Dissertation proposal (take 2)

A semiotic investigation of the Graphic Design found in 4 contrasting films that focus around Heroin addiction and the messages this design conveys.

The topic of semiotically analysing the graphic design, (which includes) ad campaigns, choices of typeface, mood of the film covers, title sequences and any other official design work relating to these films in an attempt to discover if in any way these films show the drug (Heroin) in a positive light or appear to promote the use of the drug.

After watching a plethora of films relating to this subject, four films have been settled on for reasons including how they diversely relate to each other, how individual the films are, how successful the films were, how the films are part of differing genres etc

The 4 movies selected are :

• Trainspotting 1996 film - Director: Danny Boyle
• The Basketball Diaries 1995 film - Director: Scott Kalvert
• Requiem for a Dream 2000 film - Director: Darren Aronofsky
• Candy 2006 film- Director: Neil Armfield

A selection of films spanning over 2 centuries with a release difference of up to 11 years.
Set within 3 different countries.
Difference in the characters social classes

Academic sources viewed so farHaving briefly enquired into a few academic books I have so far found various quotes from the following books:

Introducing cultural and media studies
(a semiotic approach)
Tony Thwaites, Lloyd davis, Warwick mules

Understanding media semiotics

Marcel Danesi

The basics - Semiotics
Daniel Chandler

Media semiotics an introduction
Jonathan Bignell

The international film poster
Gregory J Edwards

Movie posters
Emily King

As of now various quotes have been collected from these sources which will form the basis for my introduction and as reference points when evaluating the design in the for-mentioned film posters

A contrast between semiotic analysis books and history of film posters have been selected so far.

Quotes 

Movie posters
Emily King

"It is often said that movie posters communicate the essence of film. This is not entirely true. In some cases poster and film are tied closely together and speak with one voice, the former summarising the latter." [CANDY]

"Posters are primarily advertisements and their task is to connect with the people on the street, not with the images on the screen" [INTRO]


THE INTENTIONAL FILM POSTER
GREGORY J EDWARDS

"Until recently, the cinema poster has been viewed by producers and public alike almost exclusively as a selling tool, advertising the claims of the latest film attractions as widely as possible. Ironically, as the mass appeal of the cinema has appeared to decline, posters from an earlier era are increasingly in demand by some collectors as serious works of art."

Introduction page.



"Some posters remain enjoyable ephemera; some can be appreciated that will stand scrutiny beside the best in the whole range of art posters"

Gregory J Edwards 1985.

MEDIA SEMIOTICS
AN INTRODUCTION

JONATHAN BIGNELL

"Cinema spectators are predominantly in the fifteen to twenty-four age-group, the average age of the spectator having fallen since the 'golden age' of cinema going in the 1940s and 1950s. Over 50 per cent of British 15 to 24-year-olds go the cinema once a moth or more the largest sector of regular filmgoers. Contemporary cinemagoers have to be addressed by particular films which may appeal to them, and they have fairly coherent requirements of films which they may choose to see."

Bignell, J. (1997). Media semiotics. Manchester [England]: Manchester University Press.