CRITICAL DISCOURSE ANALYSIS (CDA), APPROACHES AND THEORIES

CRITICAL DISCOURSE ANALYSIS (CDA), APPROACHES AND THEORIES

Abstract

The study examines the discipline of discourse analysis with a focus on critical discourse analysis (CDA) as an aspect of discourse studies. The methodology is a descriptive/library research. Findings reveal that critical discourse analysis is an aspect of discourse analysis that focuses on three major issues of ideology, power and institution. While dialectal-relational approach, socio-cognitive discourse, and discourse historical approach are some of the principles of CDA; dispositive analysis, critical social theory, socio-psychological theory, corpus-linguistics approach, and social actors approach are some of the theories of CDA, and both principles and theories are interrelated.

  1. Introduction

Language is a phenomenon which is related to our social and cognitive development right from our childhood and plays a very crucial role in the formation of our identity. Whatever we say always contains some meaning and represents our perception toward a certain thing or phenomenon. Language plays a very important role because every action particularly a political action is accompanied and in fact influenced and played by the language we use. We have always got a particular way of understanding and perceiving language. And the way we perceive language builds the foundation of our social construction and individual as well as group relationships. And some branches of linguistics, like discourse studies and cognitive linguistics, have tried to explain what kind of relationship is there between the use of language and importance of perception. Because the way we make use of language tells our intention toward any important issue either political or social.

Discourse either spoken or written can emerge from many sources like cultural, social or power background. Language always has its surface and real meanings and surface meanings differ from that of real meanings, and it is in fact one of the aims of discourse to show how language is working and what context it is being used in. according to Yalden, “..Using a language involves something that goes beyond the acquisition of structures and the ability to make appropriate choices in the realization of the particular language functions.” (39).

Every language finds its ways in discourse and in order to understand a speech or a text it becomes necessary to get into the depth of that very spoken or written text and go for the context of it; because unless the text is seen as having more than surface meanings, it would not be easy to get the real meaning and understand the motive and intention of the speaker. Discourse always intends to bring forth the context of what is said to light which may otherwise not be transparent enough to a reader and listener. These underlying meanings are interpreted to expose issues of dominance, inequality and power relations between the interlocutors. This becomes the purview of Critical Discourse Analysis (CDA). This study examines discourse analysis, critical discourse analysis, principles of CDA and the theories of CDA.

  1. Discourse and Discourse Analysis

The term Discourse is broad with many definitions. It ‘integrates a whole palette of meanings’ (Horvath, npn). The Wikipedia states that the word discourse is derived from the Latin word discursus which means to and from’ (npn). Literally, discourse refers to communication of thought by words or a formal discussion of a subject in speech or writing. A plausible definition of discourse is offered by Stubbs as ‘language above the sentence or above the clause’ (2). In the same vein, Tenorio (4) states that discourse ‘is the highest unit of linguistic description; phonemes, morphemes, words, phrases, clauses, sentences and text are below’. This definition offers a syntactic description or explanation of discourse. Adopting a different view, Van Dijk asserts that discourse is ‘text in context’ (3). Dijk’s position offers a sociolinguistics outlook on the notion of discourse by taking cognizance of the situation it occurs. Context is significant because discourse does not take place in a vacuum and must be by definite participants or interactants.

Despite the various definitions offered by linguists, Schiffrin conceives that ‘discourse can be interpreted in wider range than any other term in linguistic areas, yet it has been least accurately defined’ (40). This is relatively in consonance with Richardson’s view which implies that discourse is a term that is used fashionably in various disciplines and becomes ‘one of the most well used words in academics today’ (21). In other words, the term is frequently used and adopted in other academic fields, thus leading to its diverse definitions. Paltridge (2) offers that Zellig Harris; a well-known linguist was the first to use the term ‘discourse’ in 1952 during a paper he presented on Discourse Analysis. However, Discourse as a field only gained much interest during the 1970s when it eventually developed as a critique of cognitive process in communication. It is based on the notion that language needs a context for it to function properly. In this regard, Ahmad (1) stressed that it is ‘difficult to understand the linguistic items used in discourse without a context’.

The context is relevant in discourse such that it is part of the three perspectives outlined by Van Dijk to define or critically understand discourse. They are: linguistic, cognitive and socio-cultural. First, he argues that discourse is described at the syntactic, semantic and stylistic levels (linguistics perspective). Secondly, he adds that it needs to be understood from the interlocutors’ processes of production, reception and understanding (cognitive) and finally he points to the social dimension of discourse which he sees as a sequence of contextualized, controlled and purposeful acts that occur in the society: context (socio-cultural). In sum, discourse is multidisciplinary. It is a social performance, an interpersonal activity whose form is determined by its social purpose.

