Sunday, January 26, 2020
Dexter Opening Sequence | Analysis
Dexter Opening Sequence | Analysis In this assignment, I analyse Dexters opening sequence by employing semiotic tools and interpret the intended meaning in the polysemic signs which anchor to the connotative associations in the narrative structure of this generic text. I have opted to carry out a semiotic analysis of Dexters opening credits that airs on premium cable, Showtime. In order to develop an unequivocal semiotic analysis, the meaning of the terms and different aspects of semiology must be made clear. There is a set of analytical tools used to examine a media text such as a sign, a signifier and a signified, iconic, indexical, symbolic, polysemic, intertexuality, codes, paradigms and syntagms. Semiotics is the study of how signs make meaning while a sign could be anything that represents something else. The signifier is the sign itself and the signified refers to the mental concept. Iconic describes a sign which resembles the signified whereas Symbolic refers to a sign which does not resemble the signified but is purely conventional. Indexical represents a sign which is innately connected in some way to the signified. Paradigm refers to a set of signs that are put together to induce meaning. Syntagm, on the other hand, is the term used to d escribe the construction of a sequence of signs in a particular relationship to one another. A media text containing many meanings is known as polysemia and its existence in relation to other media texts is called intertexuality. Now it is feasible to delve into the semiotic analyses of Dexters opening sequence as the basic terms of the semiotics are comprehensible. One of Barthes arguments in Rhetoric of the Image is that all images are polysemous; they imply, underlying their signifiers, a floating chain of signifieds, the reader able to choose some and ignore others (1977, p.32-55). The narrative structure of the opening is filled with polysemic codes where the paradigm of signs are combined to show a man going through his morning routine, the interpretation of the coded message actually convey a different meaning depending on the analysis of the syntagmatic relations of the signifiers. The signifiers not only represent their denotation but also contain malicious belligerent connotations leading the audience to an entirely different signifieds or notion of discernment based on their construal. The genre is the crime and suspense drama series as the use of verbal rhetoric and paradigm is particular of this type of generic text. The title scene of Dexter is a complex combination of signs where every element is signifying the message of murder. This view is supported by Fiske (1990, p.40) who states: The conveyance of messages takes place through the development and use of codes, the form and existence that these take depends on the society and culture within which they operate. The blood drops are an indexical sign which has connotation of murder. The title Dexter is an iconic linguistic sign written with blood stains spewed across it. The typography is indicative of murder and crime, using the Soda Script font in red which is yet another signifier. It contains connotative value as its signifieds are danger and devil that is usually depicted as coloured red and wearing a red costume in both iconography and popular culture. Further association of the red colour sign connotes to the phrase caught red-handed, meaning either caught in an act of crime or caught with the blood of murder still on ones hands. It also sets a tone of violence which could be interpreted as a significant characteristic of the show. By deciphering these codes we can construe the intended meaning of the media text. In regards to coded messages Robert Innis (1986, HYPERLINK http://www.aber.ac.uk/media/Documents/S4B/sem13.html#Innis_1986p.88) writes that an articulated code has a vocabulary of basic units together with syntactical rules which can be used to generate larger meaningful combinations. The very first shot in the opening scene shows a mosquito sucking blood out of the mans arm that he then slaps and kills. The mosquito is a signifier and signified is it sucks blood. It denotes to the viewer that killing a mosquito is good. The close up facial expression of the man is a presentational code after he kills the mosquito a subsequent self-satisfied smile spreads on his face. When you interpret the coded message being used you get a connotative implication that this is a man who likes killing or that is how he starts his daily routine. The narrative structure of the text also employs syntagmatic value by the linking of signs from paradigm sets for an intended meaning. The one scene shows the man using a dental floss which is a signifier and its denotative of removing food and dental plaque