#visual-language

Source and Significance Blog Post - 5

What this post does (and why)

I’m using a single lens- paradigm vs syntagm (the style options available vs the way they’re combined) alongside Barthes’ denotation → connotation → myth - to read how Into/Across the Spider-Verse turns style into language. I’m looking at halftone dots, motion lines, and the red/blue palette not as decoration but as signs that tell us about identity, heroism, and belonging. In short: what we see (denotation) sets up what we feel (connotation) and what the film quietly naturalises as truth (myth) (Barthes, 2009; Chandler, 2002)

Evidence: six frames where style = sign

1.Halftone vs clean render - Miles vs Gwen

At the denotative level, the films look like comics in motion, halftone textures, inked contours, hand-drawn motion lines, even deliberate CMYK misregister. Those forms carry connotations- Miles’ grain and sketch signal process, DIY, becoming and Gwen’s watercolor pastels suggest grace, interiority and emotional clarity (McCloud, 1993; Barthes, 2009).

2 Red/blue palette tension

Color plays a clean semiotic game. Red punches urgency, risk, public action; blue holds thought, doubt, private feeling. When saturated reds invade a blue field, it isn’t just “pretty” it stages a binary opposition inside the frame: duty vs reflection. That opposition is a paradigmatic choice (which palette?) made legible through syntagm (how color, pose, and camera combine over time) (Chandler, 2002). 3 Motion lines & onomatopoeia (Bagel)

Motion lines and onomatopoeia push action into language: symbols that announce “speed/force/direction” with no dialogue. They’re placed at beats where cause-and-effect must read instantly a leap, a catch, a swing , so the syntagm (timing and placement) turns a stylistic option into a clear sign (McCloud, 1993).

4 CMYK misregister under stress

When color channels separate during stress, the film sneaks in an indexical tell: identity is wobbling now. It reads as anxiety without stating it. Here the myth peeks through: being a hero isn’t a stable essence ,it’s a negotiated practice, visible in the “errors” and edge-noise of the frame (Barthes, 2009).

5 Ben-Day dots in the environment

Ben-Day dots fold the page into the world, collapsing medium and diegesis. Connotation: heritage and belonging- the universe owns its comic lineage as lived reality. The resulting myth is elegant: heroism is learned in public, through a shared visual language; you don’t hide the medium you learn to speak it (Bolter and Grusin, 1999; Barthes, 2009).

6 Gwen’s pastel “drip” world (feeling as environment)

Gwen’s world externalises emotion: the environment repaints with her inner state. Denotation: color shift. Connotation: empathy and control. Myth: true power is emotional clarity - the world becomes readable when you are.

The short read: denotation → connotation → myth

Taken together, these cues make a consistent semiotic system. On the denotative layer, Spider-Verse looks like a printed comic animated: halftone, line, motion text, color channels. On the connotative layer, those forms speak character: Miles’ gritty dots imply unfinished identity; Gwen’s pastels imply interior poise; red/blue pairings stage duty vs reflection. The syntagm - how these selections are combined across frames builds beats where action is read as language (motion lines, Bagel) and stress is felt as process (CMYK drift). The myth that gets naturalised is that heroism is not a fixed look but a constant negotiation between impulse and care, public sign and private feeling (Barthes, 2009). In other words, style is sign, and meaning arrives from both the paradigm (what choices are available) and their combination (how they’re arranged) (Chandler, 2002). That’s exactly the toolkit outlined in our semiotics session: signifier → signified, denotation → connotation → myth, and structured oppositions. Conclusion

I learned that style isn’t garnish: halftone, motion lines, and palette work as signs that carry story even in silence. Mapping denotation → connotation exposes the film’s myth, changing how I read every frame. Paradigm vs syntagm is a practical tool what matters less is the menu of styles and more how they’re combined; tiny shifts (where a red accent lands, when a CMYK drift appears) can recode meaning without changing the model. Indexical tells like slight channel misregister communicate state faster than dialogue by pointing to something happening now. Finally, I’m watching for naturalised ideology (e.g., red = duty, blue = reflection): spotting these patterns is the step from enjoying a look to reading a language the core gain of a Barthes pass

References

D’Aliesio, S. (2017). Sian Davey's intimate portraits of her daughters. [online] British Journal of Photography. Available at: http://www.bjp-online.com/2017/06/sian-daveys-intimate-portraits-of-her-daughters/[Accessed 28 Nov. 2017].

Davey, S. (2016). Martha (Ongoing). [online] Sian Davey. Available at: http://www.siandavey.com/portraiture/[Accessed 22 Nov. 2017].

Davey, S. and Strecker, A. (2017). Looking for Alice - Photographs and text by Sian Davey | LensCulture. [online] LensCulture. Available at: https://www.lensculture.com/articles/sian-davey-looking-for-alice#slideshow[Accessed 30 Nov. 2017].

FotoRoom. (2017). After Alice, Siân Davey Photographs Her Other Daughter Martha and Her Group of Friends. [online] Available at: http://fotoroom.co/martha-sian-davey/[Accessed 3 Dec. 2017].

Fulleylove, R. (2017). Siân Davey on the ways psychotherapy has informed her photography. [online] It’s Nice That. Available at: https://www.itsnicethat.com/features/sian-davey-photography-world-mental-health-day-101017 [Accessed 23 Nov. 2017].

Guernsey Photography Festival 2016. (2016). Guernsey Photography Festival 2016. [online] Available at: http://2016.guernseyphotographyfestival.com/index.php/photographers/sian-davey[Accessed 24 Nov. 2017].

Mann, S. and Price, R. (2010). Immediate family. London: Phaidon.

My third idea, which became the idea I wanted to do the most, was to still use people rather than a place for home. And group together the people I consider family and put them into sections depending on how long I have known them for.

For this I want to use a big range of people. as I consider friends as family. Figuring out a coherent order will be difficult as I may not be able to link someone to another person, which in turn may disrupt the flow of my final book. However I think I can combat this by using the words to link the people I end up using to give the viewer hints at to how the person is, and how they relate to my idea of home.

For this I think I will need around 15 photographs, this is so that each person can have at least two images if needed. I don’t want to use words like their names or something that bluntly describes them, I want to possibly use words from lyrics, films, or books that they like.

Connections - Oliver and Grampi

For this idea I want to use my Grampi and my nephew Oliver for my idea of home as I still prefer my home as people rather than a place. My Grampi and Oliver were born on the same date, 71 years apart. 

I want to start off with my nephew, having photos of him from the day he was born and over the next few pages have photographs him develop throughout the months. On the other end of the book I want to have any kind of photos I have of my Grampi. Once they near the middle I want to have photograph of them together.