Discourse Analysis is a cover term for the many traditions by which discourse may be analysed. Osisanwo (8) notes that, ‘popular as discourse analysis is among modern linguists, coming up with a comprehensive and acceptable definition of the term has been a herculean task’. To solve this linguistics conundrum, Brown and Yule in Osisanwo provided an apt definition as ‘the analysis of discourse is necessarily the analysis of language in use’ (8). This definition implied that discourse overtly presupposes communication; therefore discourse analysis is the method of studying discourse. Stubbs in Osisanwo offered a syntax-oriented view of discourse analysis as an attempt to study ‘the organization of language above the sentence or above the clause, and therefore to study larger linguistic units, such as conversational exchanges or written texts’ (8).

Schriffin explains that ‘it is a critique of cognitivism (objective, observable/knowable reality) that developed from the 1970s onwards, although it has its roots in the turn to language in the 1950s’ (34). Crystal in Mills asserted that ‘discourse analysis focuses on the structure of naturally occurring spoken language, as found in such discourses as conversations, interviews, commentaries and speeches’ (3). This corroborates Van Dijk’s view on Discourse analysis as a modality for construction of theories in clarifying the existing relations between language use, thoughts or beliefs and social interactions. He goes further to correct the general misconception that discourse analysis can only be done on spoken language since there is an evident interaction between speakers. On the contrary, written materials can also be analysed because readers assimilate what they are reading in spite of what may seem as passive interaction between a reader and the text.

Discourse analysis is a rapidly growing and vast field. Discourse explains how texts relate to contexts of situation and context of culture. How texts are produced as a social practice, what texts tell us about happenings and what people think and belief. Text analysis is the study of formal linguistic devices that distinguish a text from random sentences. Discourse analysis takes into account the text-forming devices with reference to the functions for which the discourse was produced, and the context within which the discourse was created. The very aim of discourse analysis is to show how the linguistic elements help language users communicate. It includes the ways in which people assume meanings of a text within a given context.

In a nutshell, Mills agreed that ‘discourse analysis could be seen as a reaction to a more traditional form of linguistics (formal, structural linguistics) which focused on the constituent units and structure of the sentence and which does not concern itself with an analysis of language in use’ (135). It is concerned with translating the notion of structure from the level of the sentence to the level of longer text.

  1. Discourse and Critical Discourse Analysis (CDA)

As people interact in the form of dialogue or any other speech situation, they use language which, in most cases, is laden with implicit meanings. In any instance of discourse, “there are certain underlying ideologies which are opaque and are, in turns, products of social context which the discourse belongs.” (Ike- Nwafor 1) When there is a conversation between interlocutors, there is often an implicit ideology which explicitly manifests through the exercise of social power and dominance. This is made more manifest, especially, when the conversation is made between a dominant social actor and a dominated social actor; the former being described by Wodak and Meyer as “powerful groups” (3) while the latter is described as the “dominated groups” (Van Dijk 96).

There has been a radical shift of emphasis by linguists from the structure of the text to what and how the text is used to function in the social process. The knowledge of Discourse makes us believe that the intent, coherence, and rhetoric of an utterance and the social background of the speaker/writer and the listener/reader promote a better understanding of a text and talk. Discourse is, therefore, communication achieved beyond the physical text. This explains Stubbs definition of discourse as “language above the sentence or above the clause” (1).

It is essentially the study of language in use.

Discourse is viewed as a social performance or a social activity. It is a relative social phenomenon that depends solely on a wide range of disciplines, such as Psychology, Anthropology, Philosophy, Anthropological Linguistics, Sociology, Cognitive and Social Psychology. According to Fairclough, “Discourse constitutes the social. Three dimensions of the social are distinguished- knowledge, social relations, and social identity-and these correspond respectively to three major functions of language… Discourse is shaped by relations of power and invested with ideologies” (8).