from teeth. He wraps it around his fingers tightly that we can see the fingers areas turn white which connotes to his use of strength and force. In the next shot we see a close up of hi s neck which consists of syntagmatic relationship signifying connotative aspect if we compare it with preceding and following shots. Subsequently the next coded message is a close up shot showing a rope swaddled around the hands that is being pulled making the blood rush to the sides and turning the area around the ropes on his hands turn white. These syntagmatic signs consist of coded message and rely on the intertextuality of the text. Kristeva referred to texts in terms of two axes: a horizontal axis connecting the author and reader of a text, and a vertical axis, which connects the text to other texts (1980, p.69). The interpretations of the meaning of these juxtaposed coded signs rely on the readers previous experience of seeing strangulation scenes in other texts. After examination and coalesces of the signifiers and signifieds in the following shots, its denotative of a man clearly tying his shoes in the morning. The aesthetic codes and conventions used to show a close up shot of a grapefruit being sliced contains polysemic signs. The paradigm method in which the slow motion and graphic slicing of the grapefruit splatters the juice is denotative but also operates indexically indicative of blood spatter at a connotative level. The extreme close up shot of the grapefruit is a sign which resembles distorted flesh. The close up scene of opening the shower null with force making a fist and the shot of his biceps are metonyms of his vindictive personality which signifies his use of force, strength and power. There is an extreme close up shot of slicing of the meat which is still wrapped in a plastic bag connotes to a corpse in a bag. In this context, signifiers not only represent denotation but also carry connotation leading the audience to different signifieds. The visual rhetoric of the man when he is looking at himself through the mirror is a blurred close up shot which is an artifice of connotation. With regard to media artefacts Long and Wall (2009, p.40) stated that a text is manufactured or constructed out of elements of language and existing meanings. The deliberate blurring of his reflection on the mirror presents us with a constructed signifier. The blur is a symbolic sign which distorts the vision, making it harder to identify anything or anyone. The blur could signify the mans secrete persona as his facial features are obscured. Furthermore, it connotes to the implication that he is hiding a dark secret or his true self and does not want to be perceptible. Serial killers are invisible: they look like anyone else is, they could be anyone else. At the denotative level of the syntagmatic structure of the scenes we see the man simply putting a white t-shirt on, however, these coded signifiers also anchor to the connotative signified. The codes and conventions employed anchor to the intended meaning thus exhibit possible polysemia of the signs. The polysemic visual signifier is a symbolic close up shot of the mans face where he is pulling the t-shirt tightly over his head which provides anchorage to the connotative association of a bag over a suffocation victim. The conventions used to provide a connotational framework at this echelon is a cultural code. The big close up shot of his face is an indexical sign and denotative of him trying to catch his breath and reinforces the polysemic connotation of suffocation. The polysemic analysis of the contours of his face emerging from behind the stretching fabric could be interpreted as him being the victim or his close connection with the murder or crime. The purposely use of the sign s has connotative implications that he could be a victim or he could be a criminal and predator who commits the murders. At a mythic level we understand this sign as activating the myth of murderers: Most killers lead lives that appear normal to anyone in the general public. Connotatively, the semiotic analysis of these coded signs interpret the simple relatable morning rituals of the man who takes pleasure in cutting into objects and cooking things that could have been alive signify the delight he gets in killing living and non-living things e.g mosquito, fruit, meat. The narrative structure of this text is a superb paradigm composition of signifiers and signifieds that has polysemic signs which once decoded connotes to menacing and destructive meaning. The rhetorical manner in which he holds his neck in the shaving scene is a symbolic sign containing coded message of strangulation. The drops of blood from the shaving accident are signifiers and the implication of murder is signified. Subsequent combining of signifiers and signifieds in a sequential close