The meaning presentation found in media texts (magazine advertisements and television programmes).

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The purpose of this study is to analyse the two magazine advertisements and two

television programmes to explore the meaning (mythical/commutative and ideological)

presentation found in these media texts by doing a cross-sectional qualitative semiotic

content analysis.

TABLE OF CONTENTS

1 INTRODUCTION

2 RESEARCH PROBLEM OR RESEARCH ISSUE

3 EXTENT

4 POPULATION

5 SUB-ISSUES

6 ASSUMPTIONS

7 RESEARCH QUESTIONS

8 GOALS AND OBJECTIVES

9 THEORETICAL APPROACH

9.1 Semiotics as signs

9.1.1 Iconic signs

9.1.2 Indexical signs

9.1.3 Symbolic signs

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9.2 Meaning assigned to a message

9.2.1 The photographic message

9.2.2 Text and image

9.2.3 Television and the production of meaning

9.3 Connotations and myths

9.4 Ideological and third order meaning

10 RESEARCH DESIGN

11 DATA COLLECTION METHOD AND TECHNIQUES

11.1 Research method

11.2 Sampling method

11.3 Data collection procedure

12 DATA ANALYSIS

12.1 Introduction

12.2 Semiotics applied in advertisement 1: Converse All Star Shoes

12.3 Semiotics applied in advertisement 2: Boston Media House

12.4 Semiotics applied in soap opera 1: Generations

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12.5 Semiotics applied in soap opera 2: Rhythm City

13 FINDINGS

13.1 Introduction

13.1 Semiotics applied in advertisement 1: Converse All Star Shoes




14 CONCLUSIONS

15 ASSESMENT OF ETHICAL REQUIREMENTS

16 SELF-ASSESMENT AND SELF-REFLECTION

SOURCES CONSULTED

ADDENDA

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1 INTRODUCTION

Initially, one can not escape the encounter and utilising of the variety of communication

media, such as newspapers, magazines, television, cinema or radio. These media

make available a wide range of messages and meanings. In this manner, the study of

semiotics is responsible for clarifying how a message communicates sense. This study

focuses on a semiotic content analysis of the two television texts (soap operas) as well

as the two magazine advertisements, and how they make sense to the reader or viewer.

The focus is on how the photograph and television programme is being produced in

order to convey meaning that the producer wishes to interact to the reader. The

attention is paid to the mythical and ideological content of the visual given texts, and the

types of semiotics that were investigated in this study are Barthean visual semiotics.

This study looks at how the sign systems are used by the producers to clarify the sign

(image) and make it understandable to the viewers. Besides the denotation or straight

forward meaning to the sign (photograph), there is also a second meaning, connotation/

mythical and a third meaning, ideological meaning. This study also views at how the

second and third order meanings on the audio visual and photographic message

proper, are realised at the different levels of production. Here it is investigated how

semiotic analysis is used to explain the hegemonic working of the media.

2 RESEARCH PROBLEM OR RESEARCH ISSUE

The purpose of this study is to analyse the two magazine advertisements and two


presentation found in these media texts by doing a cross-sectional qualitative semiotic

content analysis.

3 EXTENT

Only the February/March 2012 edition of Hype Magazine available in South Africa were

analysed according to their advertisements. The television texts analysed were taken

from the television programmes called Generations and Rhythm City (soap operas) that

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were broadcast on December 2012. The two advertisements selected are Converse All

Star Shoes advertisement as well as Boston Media House advertisement. In addition

the television programmes were analysed according to their texts are Generations

(2012) as shown on SABC1 and Rhythm City (2012) as shown on e.tv. The Hype

Magazine is the popular youth magazine that focuses on the issues of youth culture, life

style, fashion, and entertainment. It targets, especially, those who like rap and rhythm

and blues (R ‘n B) music as well as those who like hip-hop life style.