When a text or talk is subjected to interrogation with the aim of discovering hidden meanings and value structures, discourse becomes ‘critical.’ This analysis is carried out when the hearer or reader uses all linguistic features and cues available to him in the ‘said’ to generate meanings from the ‘unsaid’ in a manner that exposes power and abuse of power, dominance, inequality and invested institutional ideologies in the discourse of a powerful group, then Discourse studies is said to be in the domain of Critical Discourse Analysis. Critical Discourse Analysis (CDA), is, therefore, “a type of discourse analytical research that primarily studies the way social power abuse, dominance, and inequality are enacted, reproduced, and resisted by text and talk in the social and political context” (Van Dijk 1). Wodak and Meyer believe that every discourse is structured by dominance and the “dominant structures are legitimated by the ideologies of powerful groups” (3). CDA is a mixture of a linguistic and social theory that focuses on discourse within social practice. The knowledge of the grammar, phonology and the structural patterns of a text or talk is no doubt, very important. It has become very necessary, however, to look beyond these primary linguistic features of the language and dissect every utterance to see if there is more to know, that the structure of the language ordinarily would not offer by merely probing its grammaticality. No doubt, language, therefore, is no longer just for “reflecting reality, it is central for creating reality” (Ike- Nwafor 2).

Critical Discourse Analysis is relatively a new approach to the study of language. Before now, scholars across the globe were more interested in the structural patterns and forms of language. For many decades, the preoccupation of many linguists has been the study of grammar and other aspects of language. Recent researches by linguists have clearly shown a revolutionary shift of attention from language form to language functions (Fairclough 1992; Leeuwen 2008; Van Dijk 1977). This has opened a new vista to the study of language and provoked a scholarly investigation into the use of language in social context and how the opaque ideology embedded in a discourse can be unveiled. Critical Discourse Analysis is an investigative approach that is essentially concerned with unearthing the opaque meaning that underlies the discourse of social actors in a manner that exposes the display of power and abuse of power, dominance, and inequality among them. In other words, it is an exercise that endeavours to make explicit, power relationships which are frequently hidden in text and talk (Meyer 15). Critical Discourse Analysis is also concerned with “unveiling the implicit and explicit oppression, discrimination and power that are manifest in discourse- both spoken and written” (Dellinger npn.). Critical Discourse Analysis (CDA) is a contemporary approach to the study of language and discourses in social institutions. It focuses on the way and manner language exercises its power in the society. Critical Discourse Analysis began from the assumption that systematic asymmetries of power and resources between speakers and listeners, readers and writers can be linked to their unequal access to linguistic and social resources. It hinges on the notion that language use is a social practice which does not function in isolation but in a set of cultural, social and psychological frameworks. CDA accepts this social context and studies its connections with textual structures. It also takes the social context into account and explores the links between textual structures and their function interaction within the society. The terms Critical Linguistics (CL) and Critical Discourse Analysis (CDA) are often used interchangeably. However, the latter is often preferred and used to denote the former theory previously identified as Critical Linguistics. CDA is a relatively new approach in discourse studies, whose emergence could be traced to a small symposium of discourse scholars in Amsterdam in 1990 and headed by Van Dijk. He views CDA as;
a type of discourse analytical research that primarily studies the way social power abuse, dominance and inequality are enacted, reproduced and resisted by text and talk in the social and political context. With such dissident research, critical discourse analysts take explicit position and thus want to understand, expose and ultimately resist social inequality. (23)

One cannot discuss CDA without recourse to the views of some prominent scholars in Critical Discourse Analysis. Some of these are discussed below:

  1. Ideological Discursive Formations

Ideological Discursive Formations (IDFs) is a concept in CDA that is associated with Fairclough. He labels this notion as IDFs by presenting a social institution as a sort of ideological or speech community. He considers social institution as ideological institution. Fairclough believes that behaviour and discourse are ideologically motivated. He views Critical Discourse Analysis as ideological analysis. In an abstract to his work, Critical Discourse Analysis: the Critical Study of Language (1995), he says:

I view social institutions as containing diverse ‘ideological-discursive formations’ (IDFs) associated with different groups within the institution. There is usually one IDF which is clearly dominant… Institutional subjects are constructed, in accordance with the norms of an IDF, in subject positions whose ideological underpinnings they may be unaware of. A characteristic of a dominant IDF is the capacity to ‘naturalize’ ideologies, i.e. to win acceptance for them as non-ideological ‘common sense’… To ‘denaturalize’ them is the objective of a discourse analysis which adopts ‘critical’ goals. (27)

According to Fairclough, these IDFs frame participants’ roles in every social institution and that makes it “generally possible to identify a ‘dominant’ IDF and one or more ‘dominated’ IDFs” (14). Fairclough explains that contentions or struggles between forces within social institutions come about as a result of the penchant for maintaining a dominant IDF by the dominating group, as well as suppressing an existing IDF by the dominated group with a view to replacing it. This is practically manifested when an erring student refuses to accept, say charges of late-coming offence by a school prefect. Indeed, some students are bold to suppress the dominant IDF of the prefects even when they are aware that their actions might lead them to a more serious punishment. A student is said to have replaced an existing IDF if he/she succeeds in convincing the prefect to see things from his own point of view (ideology)

