COM3703
Assignment 1 Semester 2 2025
2 2025
Unique Number:
Due date: August 2025
1 INTRODUCTION
This assignment critically examines four key themes in media studies: communication and
media semiotics, narrative analysis, film theory and criticism, and media audience theory. In
the first theme, communication and media semiotics, I will define media semiotics, explain its
relation to communication, and analyse the nature and types of signs, supported with
practical examples. The second theme, narrative analysis, will focus on an episode of
Modern Family (Season 8, Episode 19, directed by McCarthy-Miller, 2017), examining
Barthes’ narrative codes, binary oppositions, and narrative progression. The third theme, film
theory and criticism, will define film theory, explore Eisenstein’s classifications, apply De
Putter’s types of criticism, and analyse auteur directors through selected films. The final
theme, media audience theory, will evaluate the Uses and Gratification Theory in
understanding telenovela audiences, with examples from Mzansi Magic productions. Each
section will integrate theoretical perspectives and examples to demonstrate an
understanding of the topics discussed (Fourie, 2017).
DISCLAIMER & TERMS OF USE
Educational Aid: These study notes are intended to be used as educational resources and should not be seen as a
replacement for individual research, critical analysis, or professional consultation. Students are encouraged to perform
their own research and seek advice from their instructors or academic advisors for specific assignment guidelines.
Personal Responsibility: While every effort has been made to ensure the accuracy and reliability of the information in
these study notes, the seller does not guarantee the completeness or correctness of all content. The buyer is
responsible for verifying the accuracy of the information and exercising their own judgment when applying it to their
assignments.
Academic Integrity: It is essential for students to maintain academic integrity and follow their institution's policies
regarding plagiarism, citation, and referencing. These study notes should be used as learning tools and sources of
inspiration. Any direct reproduction of the content without proper citation and acknowledgment may be considered
academic misconduct.
Limited Liability: The seller shall not be liable for any direct or indirect damages, losses, or consequences arising from
the use of these notes. This includes, but is not limited to, poor academic performance, penalties, or any other negative
consequences resulting from the application or misuse of the information provided.
, For additional support +27 81 278 3372
1 INTRODUCTION
This assignment critically examines four key themes in media studies:
communication and media semiotics, narrative analysis, film theory and criticism,
and media audience theory. In the first theme, communication and media semiotics, I
will define media semiotics, explain its relation to communication, and analyse the
nature and types of signs, supported with practical examples. The second theme,
narrative analysis, will focus on an episode of Modern Family (Season 8, Episode
19, directed by McCarthy-Miller, 2017), examining Barthes’ narrative codes, binary
oppositions, and narrative progression. The third theme, film theory and criticism, will
define film theory, explore Eisenstein’s classifications, apply De Putter’s types of
criticism, and analyse auteur directors through selected films. The final theme, media
audience theory, will evaluate the Uses and Gratification Theory in understanding
telenovela audiences, with examples from Mzansi Magic productions. Each section
will integrate theoretical perspectives and examples to demonstrate an
understanding of the topics discussed (Fourie, 2017).
2 COMMUNICATION AND MEDIA SEMIOTICS
2.1 Definition of media semiotics and its relation to communication
Semiotics is the science of signs and codes and the meanings they convey. In
semiotic theory, all communication, including that in media, occurs through signs
(Fourie, 2017:40). Media semiotics focuses on the study of how media content
communicates meaning through the use of signs and codes. Media messages are
not reality itself but are representations of reality, carefully constructed to convey
specific meanings. These representations use signs and codes in particular
combinations to communicate the preferred meaning that the media producer wishes
to distribute. This meaning often reflects an underlying ideology, viewpoint or ideal
(Fourie, 2017:40–41). The purpose of media semiotics is to sharpen critical
awareness of how media reflects, represents, and imitates reality in ways that
support certain values or political perspectives. Semiotics encompasses four
principal areas of study: the sign, sign systems, codes, and meaning, each of which
plays a crucial role in the production and interpretation of media messages.
, For additional support +27 81 278 3372
2.2 The three components of a sign
A sign is made up of three components: the signifier, the referent, and the signified
(Fourie, 2017:51). The signifier is the physical form of the sign, such as a printed
word, an image, a sound, or a symbol. It is the observable element that the audience
encounters.
The referent is the actual object, concept, or idea that the signifier represents. It is
the real-world element to which the sign points.
The signified is the meaning that the audience attaches to the signifier. This
meaning is intangible and varies depending on the audience’s cultural background,
personal experiences, and context. For example, an image of a scale (signifier)
refers to the concept of justice (referent), but the signified meaning may vary
depending on the viewer’s understanding of legal systems and fairness.
The relationship between these three components is essential for meaning-making in
media communication.
2.3.1 Four different kinds of signs
Based on the relationship between the signifier and the referent, four kinds of signs
can be identified (Fourie, 2017:51–52).
An arbitrary sign has no visual resemblance between the signifier and the referent.
Linguistic signs such as words belong to this category. The meaning is established
by social agreement among users of a language. For example, the letters C-A-R do
not visually resemble an actual vehicle but are agreed upon to represent it.
An iconic sign has a direct visual resemblance to the referent. The signifier
physically resembles or imitates the object or concept it represents. For example, a
drawing of a tree resembles the actual object, and the viewer can identify the
referent without requiring prior cultural knowledge.
A symbolic sign has no natural connection between the signifier and the referent,
but the relationship is established through cultural convention. The meaning is
learned and culturally specific. For example, the colour white may symbolise purity in
some cultures but mourning in others.
