A Semiotic Analysis of the Film KGF Chapter 1 (2018)
Keywords:
Commercial success,Fictional character,Hidden signs,Representation, Realism, Scene depthAbstract
This research explores the representation of signs, hidden meanings which gives the scene depth that provides the sense of realism to the audience and sentiments where the dialogues touched, the visual representation of set designs, composition, lights, costume, props, colours and everything else in a frame. The research particularly was taken from 2 Kannada-based films. KGF part 1 (2018) and KGF part 2 (2022) by director Prashanth Neel to know about the secret of their commercial success through this art. The director also portrayed the character “Rocky” in impressive way where every youth of the nation lived as this fictional character after watching the film. The result of this study will help the researcher to understand how the signs, signifier and the signified are been placed and presented in this film.
How to cite this article:
Rithieshvar R. A Semiotic Analysis of the Film KGF Chapter 1 (2018). J Adv Res Jrnl Mass Comm 2022; 9(4): 1-5.
References
Kora Koulik, Dr. S .Dinesh Babu. (2021). Typography as a Communicative Tool: A Visual Analysis of Malayalam Cinema. Annals of the Romanian Society for Cell.
Kumar, Keval, J. (2014). The ‘Bollywoodization’ of popular Indian Visual Culture; A Critical Perspective. Triple.
Lilly, K. V., & Dr Sudhara. (2021). Art and Aesthetic Appreciation in Children. International Journal of Scientific and Research Publications (IJSRP).
LoBrutto, V. (2002). The filmmaker’s Guide to Production Design.
Lupo, Eleonora. (2011). ‘Design, arts and “aesthetics of Innovation.” Strategic Design Research Journal
Tyurian, Anastasua. (2020). South Bank: Aesthetics and Visual Ambiguity of Scientific Images. International Conference on Digital Creation in Arts and Communication. 201- 203.
Vladimir J Konecni. (2016). Emotion in Painting and Art Installations. The American Journal of Psychology.
Walter, E., & Gioglio, J. (2013). The Power of Visual Storytelling, How to use visuals, videos, and Social Media to Market Your Brand. New York Chicago.
Zaichkowsky, Judith, L. (209). Exploring Art Film Audiences: A Markeing Analysis. Journal of Promotion Management.
Bhowmik, Ritwij. (2021). Contemplating with Moving Image: Teaching the Aesthetics of cinema. Design For All Institute of India,
Blanke, O., & Pasqualini, I. (2012). The riddle of style changes in the visual arts after interference with the right brain. Frontiers in human neuroscience, 5(154).
Bordwell, David. (1979). The Art Cinema as a Mode of Film Practice. Film Criticism, 4(1), 56-64.
Royani, N. (2014). ‘A Semiotic Analysis of “Sucker Punch” Movie’. M.A Thesis. English Letters Department, Islamic University, Jakarta.
Saeed, J. (2016). Semantics: Fourth Edition. Chichester: Wiley Blackwell.
Setia, R., Osman M. and Shazila, A. (2009). “Semiotic Analysis of the Movie The Lord of the Rings The Fellowshipof the Rings”. Canadian Social Science Journal.
Sobur, A. (2009). Semiotics. Bandung: PT Remaja.
Suana, A. (2014). ‘Semiotic Analysis of Heroism in the Movie “Spider-Man 2”’. M.A Thesis. English Department, State Islamic University, Indonesia.
Wantoro, A. (2018). ‘Semiotic Analysis of the Movie “Time Machine”’. International Conference of Humanities, Business Economics, Social Science.
Winona, E. T. (2018). “Semiotic Analysis of Gesture in ‘Marlina the Murderer’ Movie”. In Proceedings, International Seminar, Digital Library of Medan State University.
Published
How to Cite
Issue
Section
Copyright (c) 2023 Journal of Advanced Research in Journalism & Mass Communication
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