Commenting on Fairclough’s notion of IDFs, Ike-Nwafor (77) explains that his (Fairclough’s) analysis goes beyond the “whatness” of text description towards the “howness” and “whyness” of text interpretation and explanation. This explains why critical analysts dig deep to ask the fundamental questions: who produces a text? To whom is a text addressed? How and why is a text produced? A perfect answer to each of the questions above would reveal the source of power and also show the reason for the ideologically laden language of a text. Closely related to the above notion is the clear definition Fairclough gives of the relationship between power and language in his work, Language and Power (2001). Fairclough looks at power as social power and ideology and shows how texts mediate “orderliness” and how “orders of discourse” depends on naturalized ideologies (27-53).

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Semiotics Analysis of Nigerian and American Films

Semiotics Analysis of Nigerian and American Films

CHAPTER ONE

INTRODUCTION

1.0 Background to the Study

Semiotics is a form of communication that uses signs, codes, symbols, and significations to articulate ideas and information. It is a method of communication that investigates the creation of meanings. Adedina and Taiwo (2015:6) define it as the study of signs within the framework of social life as expressed in a work of art. Ferdinand de Saussure, the Swiss linguist and semiotician who laid the foundation for the study of semiotics, posits that semiology (his preferred term) is the science that has to do with the study of signs in the society (1974:661). Pierce, the renowned American philosopher and semiotician representes semiotics as

“the quasi-necessary, or formal doctrine of signs. By describing the doctrine as “quasi – necessary,” or formal, I mean that we observe the characters of such signs as we know, and from such observation, by a process which I will not object to naming abstraction, we are led to statements, eminently fallible, and therefore in one sense by no means necessary, as to what must be the characters of all signs used by a “scientific” intelligence, that is to say by an intelligence capable of learning by experience” (cited in Desai and Nair 2005: 561).

The two definitions are associated with the patterns of communication; that is, socio-cultural relationships and interactions in human society.

While Saussure emphasises the social function of the sign, Pierce emphasises its logical function. Nevertheless, both perspectives are closely related; and more, the two terms “semiology” and “semiotics”, Adesanya (2014:50) submits, the same concept. Therefore, semiotics can be defined as the study of how signs, codes and symbols function within recognised sign systems for significations. To clarify Adesanya’s (2014) position, Adedina and Taiwo (2015:7) state that there exists the formal and social aspects of semiotics. They note that while formal semiology deals with conceptualising signs from the contexts of their usage, social semiotics examine semiotic practices that are specific to cultures. Semiotics therefore, finds expression in every phenomenon that is intended for communication, either contextually or culture specific.

In film, semiotics helps in deepening intended meaning. The visual basis of film gives it a universal power of communication. Film, Bankole (2014:2) notes, is a repository of semiological symbols. The meanings are inferred from societal practices; norms, cultural values, individual experiences and environmental contexts, to showcase the way the society functions as projected in films through aesthetics. As a result, every sign or sign system operates within a given context. Many filmmakers extensively deploy semiotics in expressing the myth, history legendary stories and archetypes within the respective cultures where their films are set. Kunle Afolayan and Mel Gibson are renowned for adopting semiotics in the treatment of the narratives that portray respective cultures.

In a broad sense, myth and archetypes refer to any traditional belief conveyed by cultural codes within socio-religious sign systems. According to Alagoa (1978:9), myths are sacred narratives of sacred things/beings and of semi divine heroes. Similarly, Jaja (2012:9) perceives myths “as stories that play explanatory functions in understanding reality, concepts and beliefs and further serve as explanations of nature and events such as creations, origin of things, history of a race or a people, and heroic deeds and achievements”. This clearly shows that myths true expressions of societal beliefs that are communicated through a collection of signifying elements. Okpewho, Finnegan,
Afolayan and Gibson’s films embody mythic representations that reinvent archetypes. Ihidero (2015:57) says:

Modern filmmakers across divergent continents have largely exploited their indigenous myths and archetypes in explaining major phenomenon and events in history. In Africa, and especially Nigeria, filmmakers have deployed archetypes in the re/presentation of African reality and they have continued to draw from primordial myths and divergent archetypes to depict the changing societies in Africa.