Assignment 1 Semester 2 2025
2 2025
Unique Number:
Due date: August 2025
1 INTRODUCTION
This assignment critically examines four key themes in media studies: communication and
media semiotics, narrative analysis, film theory and criticism, and media audience theory. In
the first theme, communication and media semiotics, I will define media semiotics, explain its
relation to communication, and analyse the nature and types of signs, supported with
practical examples. The second theme, narrative analysis, will focus on an episode of
Modern Family (Season 8, Episode 19, directed by McCarthy-Miller, 2017), examining
Barthes’ narrative codes, binary oppositions, and narrative progression. The third theme, film
theory and criticism, will define film theory, explore Eisenstein’s classifications, apply De
Putter’s types of criticism, and analyse auteur directors through selected films. The final
theme, media audience theory, will evaluate the Uses and Gratification Theory in
understanding telenovela audiences, with examples from Mzansi Magic productions. Each
section will integrate theoretical perspectives and examples to demonstrate an
understanding of the topics discussed (Fourie, 2017).
DISCLAIMER & TERMS OF USE
Educational Aid: These study notes are intended to be used as educational resources and should not be seen as a
replacement for individual research, critical analysis, or professional consultation. Students are encouraged to perform
their own research and seek advice from their instructors or academic advisors for specific assignment guidelines.
Personal Responsibility: While every effort has been made to ensure the accuracy and reliability of the information in
these study notes, the seller does not guarantee the completeness or correctness of all content. The buyer is
responsible for verifying the accuracy of the information and exercising their own judgment when applying it to their
assignments.
Academic Integrity: It is essential for students to maintain academic integrity and follow their institution's policies
regarding plagiarism, citation, and referencing. These study notes should be used as learning tools and sources of
inspiration. Any direct reproduction of the content without proper citation and acknowledgment may be considered
academic misconduct.
Limited Liability: The seller shall not be liable for any direct or indirect damages, losses, or consequences arising from
the use of these notes. This includes, but is not limited to, poor academic performance, penalties, or any other negative
consequences resulting from the application or misuse of the information provided.
, For additional support +27 81 278 3372
1 INTRODUCTION
This assignment critically examines four key themes in media studies:
communication and media semiotics, narrative analysis, film theory and criticism,
and media audience theory. In the first theme, communication and media semiotics, I
will define media semiotics, explain its relation to communication, and analyse the
nature and types of signs, supported with practical examples. The second theme,
narrative analysis, will focus on an episode of Modern Family (Season 8, Episode
19, directed by McCarthy-Miller, 2017), examining Barthes’ narrative codes, binary
oppositions, and narrative progression. The third theme, film theory and criticism, will
define film theory, explore Eisenstein’s classifications, apply De Putter’s types of
criticism, and analyse auteur directors through selected films. The final theme, media
audience theory, will evaluate the Uses and Gratification Theory in understanding
telenovela audiences, with examples from Mzansi Magic productions. Each section
will integrate theoretical perspectives and examples to demonstrate an
understanding of the topics discussed (Fourie, 2017).
2 COMMUNICATION AND MEDIA SEMIOTICS
2.1 Definition of media semiotics and its relation to communication
Semiotics is the science of signs and codes and the meanings they convey. In
semiotic theory, all communication, including that in media, occurs through signs
(Fourie, 2017:40). Media semiotics focuses on the study of how media content
communicates meaning through the use of signs and codes. Media messages are
not reality itself but are representations of reality, carefully constructed to convey
specific meanings. These representations use signs and codes in particular
combinations to communicate the preferred meaning that the media producer wishes
to distribute. This meaning often reflects an underlying ideology, viewpoint or ideal
(Fourie, 2017:40–41). The purpose of media semiotics is to sharpen critical
awareness of how media reflects, represents, and imitates reality in ways that
support certain values or political perspectives. Semiotics encompasses four
principal areas of study: the sign, sign systems, codes, and meaning, each of which
plays a crucial role in the production and interpretation of media messages.
, For additional support +27 81 278 3372
2.2 The three components of a sign
A sign is made up of three components: the signifier, the referent, and the signified
(Fourie, 2017:51). The signifier is the physical form of the sign, such as a printed
word, an image, a sound, or a symbol. It is the observable element that the audience
encounters.
The referent is the actual object, concept, or idea that the signifier represents. It is
the real-world element to which the sign points.
The signified is the meaning that the audience attaches to the signifier. This
meaning is intangible and varies depending on the audience’s cultural background,
personal experiences, and context. For example, an image of a scale (signifier)
refers to the concept of justice (referent), but the signified meaning may vary
depending on the viewer’s understanding of legal systems and fairness.
The relationship between these three components is essential for meaning-making in
media communication.
2.3.1 Four different kinds of signs
Based on the relationship between the signifier and the referent, four kinds of signs
can be identified (Fourie, 2017:51–52).
An arbitrary sign has no visual resemblance between the signifier and the referent.
Linguistic signs such as words belong to this category. The meaning is established
by social agreement among users of a language. For example, the letters C-A-R do
not visually resemble an actual vehicle but are agreed upon to represent it.
An iconic sign has a direct visual resemblance to the referent. The signifier
physically resembles or imitates the object or concept it represents. For example, a
drawing of a tree resembles the actual object, and the viewer can identify the
referent without requiring prior cultural knowledge.
A symbolic sign has no natural connection between the signifier and the referent,
but the relationship is established through cultural convention. The meaning is
learned and culturally specific. For example, the colour white may symbolise purity in
some cultures but mourning in others.
