SEMIOTIC ANALYSIS OF THE FILM POSTER "HOME SWEET LOAN"

Movie posters not only serve as promotional tools but also as visual communication media that convey deep messages related to the themes and values presented in the film. The poster for Tuhan Izinkan Aku Berdosa is particularly interesting to analyze due to its complex use of visual elements and text in representing moral conflict, sin, and redemption. This study aims to identify and analyze the meanings of icons, indexes, and symbols in the film poster using Peircean semiotics. The research employs a qualitative descriptive method with a Peircean semiotic analysis tec nique, which classifies signs into three main categories: icons, indexes, and symbols. The findings reveal that the iconography of the main characters’ faces reflects inner conflict and emotional turmoil, the color index and character positioning depict a spiritual journey and moral value opposition, while the symbolism in the title and golden color represents the moral paradox emphasized in the film. In conclusion, the Tuhan Izinkan Aku Berdosa poster is not merely aesthetic but also rich in meaning, allowing for diverse interpretations among audiences. This study highlights the importance of semiotic analysis in understanding visual communication in film media.

Film posters serve as a medium of visual communication that functions not only as a promotional tool but also as a cultural text representing social realities and aesthetic values. The urgency of this research is the film poster of Ganjil Genap by Bene Dion Rajagukguk, which features visual elements. This phenomenon shows that film posters can be an important object of study to understand how visual elements construct meaning and communication messages. This study aims to analyze the visual elements in the Ganjil Genap film poster using Peirce’s semiotic approach. The research employs a qualitative method and is conducted through four stages of design review: description, formal analysis, interpretation, and evaluation. In the descriptive stage, all visual elements of the poster are described in detail, including illustration, color, typography, and layout. The formal analysis stage examines how these elements are technically arranged to create visual harmony that attracts audience attention. The interpretation stage applies Peirce’s triadic concept of signs icon, index, and symbol to identify explicit and implicit meanings contained within each visual element. The final evaluation stage synthesizes the overall meanings derived from interpretation and assesses the effectiveness of the poster in conveying its message. The findings indicate that the Ganjil Genap film poster functions not merely as a promotional medium but also as a form of social and emotional communication. Through its carefully designed visual symbols and communicative strategies, the poster becomes a meaningful medium of visual communication capable of engaging audiences on a deeper emotional and cultural level.

This research aims to identify the representation of fantasy comedy and explain the sign system to represent the fantasy comedy that is found in Turning Red movie posters. This research was descriptive qualitative because the result was discussed descriptively. The data of this research was the signifier and signifier, verbal signs represented by the text which consists of words, phrases, clauses, and sentences on the posters, and the non-verbal signs represented by the picture. Then, the color meaning of fantasy comedy in the Turning Red movie posters. From this research, we can understand the representation of fantasy comedy about the signifier and signified using Ferdinand de Saussure’s semiotics theory, and the analysis of verbal and non-verbal signs using Gillian Dyer’s theory in the movie posters. Then, the analysis of the color meaning using Sean Adams’ theory. The findings show that this research found 98 data which are presented in three points. The first is the signifier and signified with 28 data, the second is verbal signs with 14 data, and the non-verbal signs with 44 data. The third is the color meanings with 12 data in the Turning Red movie posters.

