Analysing advertisements: a range of semiotic deconstructions to kick-start your unseen analysis revision

 Levi Jeans advert featuring Beyonce

• The MES of the laundrette setting is shabby, old fashioned, and symbolically represents the working class. This constructs a compelling contrast to the target audience. 
• The MES of the iconography of Beyonce’s hat makes reference to the western genre. Beyonce is symbolically constructed as a cowgirl, selling the audience an old American west lifestyle. 
• Both the hat and the jeans are the same, a bold fashion choice, symbolically suggesting that Beyonce is both confident and effortless 
• In both images, B’s posture emphasises the curves of her body, symbolically suggesting that Levi’s jeans symbolise sexuality 
• A simple, straightforward outfit, with the bleached platinum hair symbolises the working class, and in particular white working class person. For a black woman to wear this stereotypical outfit, a symbolic sense of inclusion is constructed 
• Beyonce’s pose is symbolic of her confident and independent attitude towards life. In particular, the gesture of her reaching up and leaning on the washing machine is symbolic of her relaxed attitude to the situation
• The setting is stereotypically working class, which is emphasised by the old and battered washing machines. This rough and ready setting is a clear contrast to the glamorous and beautiful Beyonce.
• The model is wearing a platinum blonde wig, which symbolically encodes a range of meanings. Firstly, it demonstrates the reality where Beyonce can change her appearance to advertise a range of products. Additionally, the platinum blonde hair and cowboy hat is stereotypically symbolic of the American white working class woman. This is in stark contrast to not only Beyonce’s wealth, but also her ethnicity. 
• Beyonce's posture and gesture demonstrates pride in her appearance, in particular her buttocks. This symbolic encoding of sexual objectification, as well as a confident and empowering body image that present a complex and conflicting ideology to the target audience 

Brioni advertisement featuring Samuel L Jackson 

• The model is smart, sophisticated and has a straight face and an authoritative posture. The MES of these elements connotes that he is in a position of power, and is the boss of a large and successful company. 
• The pure white background not only draws our attention to the model’s clothes, but also provides contrast between his dark suit and his dark skin, creating a striking contrast. This striking contrast suggests that this suit is exceedingly expensive. 
• The MES of the suit is connotative of wealth and luxury. This is anchored through the slogan, ‘tailored since 1945’, which reinforces these connotations of luxury. 
• The image is in black and white, which has connotations of old, established and classic design. Yet the black and white is also connotative of sophistication.
• The model is Samel L Jackson, an established actor who is famous for his intense and intimidating roles. The MES of his stern facial expression is connotative of contempt, positioning the audience in a nervous and intimidating mode of address.
• The model appears to be very classy and with expensive aspiration. The monochromatic colour palette is connotative of a sharp and clean aesthetic, which emphasises that Brioni is a particularly classy and high end designer. 
• The mid shot on the left is connotative of the quality of the suit. The audience is able to inspect it from a close up position. The image is perfectly balanced, connoting the power and the confidence of the model. The model’s body language suggests confidence. This hand on the leg suggests the model is confident in this situation, and this is an every day occurrence for him.
• The logo is in cursive font, connoting luxury and professionalism. The connotations of wearing a suit suggests a serious outlook, and a formal, serious or work based situation. 
• However, the model is static, and is completing no work. This forms a juxtaposition: while the suit connotes hard work and graft, the model is doing absolutely nothing. This suggests the model is in a financial position where he does not have to work.
• Samuel L Jackson is a famous actor, and provides the brand with star appeal

Prada dress

• The MES of the tiger constructs an hermeneutic code, forcing the target audience to ask why a deadly predator is in this room. The tiger forms a contrast with the living room setting…
• The setting is isolated and mountainous, constructing a hermeneutic code that asks the audience why this model is situated in this location. We also ask the question ‘where is this place’ 
• The model is calm, yet blank and indifferent. She lies on a sofa, speaking on a vintage landline phone, hermeneutically asking the audience why she is on the phone and who she is calling. 
• Finally, the MES of the model’s costume is fancy, luxurious, and high end, once more suggesting a complex mystery. 
• By utilising so many hermeneutic codes, the Prada advert forces the audience to consider the many mysteries of the advert, and therefore more likely to consider what the brand itself represents. 
• The MES of the tiger constructs an hermeneutic for the audience, forcing them to ask why the tiger is there, and its purpose in the advertising of this product
• The setting is somewhat ambiguous, functioning as an hermeneutic code. While the MES suggests asia, there is still no definitive answer
• The model is clutching a phone. This MES suggests that she is talking to somebody, however, this seems mysterious given the situation she is in.
• She is using an old fashioned landline, hermeneutically encouraging the audience to ask why she is using such outdated technology. The use of the old fashioned technology and the old fashioned architecture positions the audience in a confusing manner. 
• There is nothing explicit in this image to suggest what is being advertised