As profound as Ihidero’s (2015) assertion is, many film critics in Nigeria have not given much critical attention to the use of myth in explaining the social reality of the country. Also, only a fraction of filmmakers in Nigeria have employed myth in their films in a manner that will engender development. Tunde Kelani is one of the filmmakers who creatively use Yoruba myth to explain the action and, or, inaction of his film characters. Popular among his works are Saworoide (1999); Agogo-eewo (2002); Thunderbolt: Magun (2001); Arugba (2008); Maami (2012) – an adaptation of Femi Osofisan’s Maami (1987); The Narrow Path (2006) – an adaptation of Biyi Bandele’s novel of the same title; and Sidi Ilujinle (2017) – an adaptation of Wole Soyinka’s The Lion and the Jewel (1959). Furthermore, Andy Amenechi adapted Elechi Amadi’s The Concubine (2007) to film, and so did Biyi Bandele adapted Ngozi Chimamanda’s Half of a Yellow Sun (2012) to film, among many others. The above listed films deal with the past, present and changing conditions of the Nigerian society in all spheres, using myth-archetypes as elements of meaning making for resolutions. Kunle Afolayan and Mel Gibson fall under some of the modern filmmakers that have used myths in their films to interrogate their immediate environment and the modern society at large. This is evident in the films of Kunle Afolayan that are chosen for this study. Fundamental to the filmic representations of Afolayan and Gibson is the deployment of semiotic properties in creating profound meanings. To this end, this study analyses and interprets archetypes in the selected films of Kunle Afolayan and Mel Gibson within the purview of Semiotics. This study employs semiotics as an intricate term that encapsulates the various levels of narratives, the filmic signs and codes, and other signifying elements that are capable of being semiotically analysed in the selected films.

This study also investigates the intermingling of the signifying elements in the signification and the interpretations of the films, and further juxtaposes the codes and signs employed in the films by these filmmakers. The films selected for this study are Irapada (2006), Figurine (2009), and October 1 (2014) by Kunle Afolayan, and Passion of the Christ (2004), Apocalypto (2006) and The Braveheart (1996) by Mel Gibson. The criteria for the selection of these films is recurring theme of myth, which covers sacrifice, horror and heroic feats that are communicated through the various filmic and cultural codes and signs. The predominant elements of semiotics in these films are verbal language, text, images, and other non-verbal signs of communication that are semiotically internalised and analysed for signification and interpretation. The codes and signs used in these films are culture-based, as it is with other communication systems that require signification and interpretation. This situates the semiotic elements within the milieu of cultural semiotics.

For a semiotic reading of a work of art, an in-depth understanding of such a work will guide the interpretation of all the elements of production employed in the work. The semiosis of film has been broadly categorised into various ideological milieu: syntagmatic ideology, paradigmatic ideology, rhetorical tropes (Chandler 2005:52, 63, 88) and other cultural and social codes and signs. The concept of ideology is generic. Ideology, in this context, is defined as ideas or beliefs underlyimg actions of a class or group of class or group of people. The paradigmatic (synchronic) and the syntagmatic (diachronic) analyses, rhetorical tropes, and other cultural and social codes and signs (which are aspects of semiotics), often intermingle for an accurate analysis and interpretation to be arrived at. The synchronic analysis involves a search for the hidden pattern of oppositions that are buried in the films that generate meaning. The diachronic analysis is a syntagm. In this type of analysis, a text is examined as a sequence of events that form the narratives of the film. Filmmakers combine these levels of codes with other linguistic, non-linguistic and rhetorical tropes to achieve their motif in the narration. In narratological terms, the synchronic structure of film is otherwise referred to as the fabula and the diachronic structure is known as the sjuzhet. The films chosen for this study will be analysed using the above listed variables, which are incorporated in a semiotic analysis.

However, existing critiques on these films have not been read from the purview of archetypal conventions and how they define the contemporary society. The few accessible critiques on The Figurine is Afolayan’s (2015) Auteuring Nollywood: Critical Perspectives on The Figurine. Most of the essays in this book adopt extraneous standards to appraise the themes inherent in the film. The implication of analysing The Figurine using a foreign model is that it may reduce the export of the Yoruba narratological systems and codes which Afolayan deploys in telling his stories but because he has carved a niche for himself on the international film scene. For example, Afolayan’s October 1 and The Figurine deploy nuanced forms of barding and, or diachronic communication systems which absolutely differs from colloquial usage. Thus, the export of Yoruba representational art in films cannot be said to have been given credible treatment the same way the English narrative style and myth-archetypes have found expressions in Gibson’s films.

