One of the most interesting application of the semiotic theory and the various functions in it, I find; are in the area of graphic design, and posters in advertisements in particular. The more minimalistic the poster in terms of the elements that make up the poster, the more meaning it makes and the more the viewer is forced to hunt for the signifiers and also make meaning out of it. Disclaimer: This is a parody for a GAP Khakis advertisement. I am pretty sure this is not an authentic GAP ad. I just happened to come across this on the internet. The idea behind this post is to see how a semiotic understanding of the parody posters could send in negative as well as positive vibes with the audience.
referential (content) An advertisement poster for GAP Khakis.
metalingual (code) The text (Hitler wore khakis) that supports (or reinforces) the statement made by the central character in the frame.
formal (form) The form is a poster that is either in print or on web medium. It is not known which one it was first made in. It is a nevertheless a bold cultural expression. The absence of color makes the statement more prominent. The user is forced to get their attention on the chief components of the frame. The first attention is on the face and the stature of the man (placing his hands on the hips- a signifier of achievement, and dictatorship). Then if your attention digresses towards the top, it is making a strong statement – “Hitler wore Khakis”. And if your focus digresses towards the down, then there is the brand name – “GAP KHAKIS”. Either way a statement is being made.
expressive (addresser) The addresser here is GAP, the garment . . . → Read More: Semiotically analyzying parody posters
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