The Star Tuesday 9th September 2025 - Exploring composition and hierarchy in a tabloid newspaper

• The image of Donald Trump is larger than any other image, constructing a reality where Trump is the main focal point of the front page, but also incredibly important to the audience. The headline reinforces this idea, and the font is large, which shows how important the message is, and confirms the newspaper’s producers are trying to catch the audience's attention. The model’s enormous necklace here connotes a controversial opinion, and openly mocks the president of the United States. This reflects the idea that Trump is not popular with the audience of the Star. 
• A hierarchy of importance is established through image size. While Aerosmith are clearly important, their feature article is less important than the story on Trump, which indicates the target audience of the daily star are immature and less educated. 
• A tabloid newspaper - a highly informal approach 
• The most important aspect of the front page is the main image of Donald Trump, accompanied by the headline ‘fool’s gold’. By being the largest image, it is connoted that only is Trump the most important person, but this story is the most important. This constructs the message to the English audience that Donald Trump and right wing politics are the most important and noteworthy. However, despite his importance, the layout constructs trump as an idiot. Furthermore, Trump is constructed through the ridiculous MES that connotes that he is tacky and foolish. By presenting such a story, The Star appeals to it’s audience who are critical of Donald Trump. The secondary story features old rock stars sharing memories of Ozzy Osbourne, which will appeal to an older audience.
• Exploring composition and hierarchy in a tabloid newspaper
• The image of Donald Trump is larger than any other image, constructing a reality where Trump is the main focal point of the front page, but also incredibly important to the audience. The headline reinforces this idea, and the font is large, which shows how important the message is, and confirms the newspaper’s producers are trying to catch the audience's attention. The model’s enormous necklace here connotes a controversial opinion, and openly mocks the president of the United States. This reflects the idea that Trump is not popular with the audience of the Star. 
• A hierarchy of importance is established through image size. While Aerosmith are clearly important, their feature article is less important than the story on Trump, which indicates the target audience of the daily star are immature and less educated. 

How do iconographic referents construct complex meanings in the theatrical trailer to Strange World (2022)?

• The iconic animation style in Strange World is highly reminiscent of recent Disney films, for example Encanto and Big Hero 6, with highly expressive and exaggerated facial expressions. These exaggerated facial expressions are iconic and easy for a younger target audience to understand. The use of bright colours is also iconic, appealing to a young audience who are familiar with Disney films, constructing a sense of comfort. 
• Additionally, while this is a family adventure film, it also uses the conventions of the science fiction, for example high tech weapons, spaceships and other retro sci-fi elements. The title card makes explicit reference to a number of 80s franchises, which appeals to older audiences but also younger audiences who are interested in a diverse range of media. Finally, the environmental message of the film is clear, with the world being threatened by evil aliens, and a farmer having to sort the issue out.
• The trailer includes themes of the supernatural and science, making reference to many other films. This helps the audience to understand the scenario of the film, and to come to a conclusion as to whether they will enjoy the film. Additionally, the film includes the iconography of the adventure film, and the font of the title makes iconographic reference to Indiana Jones and Duck Tails, allowing the target audience to make a decision as to whether or not they will see the film. 
• The wicker hat worn by the father is an infographic of south America and the south of America, helping the audience to understand where this film is set. Additionally, the hat connotes the protagonist is a farmer, and is therefore working class, providing a relatable mode of address to the target audience. 
• The film focuses on family issues and problems, which is encoded through the depiction of complex family relationships. Additionally there are themes of queer identity and relationships. The main character is quite flamboyant and camp, which constructs an inclusive representation that demonstrates an inclusive brand, and attempts to maximise revenue. 