The February/March issue was selected due to its variety of advertisements that target

the youth. Since February is valentines time as well as the time of the tertiary

institutions to open the registrations, for those who wish to enroll, therefore, the variety

of advertisements appear to catch the youth in this regard. The television programmes:

Generations (2012) and Rhythm City (2012) are appropriate for analyses since they are

popular to the South African Society and the meaning that they produce as well as the

messages they convey affect the vast number of television audiences.

4 POPULATION

The target populations of this study are all the advertisements that were published in the

Hype Magazine. As far as the television programmes are concerned, the target

populations are all the soap operas that are broadcast on SABC1 and e.tv. The

accessible populations are two advertisements: Converse All Star Shoes (2012:23) and

Boston Media House (2012:77) that have been chosen for analyses of this research.

The accessible populations are the two television soap operas: Generations and

Rhythm City as investigated in this study.

Units of analysis in this scenario are the different ideological connotation/mythical

meanings that are found in the two advertisements: Converse All Star Shoes (2012:23)

and Boston Media House (2012:77) as well as those found in the two television soap

operas, Generations (2012) and Rhythm City (2012).

The characteristics of accessible population, as far as television texts are concerned,

are the use of use of ideology, story-line techniques, use of music and sound themes,

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use of colour and lighting, motifs on the use of multicultural characters and genre

convention. In terms of the advertisements, the characteristics of accessible population

are denotation, connotation/social myth, the use of ideology - use of prominent person

(DJ Fresh and Mo Flava), and indexical, iconic and symbolic codes.

5 SUB-ISSUES

1 Do the different advertisements use the same sign systems in order to interact with

the targeted readers?

2 Are the music and sound themes techniques used to emphasise the climate of the

scenes in soap operas?

3 Do advertisements and soap operas use ideologies and myths to communicate with

their target market?

4 Do both of the television programmes communicate the same ideologies?

6 ASSUMPTIONS

1 Different advertisements use the same sign systems in order to interact with the

targeted readers.

2 The music and sound themes techniques are used to emphasise the climate of the

scenes in soap operas.

3 Advertisements and soap operas use ideologies and myths to communicate with their

target market.

4 Both of the television programmes communicate the same myths and ideologies.

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7 RESEARCH QUESTIONS

1 Which sign systems are being used to convey the meaning in the selected

advertisements and soap operas?

2 Are the music and sound themes techniques used to emphasise the climate of the

scenes in soap operas?

3 How ideologies and myths are being communicated in advertisements as well as soap

operas?

4 Do the advertisements use the same ideologies in order to appeal to the readers?

8 GOALS AND OBJECTIVES

The goal of this study is to establish how the semiotic signs and sign systems, as well

as codes used in the media texts (television and print media) produce the

understandable meaning, and how the producers’ intentions are communicated or

interacted to the viewers. The objective is to explore and describe how the sign (signifier

and signified) go about producing the meaning, especially, ideological and

connotative/mythical meanings. Fundamentally, the goal is to explore and describe the

techniques that are used to produce the second meaning of the texts concerned.

According to Barthes, “there is another layer, which means that the representation could

be mythologised” (Fourie 2008:216). According to Fourie, representations including all

culturally produced objects could carry additional meanings separate from the

denotative or literal meaning (2008:216).

Therefore, this study aims to explore the population, instruments that are used in the

production of the texts (soap operas and advertisement photographs). Descriptive

objectives here are the characteristics of relations between the different variables, in

terms of the semiotics (signs, sign systems, production and editing techniques and

ideology) that are used to communicate the intended message.

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9 THEORETICAL APPROACH

9.1 Semiotics as signs

To begin with, semiotics got its name from the Greek word “Semeion”, which means

sign and it refers to the study of how signs communicate meanings. Bignell (2002:14)

says that in particular, “the semiotic analysis of images and other non-verbal signs is

made much more effective by some of Charles Piece’s distinction”. Bignell (2002:14)

highlights that “although language is the most striking form of human sign production,

the whole of our social world is pervaded by messages which are exclusively visual”.

