Semiotic Codes

Written by Red Wiliams

There are three distinct types of semiotic codes, which help focus the audience's attention on certain aspects of the film.

The first are pure musical codes in which the audience listens to the music for its actual musical value. A prime example of this is the movie The Doors, where Jim Morrison, played by Val Kilmer, gives an electrifying rendition of the song Five to One. The music has one distinct purpose: to exemplify how truly amazing The Doors music was. The music took center stage, and the audience's attention was focused directly upon it. The audience concentrated on the actual notes being played, not on the significance of the song. In a sense, the plot stopped moving forward, and everyone sat back and enjoyed the music for its musical value.

The second type of semiotic codes are cultural codes, and point the audience outside of the film world itself. These codes exploit the fact that different types of music have pre-determined cultural associations. For instance, if the audience hears mariachi music as a scene opens, he or she will naturally assume that they are in some location South of the border. A great example of this is the movie Braveheart, directed by Mel Gibson. The movie opens with a shot of a rugged mountain leaving to viewer to speculate exactly where they are. Then, bagpipes kick in and a within seconds the audience knows they are in Scotland. Bagpipe music has been associated with Scotland for so long that viewers immediately, and involuntarily put the two together. Cultural codes are by no means confined to explaining locations. We need look no further than our national anthem. Anytime an American hears the Star Spangled Banner, he immediately feels patriotic and proud. Cultural codes play upon the fact that certain types of music have been engrained with certain associations.

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