up shots denotes to a man eating an omelette which also anchors to the connotative meaning of the signifiers. The razor-sharp knife he uses to slice the omelette is a signifier. Even the black colour of the sharp knife is a coded signifier. We can interpret the polysemic meaning of the metaphorical sign of knife taking into account that it is not a bread knife which is generally used. The knife symbolises murder and the colour black stands for death, enigma, and pain. The red liquid is a signifier and the ketchup is signified. However, employing analytical tools of semiology we can interpret the connotative meaning of calculated use of the fluid to represent blood. The use of ketch up instead of mayonnaise or sauce is a premeditated sign. The signs have connotation of obsession with blood of the main character of the show which signifies that he could be a killer or he is closely associated with the blood and criminal activities. Moreover the analysis of indexical sign of blood epitomise the symbol of life or of taking it. The close up shot towards the end is a signifier where we get to see the clear view of Dexters face for the first time which abstracts him from the context and places the main focus on his face and presentational rhetoric of the text. The facial expression on his face is denotative and also connotes to a disturbing underlining meaning as he looks us in the eye. The shot lingers for just a little too long which provokes uncomfortable and agitated reaction and connotes that the man is hiding a dark secret. The suggestive sly smile spreads on his face that connotes his devious, vicious and cunning personality traits. It also connotes to the ability of the man to present himself as a normal face to the world but underneath he knows he is hiding his true nature from the world. The most common nonliteral sound to accentuate character personality or emotion is music. (Sonnenschein 2001). In this generic text, the presentational rhetoric is employed in encoding the non-diegetic music to convey the connotative meaning of playfulness and ominous. The music and digenetic sound evoke emotional and dramatic reaction through a combination of its elements: rhythm, melody, chords and instrumentation. The music signifier contains sassy and sinister horns that punctuate the visual signs in the paradigmatic narrative structure to direct our attention and induce particular meaning. For example the blood drops falling on the sink which connotes to a more sinister meaning in this context. This clearly relates to the Saussurean analytical division of the sign into a sound-image (signifier) and the mood of the generic text is signified. This notion is further supported by Cook (1998, p.8) who writes By working with the image the sound seeks to explain the events, emotions an d meaning, to transfer its clarity of meaning to the other. The diegetic environmental sounds aid in accentuating the actions of the character and anchor to the connotative meaning of the signifiers. The music and sound are very successful in providing a multi-accentuate meaning to the text which connotes to the menacing, sinister, mysterious and ambiguous characteristics of the man and the generic text. Gibbs (2002, p.82) articulates Mise-en-scà ¨ne enables you to anchor your understanding of a film In this text mise-en-scà ¨ne of the narrative structure of lighting, actor, cinematography and camera makes possible a series of suggestive meanings. The careful use of paradigm and syntagm in the narration abet us to decode the connotative association and experience nonliteral meaning as well as literary one. The paradigm use of graphic and gritty nature of close up shots in the entire narrative anchors to the connotation of intimacy, closeness, asphyxiatation, leaving no room for the viewer to breath. With regard to Close-Up shot frames Munsterberg (1970, p.33) writes The close-up heightens the vividness of that on which our mind is concentrating on. Editing, extreme CU frames, lighting, sound, and swiftness of the images reveal polysemia with notion of perception. Every signifier is polysemic, emotionally poignant and revealing. The indication of fear, concealment and murder is the ultimate goal of each scene. The intensity, saturation, hue and depth of colours play a significant role in the syntagmatic structure of the text anchoring to dark, mysterious, fiend mood. The enhancement of the colour red directs our attention on this particular element of the composition and also connotes to a more sinister meaning. The long shot of the man when he is leaving is a sign and alteration in the tone of the light also has polysemic meaning as it renders our own notion of vision (and judgement) as unreliable or at least questionable. The purpose of the change in the lighting signifies that the man leads a double