Gesture, dress codes, traffic signs, advertising images, newspapers, television

programmes, movies, and so forth, are all kinds of media use visual signs. According to

Bignell (2002:14), the principle underlies the semiotic study of visual signs is that there

is a material signifier, which express the sign, and mental concept, a signified, which

immediately accompanies it. Visual signs also belong to codes, are arranged in

syntagms, and selected from paradigm.

Essentially, a photograph of a goat looks recogisingly like a specific goat. The

arrangement of shape and colour in the photograph, the signifier which expresses the

signified ‘goat’, has a close resemblance to its referent, the real goat which the

photograph represents.

In essence, the South African flag that is raised high above a soccer stadium and is

watched reverently during the singing of the national anthem by the soccer spectators

as well as the players is a sign. The right hand with a clenched fist by the spectators is

also a sign. On the other hand, the words printed below the image of an advertisement

also constitute a sign. Lester (2011:53) highlights that “a sign is simply anything that

stand for something else”. The photographed image also fall under this description as

the photograph stands for something, the reality that is now being reproduced to

represent what was taking place in reality. Consequently, Lester (2011:53) emphasises

that the meaning behind any sign must be learned, for something to be a communicated

sign, the viewer must understand the meaning. On a semiotic point of view, “images will

be much more interesting and memorable if signs that are understood by many

(universal signs) are used in a picture” (Bignell 2002:53).

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9.1.1 Iconic signs

Bignell (2002:15) emphasises that, like denotation the kind of sign, “where the signifier

resembles the referent, is called an iconic sign”. Iconic signs can be encountered in

exploration of the semiotics of various visual signs. “Unlike the case of linguistic signs,

iconic signs have the property of merging the signifier, signified and referent together”

(Bignell 2002:15). “It is more difficult to realise that the two components of the

photographic sign plus their referent are three different things, ant this is the reason why

the photographic media seems to be more realistic than linguistic media” (Bignell

2002:15).

Lester (2011:55) highlights that iconic signs are the easiest to interpret because “they

are meant to represent”. Examples of icons are the accurate cave paintings of animals

and people hunting by the Bushmen; the street signs on the side of the road, the simple

drawings above the toilets doors that communicate the gender allowed inside,

photographs and motion pictures that are meant to be representations of what they

depict also are the icons.


Lester (2011:55) highlights that indexical signs have a “logical, common sense

connection to the thing or idea they represent rather than a direct resemblance to the

object”. The interpretation of indexical signs takes a little longer than that of icons. In

communication indexical signs are learnt through everyday life experiences. According

to Peirce (in Lester 2011:55) “a sundial can be seen as an illustration of an indexical

sign, the sun’s shadow implies the movement of time”. Other indexical signs can be

footprints of the animals that were used by the Bushmen hunters to trace their preys

(Lester 2011:55). Footprints stand for the animals that impressed them


This type of sign is the most abstract. Lester (2011:56) says that “symbols have no

logical or representational connection between them and the things they represent,

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symbols, more than the other signs have to be taught”. For that reason, social and

cultural considerations influence the symbols. In essence, the examples of symbols are

trade marks, company logos, music, words, colours, gesture, religious images, and so

forth. Because symbols often have deep roots in culture of a particular group, with their

meanings being passed from one generation to the next, symbolic signs mean more

than iconic or indexical signs (Lester 2011:56). The burning of the president’s t-shirt as

well as destroying of a famous president portrait, ‘the spear’ as the protests, can be

seen as powerful symbols of defiance and anger.

9.2 Meaning assigned to a message

The meaning is the matter of how the reader makes sense, attribute and understand the

text. Fourie (2001:345) establishes that there are varieties of meaning, but the ones

related to this study can be identified as denotative, connotative/mythical and

ideological meaning.

According to Fourie, denotative meaning refers to the first order, linguistic, literal and

dictionary meaning attached to the message, simply straight forward (2001:345). The

connotative/mythical meaning is the second meaning order meaning that takes palace

when the viewer makes sense of a sign. The third order meaning is the ideological

meaning that takes place when the second order meaning is accepted as a result of

maintaining status quo.