Several orientations exist on the application of semiotics in film or literary studies. Due to the similarities in the codes and signs employed by the filmmakers in their representations of myth-archetypal elements, this study appraises the myth-archetypes in the selected films. The conception of semiotics from this dimension conveys the cultural modes that drive the diegesis of the films. The application of this dimension to the films will change the interpretations and constructions of meanings in the film. It will inevitably change some established understandings and meanings of such myths. To this end, the several schools of thought that have theorised on film analysis have a point of convergence; the construction of meanings which can be taken as semiotics. This is because the semiotic theory specifically constructs and analyses man’s communicative behaviour. In this case, our task mainly is the interrogation, identification and description of signs and sign-systems for the purpose of signification. This is supported by Lemke’s (2004:177) argument that

Semiotics suggests that each intelligence is mediated by an analytically distinct semiotic resource system, such as language, visual depiction, or mathematical symbolics, and that when we combine these resources their meaning-making potentials quite literally multiply one another, making possible distinct kinds of meaning that cannot be made in each one separately.

Lemke’s assertion is imperative in a semiotic analysis of film of this kind in the sense that it combines all the employed semiotic resources for signification. This study uses the parameters that guide a semiotic analysis of film such as synchronic and diachronic examination, denotation and connotation, metonymy, metaphor, and irony to interrogate how meanings are produced in the selected films. By so doing, the latent meanings that enhance the significance of the films from a socio-cultural context and sub-contexts will be uncovered. Filmmakers employ these resources in creating ethno-religious and socio-culturally situated activities where the audience also observe the presence of the social world, either because it is mentioned, or because various resources have been symbolically used in the process of making sense of the events represented. Applying these elements of narrative accelerates the psychological reorientation of the audience specifically with regard to the construction of their social reality.

1.1 The Concept of Semiotics

The term semiotics has been in use since the seventeenth century. Accounts that it was spelled semeiotics, and was first used in English by Henry Stubbes (1670:75) to precisely denote the branch of medical science relating to the interpretation of signs. Semiotics has its roots in the field of linguistics; it was notwithstanding conceived as a theory that would provide readers with the tools with which to analyse extra-linguistic components of discourses and narratives. It is on this premise that Saussure (1966:16) defines Semiotics as “the theory of signs”. Also, Pierce (1931-58, 2.302) affirms that “we think only in signs.” This is a point of reference that all human actions are conducted in signs. However, these actions require some level of human interactions in all endeavours to achieve the required result. Communication then, is pertinent to humans since the society thrives on it. Chandler (2013) explicates this in the following phraseology:

We learn from semiotics that we live in a world of signs and we have no way of understanding anything except through signs and the codes into which they are organized. Through the study of semiotics, we become aware that these signs and codes are normally transparent and disguise our task in ‘reading’ them…. Deconstructing and contesting the realities of signs can reveal whose realities are privileged and whose are suppressed. The study of signs is the study of the construction and maintenance of reality. To decline such a study is to leave to others the control of the world of meanings which we inhabit.

Semiotics, then, serves as a concept that permeates and governs all spheres of human existence. Human interactions and experiences with codes and signs are transferred to the narratives of films to create the illusion of reality. In relation to film, Guiraud’s distinct perception of Semiotics as a language whose signifiers can function independently of verbal language seems appropriate. He makes clear that Semiotics is:

The science which studies sign-systems, languages, codes, sets of signals, etc. According to this definition, language is part of semiology. However, it is generally accepted that language has a privilege and autonomous status, and this allows semiology to be defined as the study of non-linguistic systems (Guiraud 1975:1).

Semiotics also focuses on non-verbal systems of communication. In this regard, semiotics has been used to address some central issues in cinema such as the role and mode of expression, invention, interpretation and the nature of narration, character identification and audiences’ emotional responses. These aspects of the cinema perform an indispensable role in the understanding and assimilation of the medium, which a semiotic examination incorporates. This is the justification for the adoption and treatment of archetypal representations in this study as a set of codes and signs that shape the socio-cultural beliefs that are fundamental to human existence – especially in determining individuals’ perception about life and consequently, the manifestation of this self-ascribed and describing perception. Caroll (1999:3) corroborates this opinion succinctly in the following words:

Concepts organize our practices. The concept of a person, for example, is central to myriad practices, including politics, morality, the law, and…the concept of knowledge is indispensable throughout the widest gamut of human activities. Without such concepts, the activities in question would not exist.

