Critic: Kabuki
When viewed under the lens of the semiotic theories of Saussure and Metz the case can be made that the medium of film can function in a similar manner to language.
It is easy to understand how the theory of semiotics functions with regards to static images or “signs.” When applied to film the idea of “signifier and signified” is expanded as multiple shots can form a montage providing a more complex meaning than one image could alone.
There are only so many connotations that can be associated with one sign or image. In film, connotation is used with regards to cinematography, as shots are set up to express the style or atmosphere of a film. Altering details such as the angle at which a subject is filmed by a camera can evoke specific feelings in a viewer as to how to regard the subject.
This manipulation of the image for the purpose of communicating a deeper message or feeling to the viewer makes it seem that film can function like language. The shots of the film act as the words on a page that would conjure an image in your mind. In the same way that language can be misinterpreted so too can film.
This would lead one to believe that even if a film has difficulty finding a viewer who comprehends its message it is still communicating in a fashion similar to language. This idea of the deeper connotation of “signs” is explored in John Carpenter’s film They Live.
The protagonist of the film, Nada, played by Roddy Piper is made aware of the hidden messages that exist in much of his reality after wearing a pair of special sunglasses. This new perception allows Nada to view the underlying forces in his environment through advertising, billboards, and actual signs. Instead of seeing the images for advertising Nada is able to see the concealed intent behind the pictures and billboards with words such as “Obey”, “Conform”, and “Consume.”
