Number of sign system that emerged in the modern world requires a special science to studying it called semiology reviewing all kinds of
system of signs,
26
whatever it is, without limitation the content and scope of the system began patterns, images, up to sign language, sound, music,
objects, as well as associations due to complicated these systems.
27
b. Denotative and Connotative
In Semiotics, denotation and connotation are terms describing the relationship between the signifier and its signified, and an analytic
distinction is made between two types of signified: a denotative signified and a connotative signified. Meaning includes both denotation and
connotation. ‘Denotation’ tends to be described as the definitional, literal, obvious
or common sense meaning of a sign. In the case of linguistic signs, the denotative meaning is what the dictionary attempts to provide.
The term ‘connotation’ is used to refer to the socio-cultural and ‘personal’ associations ideological, emotional, etc. of the sign. These are
typically related to the interpreter’s class, age, gender, ethnicity and so on. Connotation is thus context-dependent.
28
26
Tony Thwaites, Introducing Cultural and Media Studies; Sebuah Pendekatan Semiotik, Yogyakarta dan Bandung: Jalasutra, 2009, p. 42.
27
Rolland Barthes, The Fashion System, New York: Hill Wang, 1967, p. 9.
28
Daniel Chandler, Semiotics: the Basics New York: Routlegde, 2002, p. 137-138.
15
c. The System Of Signification
Barthes developed the theory of de Saussure to examine the cultural aspects related to the distribution of signifiant and sign signifi
ě. De Saussure tried to see the sign as a union between the two entities
comprising mental signifiant signifier, ie image acoustique, and signifi ě
signified, for example, image acoustique is signifie of rabbit that its signifier is the concept of a rabbit. Association between image
acoustique and the concept of rabbit this is what he called signs.
rabbit Image
concept
Figure 1. example of de Saussures sign concept The theory developed signs de Saussure was developed by Barthes
becomes more dynamic. In this case Barthes, first, develop the concept of signification, ie marker binding process expression E with signified
content C. Therefore, adding Barthes R relations connecting the markers with an indication that the concept of the sign is a sign of ERC Barthes.
Second, Barthes does not see the sign-fabric markers in a static relationship, but, because of the significance, dynamic. To make it clearer of Barthes’s
concept, observe the following model. Model 1. Concept of connotation
Secondary Connotation Sign
Content C2
Expression E2 R
2
Expression E1
Content C1
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Primary Sign Denotation
This model can be applied in the example model :
Example of Barthes’s concept of metalanguage :
E
1
ADS R
1
R
The Whole denotative Sign of E R
1
C
1 1
E2 Secondary sign:
Connotation
Primary sign: Denotation
C
1
Drug is not children ‘S play’
C
2
Implisit Conotative Sign
Secondary Sign : Metalanguage
Primary Sign : Object Language Expression E2
Content C2
Expression E1
R
2
Content C1
From the example of model 1, it can be seen that the relationship of E1 R1 C1 become the whole denotative signs as “E2” which denotes the content
2 C2. C2 is the the content of a new connotative sign. It has implicit meaning in the form of concept, image or myths. Barthes used the concept of
connotative semiotics C2 to uncover the hidden meaning in the text of denotative level.
Meaning here takes place in two phases. Sign signifier and signified in the first stage, a signifier on the second level having another
signifier extended meaning. Example; bookmarks image acoustique Volvo have a relationship R1 with a signifier concept, brand, and
both are signs at the first level. Relation both to sign this second level, which has a signifier of luxuries. The expansion is called the connotation
17
or meaning is also called the system of signification. In semiotic advertising done on two levels namely the level of the surface surface
level and level of underlying level Surface level of the ad is the actual text ads, how the text is mixed from the elements of verbal and non verbal,
whereas the level in the ad is interwoven connotations, mystical themes raised level surface.
29
In Barthes’ analysis of advertisements, he distinguishes between verbal and non verbal parts.
1 Verbal Part
Verbal Part that can be analyzed is, of course, the text of the advertisement. It can be the name or slogan of the product or people,
information about something, persuasion sentences, or anything else in text form.
2 Non verbal Part
There are some kinds of non verbal parts in advertisement. Their appearances are aimed to support the verbal part in order to be an
interesting package of advertisement. They have deep meanings that can produce message to the reader, not only as a complement. Those
kinds of non verbal parts are : a.
Color A vital aspect of art direction is the use of color in advertisement. It
creates moods and emotions. Colors are filled in an advertisement
29
Kris Budiman, Semiotika Visual, Yogyakarta: Buku Baik, 2003, p. 45-46.
18
to address some messages to the reader. They do not only to make the advertisement become beautiful and interesting, but also they
have meanings which need to be understood. In addition to such specific advantages as increased attention value,
realism, prestige, emphasis, and identification of package, brand, or trademark, colors have a symbolism of their own which can
contribute to the the communication process
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. Color can be analyzed through the color psychology, for example, red connotes
strength, speed or anger. b.
Animation and Picture Animation, according to David W. Stewart, is a creative technique
that advertisers have used for many years. The use of animation is another marginal sign that advertisers are using more frequently.
As technology in graphic design and animation advances, more ad agencies are using animation to sell their wares ins ads
31
. Making an animation is not something easy. However, recently, there are
many advertisements which add the animation as a complement unsure to make the ads become great. People can see the creative
animation of advertisement on television or outdoor three dimension advertisements.
30
John S. Wright, et al., Advertising, 4
th
Ed new York: Tata McGraw-Hill Publishing Company, 1978, p. 463.
31
David S Stewart, et al., The Psychology of Advertising: Course Guide, 2
nd
Ed Maryland: Univ. Of Maryland, 1992, p. 10.
19
Picture is one of elements in advertisement which is used to support the message that the advertisers want to address. Pictures,
of course, do not have to be photographs. They can be drawings, paintings, collages, computer grapichs and many more. Picture can
speak to us more quickly and powerfully than words
32
. Therefore, many ads appear with pictures more than the text. Besides that,
picture can represent the product, the image or something. Some pictures in this world are not only have the truly meaning, but also
the connotation that can reflect any perceptions.
C. Myth