Montage in the opening of Chainsaw Man

• The rapid fire editing of the opening sequence constructs an overwhelming and confusing narrative for the target audience. Some audience members will take this as a challenge, and will want to understand what this show is about. Anime typically targets a niche audience, and therefore focuses on scenes of intense and chaotic violence which are contrasted with gentle slice of life moments including the characters bowling. 
• The OP makes iconic reference to a number of other films and media products, including Quentin Tarantino, The Cohen Brothers, and other big Hollywood productions. This helps to target an audience with a comprehensive knowledge of film and comics. Therefore this show targets fans. 
• The fact that there is so much editing in this opening sequence connotes that lots will happen in this show 
• Many cuts emphasise the violence and action that the show is known for.
• The opening rapidly cuts from extreme long shots to mid shots to extreme close ups, constructing a fast paced and exciting set of symbolic connotations. However, in this rapid fire montage, we also cut to mundane and slice-of-life scenarios, for example the characters bowling, watching films, and walking down the street. This creates contrast, and temporarily takes the audience’s mind away from the violence. 
• The chaotic and sporadic montage suggests that the show is nowhere near as serious as we might expect, providing the audience with a fresh new perspective. 

Positioning in Titanic

‘Are you ready to go back to Titanic’

• These words are spoken by the chief scientist, who is directly addressing the old woman. However, in doing so, he also addresses the audience. We are addressed in a way which assumes our interest and excitement. We are positioned with the old woman through a montage of POV shots, positioning us directly as the old woman. Through the framing and composition of the shots of the old woman, a visual hierarchy is constructed where she is clearly the most important aspect, further positioning the target audience. Finally, the old woman is a stereotype of a nice old woman, constructed through her soft voice, her generic grandma look…
• 1st Class dinner - the audience is positioned with Jack throughout this sequence. He occupies the most screentime, and the shot types and camera angles position us at the table, directly with him. 
• 3rd class party - the audience are initially positioned with rose, using an over the shoulder shot
• A range of sophisticated techniques are used to position the audience in a complex array of positions, even shifting our perspective on multiple occasions. 
• Jack is instantly constructed as a working class outsider, and this encourages the audience to root for him. Jack is clearly not comfortable with this situation, increasing our affinity with him. A range of close up shots track Jack's facial expressions, and we cut away to reaction shots of the group of snooty socialites judging him. Additionally, the actor playing jack is famous and attractive, allowing the audience to position themselves with him more easily.
• In the following sequence, we are instantly positioned with Rose. An over the shoulder shot establishes the chaotic and exciting party scene, and the audience are positioned with Rose. Then, a cut to a mid shot reveals Rose’s uncomfortable expression and the laughing passengers in the background. We cut to Jack pulling Rose, and therefore the audience into the dance floor. We cut to an ECU of Jack’s hand gripping Rose’s waist, which positions the audience in a scandalous position  

TWICE "THIS IS FOR" M/V - how does this music video use MES to construct a range of polysemic connotations?

• The matching outfits construct a symbolic connotation of power and unity. The red knitted costumes are connotative of an attainable and crafty sense of fashion, and is essential to positioning the target young female audience and to help them identify with the performers. 
• The performers are stereotypically beautiful, not only constructing an aesthetically pleasuring music video, but also provide an aspirational role model for the young women this video targets.
• The video frequently changes setting, and in doing so, shifts the narrative. This helps the audience to pay attention, and indicates the target audience is younger and predominantly female 
• The video uses a variety of settings including rooftops, a street scene, and most strikingly a subway. These normal settings provide a contrast to the glamorous performers, and construct a symbolic connotation of unexpectedness and surprise. Additionally, this setting is highly relatable to the young target audience, who will live in cities and commute to work or school. 

How does the combination of media language construct meaning in the ‘Gandalf returns to the Shire scene in The Lord Of The Rings: The Fellowship Of The Ring (Jackson, 2001)?

• A sense of community and friendship is constructed between Frodo and Gandalf, constructed through a montage of close up shots of the characters laughing. This constructs a sense of friendship, and an idea that this friendship started before the film began. Furthermore, a midshot of the two friends sitting together on the cart is reinforced through the facial expressions, especially Frodo gazing lovingly at Gandalf.
• The audience are positioned in a range of situations, sometimes as the little guy, using low angle shots to the adience with him, and constructs gandalf as a delightful grandfather figure. As we travel with G and F, a range of tracking shots establish and construct a peaceful and happy village, filled with friendly farmers, belonging to the working class. 
• Ultimately, a friendly and wholesome atmosphere is constructed, which is reinforced through the final shot of the children laughing and running after Gandalf in excitement. We are positioned briefly in a childlike state of wonder