University of Western MacedoniaUniversity of Western MacedoniaSchool of Education School of Education Postgraduate Studies ProgramPostgraduate Studies ProgramCultural Studies: Semiotic Structures & Cultural Studies: Semiotic Structures & PracticesPractices

Visual Analysis of Teen Drama Promo Visual Analysis of Teen Drama Promo Posters: Posters: Gossip Girl vs. SkinsGossip Girl vs. Skins

by Konstantia Liouza by Konstantia Liouza postgraduate studentpostgraduate student

15th Early Fall School in Semiotics “Sociosemiotics 15th Early Fall School in Semiotics “Sociosemiotics III”, III”, 5-15 September 2009, Sozopol, Bulgaria.5-15 September 2009, Sozopol, Bulgaria.

IntroIntro

Aim of this work is the visual analysis of teen drama promotion posters; in particular posters of the advertising campaigns of two teen drama TV series, Gossip Girl (american)& Skins (british).

Within the framework of cultural studies and social semiotic approach.

What’s the role of these promo posters in culture, how teens and youth are represented and why?

Cultural Studies & Social SemioticsCultural Studies & Social Semiotics

Images are cultural artifacts of representation as a ‘textual practice’ of culture (Lister & Wells, 2001: 61); it’s necessary to understand how are they produced, enacted and consumed.

Images are presumed as constructs of reality (van Leeuwen & Jewitt, 2001: 5).

The analysis of advertising images can reveal the nature of such constructs.

The analytical frameworkThe analytical framework

Visual social semiotic analysis - as it is developed by Kress and van Leeuwen:three ‘metafunctions’ of images: representational, interactive and compositional.

Barthian visual semiotics - layering of meaning denotation (what/who is depicted)

connotation (ideas and values that are represented).

Description of the sampleDescription of the sample

Promotional posters of Gossip Girl and Skins.

Teen drama focuses on teenage characters.

Both:- are very recent (began in 2007 -

broadcasted until now),- high ratings,- the context is a realistic frame.

Why?sharp criticism received, especially because of the ad campaigns which implied an inappropriate context to be shown to underage teenagers (considered as minors).

Gossip Girl: Gossip Girl: OMFGOMFG

Two teens are depicted in a sexual scene(Serena and Nate).

Intense pleasure: position of female face (lips, closed eyes, head leans back…),

Vivid motion (hair)Serena accepts

eagerly the action of kissing.

Gossip Girl: Gossip Girl: OMFGOMFG

Salient visual element is ‘OMFG’: Oh My F--king God.

Young people are familiar to this kind of textual expression.

Ideal consumers of this ‘encrypted’ message.

Anchors the meaning of what is represented.

Gossip Girl: Gossip Girl: “EVERY PARENT’S “EVERY PARENT’S NIGHTMARE”NIGHTMARE”

Serena ‘suggestively’ being kissed at her neck by a faceless young man.

The ‘hidden’ face –insignificant. Semantic weight is centred on his action.

Gossip Girl: Gossip Girl: “EVERY PARENT’S “EVERY PARENT’S NIGHTMARE”NIGHTMARE”

Enjoyment and sexual pleasure is the potential meaning inferred from characteristics of Serena’s face (leaned head , closed eyes, half opened mouth, hand entangled in hair…)

Gossip Girl: Gossip Girl: “EVERY PARENT’S “EVERY PARENT’S NIGHTMARE”NIGHTMARE”

Quote from Boston Herald is used for advertising.

Re-framing changes potential meaning.

Construct of teenage girl (“daughter”) in contrast with the implied adult (“parent”).

Skins: Skins: In the edge of deathIn the edge of death

Tony is depicted lying submerged in a bath with his eyes open.

Neglect and depression (dirty tiles, bathtub, water, darkness…)

In the edge of death/ threshold of consciousness.

Skins: Skins: In the edge of deathIn the edge of death

The ‘point of view’ - a position of symbolic power.

Frontality - maximum involvement.

Viewer is directly confronted with the depicted face and the directly gaze.

Skins: Skins: Banned ‘orgy’ posterBanned ‘orgy’ poster

This promo poster was banned from the Advertising Standards Authority in UK.

It features Michelle and Sid surrounded by couples apparently taking part in an ‘orgy’.

Skins: Skins: Banned ‘orgy’ posterBanned ‘orgy’ poster

Salient visual element is Michelle (placed on the foreground, lighted with exiguous dim light).

Despondency and neglect (smudged makeup, only underwear, looking disheveled).

Skins: Skins: Banned ‘orgy’ posterBanned ‘orgy’ poster

Representational meaning: Sid looks at Michelle (‘transactive reaction’), while Michelle looks out of the frame (‘non-transactive reaction’).

Interactive meaning: Michelle is closer to the viewer (‘medium shot’) than Sid (‘long shot’).

References References

Kress, Gunther & Theo van Leeuwen (1996). Reading Images: The Grammar of the Visual Design. London: Routledge.

Lister, Martin & Liz Wells (2001). “Seeing beyond belief: Cultural Studies as an approach to analysing the visual”, in van Leeuwen, Theo & Carey Jewitt (eds.) (2001) Handbook of Visual Analysis. London: Sage Publications, 61-91.

van Leeuwen, Theo & Carey Jewitt (eds.) (2001). Handbook of Visual Analysis. London: Sage Publications, 5.