Pingkan Rositawati, Sheyra Silvia Siregar, Dian Yuni Pamuji

Analysis of Chinese Culture in the Film I Am What I Am (2021) by Sun Haipeng Using Semiotic Roland Barthes

Introduction

Analysis of chinese culture in the film i am what i am (2021) by sun haipeng using semiotic roland barthes. Explore Chinese culture in the film "I Am What I Am" (2021) using Roland Barthes' semiotics. Uncover cultural meanings from visual symbols like lion dance, salted fish, and lanterns.

Abstract

This article discusses the analysis of Chinese culture in the film I Am What I Am (2021) directed by Sun Haipeng, using semiotic Roland Barthes. The aim of this research is to uncover the cultural meanings conveyed through visual and narrative symbols in the film. This study employs a descriptive qualitative method, in which data is collected through observation of scenes that contain elements of Chinese culture such as the lion dance, salted fish, lanterns, and others. The analysis is carried out through three levels of meaning according to Barthes: denotation (literal meaning), connotation (cultural meaning), and myth (ideological meaning).

Review

This article proposes a pertinent and timely analysis of Chinese culture within the critically acclaimed film *I Am What I Am (2021)*, leveraging the robust theoretical framework of Roland Barthes' semiotics. The choice of film is commendable, as it offers a rich tapestry of cultural symbols ripe for deconstruction, and the application of Barthes' denotation, connotation, and myth provides a sophisticated lens through which to explore the layers of meaning. The research aim is clearly articulated, setting out to uncover cultural meanings, which promises to contribute significantly to both film studies and the understanding of contemporary Chinese cultural representation. The methodology outlined, a descriptive qualitative approach with data collection through observation of specific cultural elements such as the lion dance, salted fish, and lanterns, appears well-suited to the research objective. The commitment to analyzing these elements across Barthes' three levels of meaning is a particular strength, offering a structured and in-depth analytical pathway. For the full study, it will be crucial to rigorously detail the process of observation, specifying how scenes are selected and how the visual and narrative symbols within them are systematically cataloged. Furthermore, the application of Barthes' framework, particularly the distinction and justification of interpretations between connotation and myth for each identified cultural symbol, will need meticulous and scholarly argumentation to ensure the validity and depth of the findings. Overall, this research holds considerable promise for illuminating the intricate ways in which culture is encoded and decoded in contemporary cinema. By systematically applying Barthes' semiotics to the chosen film, the study is well-positioned to offer valuable insights into the overt and underlying messages conveyed through its cultural artifacts. The success of the full paper will hinge on the precise and convincing execution of the stated methodology, particularly in demonstrating the analytical journey from literal observation to the deeper, ideological meanings embedded within *I Am What I Am*.

Full Text

Comments

You need to be logged in to post a comment.