This study aims to analyze the representation of perseverance, or ganbaru, in Japanese anime using a semiotic approach in the film Haikyuu!! The Dumpster Battle. The primary focus is on the narrative and visual representation of characters in the anime and how the emerging symbols reflect ganbaru values through Ferdinand de Saussure’s semiotic analysis. The theories utilized include mass communication, representation, Ferdinand de Saussure’s semiotics, Japanese animation (anime), and ganbaru (perseverance). The methodology employs a qualitative approach with semiotic and Saussurean semiotic techniques for data analysis. The findings reveal that Haikyuu!! The Dumpster Battle represents ganbaru as a core element of Japanese culture. Through Ferdinand de Saussure’s semiotic approach, it is found that the characters, dialogues, and visuals in this anime consistently convey strong determination, teamwork, and resilience in overcoming challenges—elements that form the essence of ganbaru. This positions ganbaru not only as a narrative element but also as a philosophy that inspires audiences. Penelitian ini bertujuan untuk menganalisis representasi sikap pantang menyerah atau ganbaru dalam anime Jepang melalui pendekatan semiotika pada film Haikyuu!! The Dumpster Battle. Fokus utama penelitian ini adalah analisis representasi narasi dan visual pada karakter-karakter dalam anime dan bagaimana simbol-simbol yang muncul mencerminkan nilai-nilai ganbaru menggunakan analisis semiotika Ferdinand De Saussure. Teori yang digunakan dalam penelitian ini adalah teori komunikasi massa, representasi, semiotika Ferdinand De Saussure, animasi jepang (Anime), sikap pantang menyerah (Ganbaru). Metodologi yang digunakan merupakan pendekatan kualitatif dengan metode penelitian semiotika serta menggunakan teknik analisis data semiotika Saussure. Hasil penelitian ini menunjukkan bahwa anime Haikyuu!! The Dumpster Battle merepresentasikan konsep ganbaru atau sikap pantang menyerah sebagai bagian dari nilai budaya Jepang. Melalui pendekatan semiotika Ferdinand de Saussure ditemukan bahwa karakter, dialog, dan visual dalam anime ini secara konsisten menunjukkan tekad kuat, kerja sama tim, dan ketangguhan dalam menghadapi tantangan yang menjadi inti dari ganbaru. Hal ini menjadikan ganbaru tidak hanya sebagai elemen naratif tetapi juga sebagai filosofi yang memberi inspirasi.

Günümüzde sıklıkla karşılaştığımız kültürel olgulardan biri olan film afişleri, belli bir filmi tanıtmak amacıyla üretilen anlatım araçlarıdır. Film ve potansiyel izleyicilerin ilk karşılaşması afişler üzerinden gerçekleştiği için her afişte filmin konusuna dair bazı ön bilgiler yer almaktadır. Dolayısıyla bireyler afişe bakarak filmin türünü, içeriğini ve oyuncuların kimler olduğunu anlayabilir ve bu ipuçları üzerinden film hakkında genel bir değerlendirme yapabilir. Film afişleri ilk bakışta fark edilen genel bir anlamın yanı sıra, anlatıdaki iletinin içine gizlenmiş olan daha derin ikincil bir anlam içerirler. Kültürel boyutu olan bu derin anlam, afişte bulunan görsel ve dilsel kodlara eklemlenmiştir. Bireyler bu ikincil anlam üzerinden afişte gördükleriyle kendi deneyimleri ve kültürlerini özdeşleştirerek filmi izlemeye karar verirler. Tam da bu nedenle film afişlerinde aktarılmak istenen anlam daima gerçek hayatla ilişkilendirilerek üretilir. Bu çalışmanın amacı Evet, ich will! (2009) adlı Alman komedi filmi için hazırlanan afişlerdeki kültürel kodların hangi göstergeler üzerinden nasıl temsil edildiğini ortaya çıkarmaktır. İncelemede anlamlandırmanın düzanlam ve yananlam olmak üzere iki farklı düzeyi bulunduğunu varsayan Roland Barthes (1979) tarafından geliştirilen göstergebilimsel çözümleme yönteminden yararlanılacaktır. Düzanlam, anlamlandırmanın birinci düzeyidir ve bir göstergenin belirttiği anlamın öznel olmayan, değişmez, evrensel öğesidir. Yananlam ise bir göstergenin bağlamlara göre değişen kültürel değerlerin ön planda olduğu çağrışım boyutlarına sahip ikincil bir düzeydir. Afişlerin çözümlemesinde kullanılacak olan yöntemin ilk aşaması dilsel kodların incelemelerine ayrılmıştır. İkinci aşama afişlerde yer alan görsel kodların analizini kapsamaktadır. Üçüncü aşamada dilsel ve görsel kodların çözümlemesinden elde edilen bulguların genel değerlendirmesi yapılarak kültürel kodlara değinilecektir.