From Chandler (2013) and Caroll’s (1999) arguments, it is observed that an understanding of signs and codes will guide individual’s interpretations, depending on the contextual usage and the interpreter’s orientation and reasoning capability.

Therefore, a semiotic analysis of the selected films within the sign-system of the medium, and the dictates of the societies within which they are produced facilitates the recognition and interpretation of latent signifying patterns in them. Furthermore, an examination of the myth-archetypal codes in the selected films (in connection with their respective cultures) will help strengthen the body of existing materials in film criticism that will be beneficial for media specialists in and outside Nigeria. It will also be effective in the re-orientation of the Nigerian populace on the role of myth-architypes in the construction of their society. The significations and interpretations of these myth-archetypal codes can stimulate film scholars and workers alike to engage more in film discourses and film productions that will benefit the nation in some capacities.

1.2 Signs

The conception of sign is credited to two leading linguists: Ferdinand de Saussure, a Swiss Linguist and Charles Sanders Pierce, an American philosopher. While Saussure perceives the study of signs as Semiology, Pierce refers to it as Semiotics. Basically, the two terms are interpreted to mean the same thing and are often employed interchangeably. Signs therefore, in Preucel’s expression, “are such things as ideas, words, images, sounds and objects that are multiply implicated in the communicative process” (2006: 1). This means that signs are the channels through which messages are conveyed, interpretations done and significations are arrived at. Cobley (2005: 28) states that Pierce regarded these signs as “‘representamen’” and Chandler (1999: 16) affirms that Saussure conceived that “a sign must have both a signifier and a signified. There cannot be a totally meaningless signifier or a completely formless signified”. A signifier is a mental apprehension of an object and the signified is the concept, idea or meaning evoked from that mental apprehension. The signifier and the signified are in a relationship that produces significations. Signification is “the process of sign formation, the act which binds the signifier and signified, and an act whose product is the sign” (Barthes 1967: 48). Signification therefore, is the (un)conscious understanding of an object and the import given to it.

Chandler’s (2005: 1) description of humans as “Homo significans” (meaning makers) can be considered as true because human beings persistently attempt to unearth hidden meanings, understand and interpret the recognised human communicative signs in different ways. Fiske (1990: 39-41) argues that characteristically, this meaning-making process is done through the creation of signs and sign systems, specifically, in all labour undertakings. Signification is done with regard to human’s level of intelligence as well as their socio-cultural, economic, educational and political backgrounds, which lead to an understanding of how they comprehend and interpret their world. Significantly, the study of signs addresses itself to signification and communication as the mental apprehension of all human actions.

These signs, however, are unconsciously understood in relation to familiar structural dictates. According to Thwaites and Davis (2002: 9), this knowledge of signs and the “banality of meaning”, take prominence in the study of Semiotics from the linguistics viewpoint. This is evident in Eco’s (1981: 37) brilliant submission that “a theory of communication is dialectically linked to a theory of signification, and a theory of signification should be first of all a theory of signs”. This understanding serves as a progression for the key concepts in this study – film and semiosis.

Two principal models of signs have been identified by Chandler (2005: 2): those of Saussure and Peirce. This establishes that any enquiry about the nature of signs can be linguistic, philosophical or both. A philosophical inquiry submitss that the sign consists of a physical form and an associated mental concept. This concept may in turn be an apprehension of external reality. The sign relates and translates to reality only through the concepts of individuals who perceive it as such.

1.3 Statement of Research Problem

Archetypal representations exist in abundance in all human societies. In film studies generally, a lot of researches have been carried out using the semiotic perspective to analyse these representations. In Nigeria, such existing works have focused largely on the general identification and analysis of films using the theory of semiotics. A number of other works have only focused on general archetypal representations in films. Much has not been done on the semiotic analysis of archetypal representations in films. Paying attention to archetypal representations will enable us to compare motifs in the selected films of the filmmakers. This study intends to fill this gap.

1.4 Objectives of the study

The specific objectives of the study are to

(a) identify the archetypal representations in the selected films of Kunle Afolayan and Mel Gibson;

(b) analyse the varieties of codes and signs used to project the archetypal motifs in the narratives;

(c) examine the relevance of the codes and signs in locating the films within archetypal and semiotics criticism; and

(d) juxtapose the codes and signs used by the filmmakers in communicating their messages.