9.2.1 The photographic message

Essentially, Barthes (1979:17) highlights that the content of the photographic message

is what the photograph transmit, the scene itself, and the literal reality. “From the object

to its image there is of course a reduction in proportion, perspective, colour – but at no

time is this reduction a transformation” (Barthes 1979:17). According to Barthes

(1979:17), in order to move from the reality to its photograph it is no way necessary to

divide up this reality into its unit and to constitute these units as signs; “substantially

different from the object they communicate; there is no necessity to set up a relay that is

a code, between the object and its image”. Certainly the image is not the reality but “it is

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perfect analogon and it is exactly this analogical perfection which, to common sense,

defines the photograph” (Barthes 1979:17). The status of the photographic image can

be viewed as a massage without a code, from which proposition an important corollary

must immediately be drawn: “the photographic message is a continuous message”

(Barthes 1979:17).

Explaining the photographic paradox Bathes (1979:19) answered the two questions:

what is the content of the photographic message, and what does the photograph

transmit? According to Barthes the scene itself is the latent reality; from the object to its

image there is of cause the reduction in proportion, perspective, and colour (1979:16).

“The image is not the reality but perfect analogon and it is this analogical perfection

which, to common sense, defines the photograph” (Barthes 1979:17). The photographic

image is a message without a code; from which proposition an important corollary must

immediately be drawn: the photographic message is a continuous message (Barthes

1979:17).

According to Barthes (1979:17) the photograph comprises two messages: “a detonated

message, the analogon itself, and a connotated message, which is the manner in which

the society to a certain extent communicates what it thinks of it”. This duality of

message is evident in all reproductions rather than photographic message: “no filmed

scene whose objectivity is not finally read as the very sign of objectivity” (Barthes

1979:17).

Barthes (1979:19) postulates that the photographic paradox is “the co-existence of two

messages, the one without a code (the photographic analogue), the other with a code

(the ‘art’ or the treatment, or the ‘writing’, or the rhetoric, of the photograph); structurally,

the paradox is clearly not the collusion of a denotated message and a connotated

message, it is that here the connotated (or coded) message develops on the basis of a

message without a code”. Barthes (1979:20) highlights that connotation, “the imposition

of second meaning on the photographic message proper, is realised at the different

levels of production of the photograph (choice, technical treatment, framing, lay-out) and

represents, finally, a coding of the photographic analogue”. Because visual images,

massages especially on the advertisements, can stimulate both intellectual and

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emotional responses, they are powerful tools that persuade people to buy a particular

product or think a specific way.

According to Barthes (1979:20) says that “the connotation procedures can be possibly

separated, bearing that these procedures are in no way units of signification; they are

not part of the photographic structure”. The procedures in question can simply be

translated into structural terms. These procedures can be listed as trick effects, pose,

objects, photogenia, aesthetism and syntax (Barthes 1979:20).

9.2.2 Text and image

Texts can be used to accompany and supplement the message communicated by the

image or photograph. Barthes (1979:25) says that these texts are used by the producer

as the main connotation procedures of the photographic image: once again, it is a

question of technique.

Barthes highlights that “the text constitutes a parasitic message designed to connote the

image, to quicken it with one or more second-order signifieds” (1979:25). It is clear that

the words or text used on the photograph, communicate, illustrates and clarifies the

meaning attached to the photographic image by the producer. According to Barthes

(1979:26), the connotation is experienced as the natural resonance of the fundamental

denotation constituted by the photographic analog. “The effect of connotation differs

according to the way in which the text s presented. The closer the text to the image, the

less it seems to connote it; the verbal message seems to share in its objectivity, the

connotation of language is ‘innocented’ through the photograph’s denotation” (Barthes

1979:26).

9.2.3 Television and the production of meaning

According to Fourie (2001:349) there are varieties of genres that characterise television.

Those genres are news, documentaries, talk shows, soap operas, film, and so forth.