life or he has two personalities. When he is alone in his room he is himself as the tone of colours are saturated presenting a darker and baleful disposition of the man. But once he is outside the use of cheerful morning bright colours reinforces the connotation of the man leading a double life and keeping a secret. The nod he gives to the camera or audience is a sign which signify his ackno wledgement that we know his secret. The question arises that if he is portrayed as an antihero seeing that he is the main character of the show and has connotation of close associated of blood and murder. It also fortifies the myth of killers that the murderers could be anyone at all and are quite indistinguishable from ordinary people as we see the narrative structure following the man doing daily rituals with polysemic relationship. (Cameron Elizabeth 1987) The rich use of symbolic metonymies in the narrative structure to create malevolent connotations out of a denotatively peaceful routine which we can all relate to makes this media text fascinating to analyse semiotically. The codes and conventions used in the rhetoric construe syntagmic relationship which instantly conveys one sign or denotation to the audience but semiotic analysis of these signs decipher the true intended meaning. At the connotation level all the visual symbols are interacting to create a sinister, darker, destructive notion of perception which insinuates murder. REFERENCES: Barthes, Roland (1977), The Rhetoric of the Image in Heath, Stephen (Trans) Image, Music, Text. New York: Hill and Wang. pp. 32-51 Innis, Robert E. (1986), Semiotics: An Introductory Reade. London: Hutchinson. pp. 88 Kristeva, Julia (1980), Desire in Language: A Semiotic Approach to Literature and Art. New York: Columbia University Press. pp.69 Long, Paul and Wall, Tim (2009), Media Studies: Texts, Production and Context. England: Longman. pp. 40 Sonnenschein, David (2001), Sound Design: The Expressive Power Of Music,Voice and Sound Effects in Cinema. USA: Michael Wiese. pp. 178 Saussure, Ferdinand de (1974), Course in General Linguistics. London: Fontana. pp. 128 Cook, Nicholas (1998), Analysing Musical Multimedia. London: Oxford University Press. pp.8 Gibbs, John (2002), Mise-en-scà ¨ne:Film Style And Interpretation. London: Wallflower Press. pp.82 Munsterberg, Hugo (1970), The Film: A Psychological Study. New York: Dover Publications. pp.33 Cameron, Deborah and Frazer, Elizabeth (1987), The Lust To Kill. Cambridge: Polity Press. pp.158
Saturday, January 18, 2020
Love is a logical Fallacy Essay
           Love is a logical fallacy. In Metamorphoses, even the god of pure reason, Apollo is ridiculed and behaves irrationally while the Phaedra of Seneca violated all norms of proper female behavior for the sake of her love. Truly, love makes people do the most illogical and impractical acts. Love is a logical fallacy because had reason intervened, the ill-fate of the characters in both works would be largely abated.            In book twelve of the Metamorphoses, Priam laments Paris’ incontinence. By his rape of Helen and his rejection of Hera as the fairest goddess, Paris had effectively doomed Priam’s city of Troy. Priam, Hector and all others of Priam’s sons wept for the tragedy that would soon befall the city. Not so for Paris because he felt that his love for Helen, and the love she felt for him in return was just compensation. Such is the hubris that Paris’ love brought upon the house of Priam.            Hubris too drove Phaedra, who was married to Thesus to attempt to seduce her foster son Hippolytus. Many artifices and guiles will she employ through out the play but Hippolytus refuses to dishonor his father’s memory by committing incest on the queen. Phaedra will become increasingly desperate even co-opting her wet nurse to help her win over the young Hippolytus but to no avail. In the end Phaedra will even accuse Hippolytus of indeed having relations with her to his father Thesus. Hippolytus will die because of her slander. Indeed when they said â€Å"love conquers all†they had the love-crazed Phaedra in mind. Her insane love conquered all reason from her mind and led her to an untimely and unfortunate end.            Still another story of hubris from the Metamorphoses is the ill-fate of Midas. Already wealthy and a reasonably powerful king Midas desired gold above all other treasures. So Bacchus grants him the power to turn all that he touches into gold. He soon embarks upon a tragic quest to gain as much gold as his can until he soon turns even his daughter into gold. The lust for gold ruined all that was good around him. The tragedy of Midas was that he was so blinded by his love for gold that he did not realize how much that he truly loved could be lost. No less tragic was the life of Thesus in Phaedra. After returning from the dead Thesus is greeted by his wife with the accusation that Hippolytus had had his way with her. Blinded with rage over the mishandling of his ‘beloved’ wife Thesus says a prayer to Neptune for the redress of his wrongs. Sure as a sunrise, Neptune strikes down Hippolytus by having him ripped apart by his horses. Never mind that he was entirely innocent to begin with.            