morning over the historical relics and artifacts destroyed and the cultural and religious sites that were ransacked. The composed face reminds the audience of theatre but also it completely juxtaposes it; instead of the free expressed emotion and creativity you are faced with a completely hidden emotion and false sense of calm which is even more disturbing for the viewer. To hide emotion, views and opinions would have been continual during this strict reign of the Communists. 

Brad Holland interview and images here: http://bado-badosblog.blogspot.co.uk/2011/11/brad-holland-in-new-yorker.html