Film as a form of mass communication has a very important role in conveying messages to a wide audience. As a visual medium, film is able to combine audio and visual elements and through narrative, characters and visualization, film can create social or cultural representations and can influence people's opinions or behavior. In this research, the film being studied is entitled "Susah Signal", this film is researched with the aim that the audience can better understand and see how communication styles can damage and also improve the relationship between mother and child in the family. This research uses mass communication theory, interpersonal communication, family communication and semiotic theory. The methodology used in this film is a qualitative approach using Ferdinand de Saussure's semiotic case study method in processing the collection of existing data. In Semiotic Theory according to Ferdinand de Saussure, he has the main concepts developed, namely Signifier and Signified. Researchers processed data from several scenes in the film "Susah Signal" and then carried out the data validity process by interviewing a psychologist lecturer named Debora Basaria, Msi.Psi, Psychologist. The results of this research show that the film Susah Signal represents the communication style of a single mother, from initially having a communication style that tends to be one-way, such as her authoritarian parenting style, which is also quite harsh in reprimanding, so it often becomes the cause of conflict, to the stage of representing a change in communication style. Good behavior can be the key to resolving the conflict in this film. Film sebagai bentuk komunikasi massa memiliki peran yang sangat penting dalam menyampaikan pesan kepada khalayak luas. Sebagai salah satu media visual, film mampu menggabungkan unsur-unsur audio dan visual dan melalalui narasi, karakter, serta visualisasi, film dapat menciptakan representasi sosial atau budaya serta dapat mempengaruhi opini atau perilaku masyarakat. Dalam penelitian ini Film yang diteliti berjudul “Susah Sinyal”, film ini diteliti dengan tujuan agar khalayak dapat lebih memahami dan dapat melihat bagaimana gaya komunikasi dapat merusak serta juga memperbaiki suatu hubungan ibu dan anak dalam keluarga. Penelitian ini menggunakan teori komunikasi massa, komunikasi antarpribadi, komunikasi keluarga dan teori semiotika. Metodologi yang dipakai dalam film ini adalah pendekatan kualitatif dengan metode studi kasus semiotika Ferdinand de Saussure dalam mengolah pengumpulan data-data yang ada. Dalam Teori Semiotika menurut Ferdinand de Saussure, ia memiliki konsep utama yang dikembangkan, yaitu Penanda (Signifier) dan Petanda (Signified). Peneliti mengolah data-data dari beberapa adegan di film “Susah Sinyal” ini kemudian dilakukan proses keabsahan data dengan mewawancarai seorang dosen psikolog bernama Debora Basaria, Msi.Psi, Psikolog. Hasil dari penelitian ini menunjukkan bahwa Film Susah Sinyal merepresentasikan gaya komunikasi dari seorang ibu tunggal dari yang awalnya memiliki gaya komunikasi yang cenderung satu arah seperti gaya pola asuhnya yang otoriter juga cukup keras dalam menegur sehingga sering menjadi penyebab konflik, hingga pada tahap merepresentasikan perubahan gaya komunikasi yang baik dapat menjadi kunci penyelesaian konflik dalam film ini.

This study aims to analyze the meanings embedded in the film poster "Vina: Sebelum 7 Hari" using Roland Barthes' semiotic approach. Film posters not only serve as promotional tools but also as powerful mediums for conveying complex messages to the audience. Through semiotic analysis, this research reveals the denotative, connotative, and mythological meanings of the visual elements in the poster. Primary data was obtained from direct observation of the film poster sourced from Dee Company's official website, while secondary data was collected through various relevant literatures and theories. The analysis results indicate that the visual elements in the poster effectively depict the essence of the story and the main conflict faced by the character in the film. This conclusion underscores that the "Vina: Sebelum 7 Hari" film poster is not only visually appealing but also effective in conveying the film's narrative and central themes to the audience

This study aims to analyze the meanings embedded in the film poster "Siksa Kubur" using Roland Barthes' semiotic approach. Film posters not only serve as promotional tools but also as powerful mediums for conveying complex messages to the audience. Through semiotic analysis, this research reveals the denotative, connotative, and mythological meanings of the visual elements in the poster. Primary data was obtained from direct observation of the film poster sourced from Come and See Picture's official website, while secondary data was collected through various relevant literatures and theories. The analysis results indicate that the visual elements in the poster effectively depict the essence of the story and the main conflict faced by the character in the film. This conclusion underscores that the "Siksa Kubur" film poster is not only visually appealing but also effective in conveying the film's narrative and central themes to the audience.