However, even if Amor, the Roman Cupid, can drive all reason from those he assails not all of his conquests have turned to evil. One example is the love story of Thetis and Peleus, the soon to be famous parents of Achilles. Evil was still done to the two but eventually their escapade resulted in some good being accomplished. In the story of the two lovers in book            Thetis was a sea nymph whose beauty so drew Peleus that the poor king would soon be driven to desperate measures to gain her. Just like Phaedra he begins a campaign of seduction that is initially rebuffed by the coy nymph mirroring the failed seduction efforts of Phaedra upon Hippolytus. However, while Phaedra is ultimately unsuccessful Peleus has some measure of success.            After a whole day of trying to conquer Thetis, and Thetis trying to break free eventually Thetis tires of their struggles and consents to have relations with Peleus. As will later be seen, this union will result in Achilles perhaps the most famous Greek in story and in Song.            Hippolytus tried to stay loyal to his father by refusing to acquiesce to his step-mother’s incestuous desires. His deep love for his father does not allow him to dishonor him especially not so soon. Eventually, Phaedra accuses him wrongly and Thesus prayers leads to his death. However, in his death some good is achieved since Phaedra confesses her incestuous desires and the innocence of Hippolytus. As this sampling of the two works suggests love is not places in very high regard by these two authors. By allowing reason to be overwhelmed by love, or lust, the heroes and gods are led down ill paths. Phaedra embarks of a sickening path of incestuous seduction, Midas loses everything to worthless gold, Troy will burn for the indiscretion of the boy Paris. Thesus will slay his own son out of blind love for Phaedra. They are a just a few examples, how love conquered the rational thought of the characters and brought them ill fate. If any good is achieved it is accidental and to be realized later on. Tragedy still befalls those who imbibe in love regardless of what good will occur later because of it. Just ask Hippolytus who was torn apart by his horses before Phaedra would realize the error of her ways. Trully, love is a logical fallacy. Both Greek and Roman prized reason and common sense over love. It is by allowing ourselves to be buffeted by the winds of love that tragedy befalls. Therefore, we must ever be vigilant lest our reason be mastered by this logical fallacy.
Friday, January 10, 2020
The Good Topics for a Rhetorical Analysis Essay Chronicles
The Good Topics for a Rhetorical Analysis Essay Chronicles For an adequate comprehension of Revelation, the reader must recognize that it's a distinct sort of literature. Help readers not knowledgeable about the poem and its context gain a deep comprehension of how the poet employs language. Pick a poem by a poet who's very different from you in a minumum of one way. In your essay, analyze the language of the section you've chosen and think about the way the author's specific word choice produces a difference in just what the excerpt communicates with respect to the theme. Top Choices of Good Topics for a Rhetorical Analysis Essay The more you practice rhetorical analysis, the simpler it is going to be to figure out how just the author or the speaker is attempting to persuade their audience. If you are able to analyze any book for your rhetorical assignment, choose the work you recognize well. The principal point is that rhetorical papers are not the same as others. Vocabu lary Utilize all types of vocabulary that you could think about. There are many different on-line tools that you're able to use for proofreading, as an example, Grammarly, Ginger, After The Deadline, Paper Rater among many more. These essays take additional time to make certain you comprehend the work you're analyzing to the maximum degree. If you are supposed to compose a rhetorical analysis essay as part of your AP English exam, then you'll be taking it in class. Speeches really stick out among others. Abortion is undeniably important. If you're religious, a sermon may be the most fascinating topic for you. Rhetoric may also be implemented through the usage of carefully selected words. Good Topics for a Rhetorical Analysis Essay for Dummies Therefore, it's better to shape an outline that you will follow to set your notes and ideas in the appropriate