1.5 Research Methodology

This study will employ both primary and secondary sources of data. The primary source will consist of three purposively selected films of each of the filmmakers. They are: Irapada (2006), Figurine (2009) and October 1 (2014) by Kunle Afolayan; and Brave Heart (1996), Passion of the Christ (2004) and Apocalypto (2006) by Mel Gibson. The films have been selected based on the way they employ archetypal motifs in expressing their different concerns in the narratives. The secondary data will comprise archival materials, books, journal articles, and the Internet. The films will be analysed using the theoretical model of structural semiotics by Ferdinand de Saussure.

Contribution to Knowledge

The study will shed light on the mode of archetypal representations in films generally. It will also undertake a comparative analysis of the archetypal motifs in the selected films of Kunle Afolayan and Mel Gibson, using semiotic analysis.

1.6 Scope of the Study

As mentioned earlier in this study, significant efforts have been made in the field of film studies in Nigeria. However, the scope of this study covers the semiosis of cinema especially as means of communication between the filmmaker and the audience, and as a method of analysing myth-archetypes in the selected films. The study analyses archetypal representations in Afolayan’s Irapada (2006), The Figurine (2009), October 1 (2014), and Gibson’s Brave Heart (1996), Passion of the Christ (2004) and Apocalypto (2006) using the tools of semiotics.

1.7 Significance of the Study

This study is significant because it takes into account the complexity of the mechanisms of the filmic expression for a better comprehension of film with the goal to developing the audience’s imagination and knowledge of their world through archetypal representations. This study is imperative because it examines the possibilities of semiotics in universalising signs, codes and archetypal representations in the works of the Afolayan and Gibson, and particularly in exporting Nigerian myth-archetypes to the international stage.

Theoretical Framework

This study is anchored on Archetypal and Semiotic theories. The rationale for choosing these theories is that Semiotics helps in answering questions that archetypal theory raises whilst archetypes offer semiotics syntagmatic objects or subjects for signification. Archetypal theory denotes recurrent narrative designs, patterns of action, character-types, themes, and images which are identifiable in a wide variety of works of literature, as well as in myths, dreams, and even social rituals (Abrams 1999:22). Such recurrent items are held to be the result of elemental and universal forms or patterns in the human psyche, whose effective embodiment in a literary work evokes a profound response from the attentive reader, because he or she is familiar with the archetypes expressed by the author (Yamma 2016:31). The essence of archetypal criticism, Gillespie (2010: 58) notes, is to identify those elements that give a work of art a deeper resonance. Semiotics, on the other hand, is concerned with everything that can be taken as a sign in identifying archetypes. Although, semiotics has its roots in the field of linguistics, it is notwithstanding conceived as a science that would provide readers with the ability to interpret all constructed human signs other than those found within the linguistic systems. As such, it is a study of language, concerned with the nature and functions of signs as well as the techniques of signification, expression, representation and communication. It has to be understood, in this usage that language is not limited to speech alone; rather, it encompasses expressions of thoughts that have the capacity of being understood within the reserve of its usage. This forms the premise of Elam’s (2002:1) argument that

Objects are thus at once the different sign-systems and codes at work in society and the actual messages and texts produced thereby. The breadth of the enterprise is such that it cannot be considered simply as a ‘discipline’, while it is too multifaceted and heterogeneous to be reduced to a ‘method’. It is—ideally, at least—a multidisciplinary science whose precise methodological characteristics will necessarily vary from field to field but which is united by a common global concern, the better understanding of our own meaning-bearing behaviour.

Semiotic theory, therefore, focuses on signs; how signs are used, the laws that govern their usage and the social, cultural and ideological meanings of signs and codes (Saussure 1915/1959: 16; Scholes 1982: 39; Danesi 2004: 4; Cobley 2005: 3).

There are several tools of analysis inherent in archetypal theory and semiotics, depending on the discipline or orientation of a researcher. For a study of this nature, Northrop Frye’s theorisation on myth-archetypes and Saussure’s theorisation on semiotics will suit well the analysis of the films of Afolayan and Gibson. For Frye (quoted in Gillespie 2010:4), the most basic questions of in archetypal criticism are: “What archetypal elements can a critic find in literary work? Are there any mythic plots, characters, themes, symbols, or recurring images? How do these archetypal elements contribute to the work as a whole? Semiotics comes in as an appropriate tool of analysis in the process of answering these questions. The tools of analysis which semiotics use in providing answers to these questions are the: signs and codes inherent in the selected films of Afolayan and Gibson. The myth-archetypal elements that take the form of codes and signs in the selected films, will basically be analysed using using Saussaure’s model of structural semiotics.

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