Movie posters are an essential tool for visual communication and film marketing.They attract viewers, disseminate movie information, and influence cultural iconography.Two of the biggest East Asian film markets, China and South Korea, have experienced tremendous domestic growth and have produced numerous high-grossing films.The movie posters from these nations exhibit striking visual differences despite their proximity and shared cultural heritage.This study examines the posters of the top 50 highest-grossing domestic films in China and South Korea from 2005 to 2025.The analysis focuses on two primary variables: visual symbolic language and narrative themes.The analysis is based on concepts of cross-cultural communication, visual semiotics, and image narratology.Visual symbolic aspects (textual vs. picture symbols) and narrative themes (story-based vs. image-based) are evaluated using Statistical Package for the Social Sciences (SPSS) analyses, such as chi-square tests and Cramr's V.The results reveal significant differences in narrative themes, font choices, text positioning, and image color (p < 0.01).In contrast, image narrative, text orientation, text color, image kind, composition, and character count show no significant variation (p > 0.01).Cramr's V indicates moderate to strong effects across several variables, and post hoc analyses highlight preferences for specific categories.These distinctions not only reflect the different cultural identities of China and South Korea but also demonstrate different design styles, aesthetic orientations, and visual communication techniques.Understanding these distinctions deepens our knowledge of East Asian cultural exchange and provides guidance for the local film industry in soft power growth and cultural diffusion.

This study discusses the representation of bullying in the film From The Ashes by Khalid Fahad through Ferdinand de Saussure's semiotic approach. The focus of this study is how signs in the film, whether through visuals, dialogues, or other symbols, represent bullying and its impact on victims. Qualitative research methods are used to analyze the signs in the film, which consist of two main components: the signifier and the signified. The results of the analysis show that the film uses strong symbolism to depict the dynamics of bullying, including power relations, the powerlessness of victims, and the journey towards recovery. Visual elements such as color, lighting, and facial expressions function as signifiers that strengthen the emotional narrative, while dialogue and storyline form signifiers that convey meaning about bullying. This study contributes to a deeper understanding of how film media can be a reflective medium for social issues such as bullying, while also offering a new perspective in semiotic studies.

This article aims to discuss semiotics with Ferdinand De Saussure's syntagmatic and paradigmatic concepts and Charles Sander Peirce's Grand Theory concept, with the object of study being qauliyah verses and kauniyah verses in the Koran and methodological reconstruction. This research method is qualitative with a library research method, namely looking for literature sources related to the discussion in the form of theses, dissertations, or other articles. The syntagmatic and paradigmatic concepts of Ferdinand De Saussure and Charles Sander Peirce's Grand Theory, namely Semiotic analysis, seek to find a correlation between the meaning of something contained in something (text, sound, event). Semiotics means how humans interpret the things around them or the events of their lives. Augustine distinguishes natural signs from conventional signs; he mentions that they fulfill human psychological needs; they allow humans to describe and remember the world. It also makes the process of human thinking about life and signs about something that happens and moves beyond the realm of human rationality, which is spiritual. Meanwhile, natural signs are natural symptoms occurring around human life in various forms. This theory works by identifying, documenting, and classifying types of signs. The philosophers from the pragmatism school who formulated the semiotic discipline are Charles Sandres Pierce and Ferdinand De Saussure.

Movie poster has a commercial aim and it advertises a movie. The researcher selects the movie poster of Fresh in order to examine semiotic sign. This study tries to analyze implicit and explicit meaning through semiotic signs on the movie poster. The data is obtained from the movie poster, “Fresh” that is taken from internet website. The qualitative approach is used in this study. This analysis focuses content analysis in other words qualitative analysis because the study tries to explore the signs found in the movie poster of Fresh. Based on this, the researcher examines the sign in the movie poster of the “Fresh”. This study uses Saussure’s sign theory (2011) Wierzbicka’s color theory (1996) and Dyer’s verbal and visual aspect of theory (1986). It can be noted here, there are two aspects in movie poster Fresh. These are verbal and visual aspects. This article tries to examine how movie poster Fresh can construct and convey the meaning by means of the verbal and non verbal aspects. This research indicates that verbal and non verbal aspects convey meaning. This article explores that how signs used in movie poster inform the audience about the topic of the film. This study points out that the verbal and non verbal aspects can produce and realize implicit an explicit meaning. The researcher suggests that the next studies can cover the limitations of this study. The next researcher can use semiotic theories in order to analyze visual communication media, art photography or printed material.