order in your essay. You should read different authors' books and consider the style of writing they use and you need to s tart looking in the plethora of information out there. Be certain to include proper citations too. The Argument About Good Topics for a Rhetorical Analysis Essay It's also vital to make a sound thesis and provide the arguments proving your point throughout the entire paper. Any illustration of rhetorical analysis incorporates strong arguments made from powerful descriptive adverbs and adjectives. You have to have an argument. At times, the best method to understand how to write a great argument is to begin by analyzing different arguments. Writing a rhetorical essay isn't that difficult after you have understood what it is about. Students are often scared of rhetorical analysis essays because they don't know how to write them. Body It's the main portion of the essay. Introduction is a rather important portion of the academic paper also. Introducing Good Topics for a Rhetorical Analysis Essay To actually rock the paper a writer that may conquer all 3 methods in 1 paper has produced a triple threat. Also, do not forget that your reader is already acquainted with the text, so you don't will need to summarize the text in their opinion. Rhetorical analysis example does not need a whole lot of external research, but you may want to include sources that explain various procedures of persuasion to demonstrate the method by which the author of the works you're analyzing convinces their audience. Attempt to pick the most recent sources in addition to writing techniques. What to Do About Good Topics for a Rhetorical Analysis Essay The first kind of appeal is known as the pathetic appeal. The second sort of rhetorical appeal is known as the ethical appeal. The logical appeal utilizes reason to earn a circums tance. The ethical appeal utilizes the writer's own credibility and character to earn a case and earn approval. The Ultimate Good Topics for a Rhetorical Analysis Essay Trick Opt for the subtopic with the most extensive research, which means that your paper is well-researched. Whether you're going with a guide, or newspaper column, you can absolutely apply exactly the same rules to bring forward a decent rhetorical analysis. When you Korea University custom essay cheap Greek and Roman History have found the ideal grant, you need to ascertain what are the needs of the organization and create the elements of your grants to coincide with them. As an instance, if you're studying economics or finance, you can want to understand more about taxes.
Thursday, January 2, 2020
Opinions on Euthanasia and Assisted Suicide - 1347 Words
Opinions of euthanasia and assisted suicide vary by country to country, and only a few nations permit euthanasia in the case of terminally ill patients (van der Heide et. al., 2007, p. 1957). The public discourse surrounding the ethical, and subsequently legal status of euthanasia is frequently heated and somewhat polarized, because the debate cuts to the very heart of notions of human rights and ethics. Unfortunately, this only tends to further obscure the issue at hand, which is in reality a fairly simple question. Namely, what is more important; the preservation of individual human life for as long as possible, potentially despite the wishes of the individual, or allowing an individual to choose the time and manner of his or her death? As will be seen, the only reasonable answer to this question is to favor individual freedom, but first, it will be necessary to counter some of the distractions and misinformation that opponents of euthanasia use to avoid confronting the essential q uestion at hand. Before addressing why euthanasia for terminally ill patients must be permitted in any reasonably just society, it is necessary to counter what opponents of euthanasia argue are the potentially negative social consequences of the practice. The essence of the argument against euthanasia is that it devalues human life, and a natural corollary of this belief is the notion that the legalization of euthanasia will result in a subsequent increase of the practice and a furtherShow MoreRelatedEuthanasia Essay : Euthanasia And Euthanasia863 Words  | 4 PagesThis is why Euthanasia is important and summarizing the research that I found on Euthanasia. Euthanasia is important because there is a lot of arguments about Euthanasia. 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If dogs can be putdown, why not people? The reason is in that question. They are people. Every life is important, no matter how long it may be. Instead of finding a way to get rid of people faster, the government could put those efforts in something more positiv e. If other people are considering whether or not the patients’ life
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