Sinetron (Indonesian Soap opera) are a medium that functions to convey messages in audio-visual form. As an information medium, sinetron (Indonesian soap operas) can be said to be the most effective medium in conveying messages containing da'wah to the public. One of the Sinetron (Indonesian Soap opera) that can convey messages containing da'wah is the sinetron (Indonesian soap opera) "Para Pencari God Volume 14" which not only provides education but also preaching messages to its viewers. The interesting thing about this sinetron (Indonesian Soap opera) is that it dares to raise issues that are considered current, such as current conditions. Therefore, the author is interested in researching a s Sinetron (Indonesian Soap opera) entitled "Para Pencari tuhan jilid 14" by Citra Cinema regarding the preaching message contained in each scene, then interpreted using Ferdinand De Sausssure's semiotic analysis method. Based on the background above, the research question posed by the author is: what is the meaning of the preaching message of commendable morals towards fellow humans in the semiotic analysis of Ferdinand De Saussure in the Sinetron (Indonesian Soap opera) Para Pencari tuhan jilid 14. The aim of this research is: to find out the meaning of the preaching message contained in the Sinetron (Indonesian Soap opera) "Para Pencari tuhan jilid 14" uses Ferdinand De Saussure's semiotic analysis. This research was conducted using qualitative research with a semiotic analysis approach. The data sources used in this research are primary data, namely the video of the Sinetron (Indonesian Soap opera) “Para Pencari tuhan jilid 14” which was uploaded on YouTube and secondary data in the form of photos, documents, articles, journals and books. Data collection techniques were carried out using non-participant observation and documentation. The data analysis technique used is Ferdinand De Saussure's semiotic model which interprets the meaning of signifier (signifier) and signified (signified). Based on the results of the analysis and discussion, the author concludes that the meaning of the da'wah message contained in the Sinetron (Indonesian Soap opera) “Para pencari tuhan jilid 14” in Ferdinand De Saussure's analysis is 1) giving help, 2) giving advice, 3) saying and answering greetings, 4) saying the truth, 5 ) keeping the mandate, 6) keeping one's gaze, 7) inviting good things, 8) forgiving and forgiving each other, 9) smiling when they meet, and 10) holding back anger.

Naked Director 2 is a sequel to the first Naked Director where the film tells about the Adult Film Industry in Japan, the film tells of an adult film director and producer, Toru Muranishi, who achieves his goal of being a legend in the industry. The 1980s where in that year the Adult Film Industry was at its peak as well as satellite technology was just being discovered. The purpose of this study is to find out the meaning of the Naked Director 2 Film Poster so that the meaning of the poster is known to find out the meaning or visual meaning contained in the film poster. An appropriate method is needed where the method that is in accordance with this research is the Roland Semotics Method. Barthes where in this method every visual contained in the poster will analyze its meaning and significance, the benefit of this research is to increase knowledge in the field of semiotics, especially semiotics and a film poster

The aim of this study is to discuss the film posters of Parasite, Mother and Whiplash through semiotic landscape. The analyses have been based on Halliday’s Functional Grammar (1985) and, Kress and van Leeuwen’s Visual grammar (2020). The film Parasite has been analysed within the actional and classificational processes, whereas the film Mother has been examined within the reactional and analytical processes and the film Whiplash has been investigated through the speech and mental processes, and the symbolic processes. The film posters have been also discussed in terms of the descriptive and connotative meanings, as well as the significance of colours in conveying emotions and cultural meanings. Besides, the widespread use of disguised symbols has been identified in film posters. This study sheds light on the influence of visual discourse analysis on film posters, emphasizing the study of semiotics and visual communication in a media-dominated society.