According to Fourie meanings of television are created by means of television codes

(2001:349). The image is always recognisable resemblance or representation of reality

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(iconic nature); therefore television images create an illusory reality which most viewers

experience as a correct version or as reality (Fourie 2001:349). “The codes that

communicate and interpret meaning of a sign in terms of television can be identified as

camera point of view, editing, sound and commentary” (Fourie 2001:349). From the

above it has been established that before something appears on the television screens

it passes the various stages in terms of editing and treatment, and this editing influence

the way the sign is interpreted.

Another important aspect, according to Fourie, related to television and meaning is the

polysemic nature of television (Fourie 2002:350). Polysemic refers to multiple meaning:

the same programme content may be interpreted differently by different people.

”Programmes contain not only explicit information on the topic of the communication but

also implicit and often unintended information on values, attitudes, modes of behavior”

(Barthes 2001:350). A soap opera not only contains information on a performed art, but

also tells the viewers about the values, attitudes and patterns of behavior of the society

from which the characters in soap opera are drawn, and gives the viewers information

on issues and matters, such as those of the country in which the show is set (Fourie

2001:350). The modes of dress of the community, ways of behavior, the style, culture,

identity and values can be shown on a local soap opera such as Generations, Rhythm

City and Isidingo.

9.3 Connotations and myths

Barthes (1972:109) describes myth as a type of speech; a system of communication,

that is a message. This allows one to perceive that that “myth cannot possibly be an

object, a concept, or an idea; it is a mode of signification, a form” (Barthes 1972:109).

“Myth is not defined by the object of its message, but the way in which it utters this

message: there are formal limits to myth, there are no substantial ones; the mythical

speech of this kind, according Barthes, is a message; it is not confined to oral speech”

(1979:110). He adds that this speech can consist of modes of writing or of

representations; not only written discourse, but also photography, cinema, reporting,

sports, shows, publicity, and all these can serve as a support to mythical speech.

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Barthes (1972:110) establishes that mythical speech is made of a material which has

already been worked on so as to make it suitable for communication: “it is because all

the materials of myth (whether pictorial or written) presuppose a signifying

consciousness, which one can reason about them while discounting their substance”.

Pictures become a kind of writing as soon as they are meaningful; a photograph will be

a kind of speech if they mean something (Barthes 1972:111).

In essence, Bignell (2002:16) emphasises that as signs are used to describe and

interpret the world, it often seems that their functions are simply to ‘denote’ something,

to label it. The linguistic sign ‘Mercedes-Benz’ denote a particular make of a car. A

photographic sign showing Table Mountain denotes a site in Cape Town. Along with the

denotative or labeling function of these signs to communicate a fact, come some extra

associations which are called connotations. Because Mercedes-Benz cars are

expensive and luxurious, they can be used to connote signifieds of wealth and luxury.

The linguistic sign ‘Mercedes-Benz’ is no longer simply denotating a particular type of

car, but also connotes signifieds of the place of Cape Town, when one sees the Table

Mountain on television or printed photograph, he/she associate it with the place of Cape

Town.

Barthes (1972:114) establishes that in myth applies “the tri-dimensional pattern: the

signifier, the signified and the sign”. “Myth is a peculiar system, constructed from a

semiological chain which existed before it: it is a second-order semiological system; a

sign (namely the associative total of a concept and an image) in the first system

becomes a mere signifier in the second” (Barthes 1979:114). According to Barthes

(1972:115), in myth there are two semiological systems that are related. The first one is

a linguistic system, the language (or the modes of representation which are assimilated

to it, which a myth gets hold of in order to build its own system. The second one is the

myth itself – which is a second language, in which one speaks about first.

On the other hand, Bignell (2002:16) emphasises that when considering advertising,

news, and television or film texts, it will become clear that linguistic, visual, and other

kinds of signs are used simply to denote something, but also to trigger a range of

connotation attached to the sign. “The bringing together of signs and their connotations

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to shape a particular message can be referred to as the making of myth” (Bignell

2002:16). According to Bignell (2001:16) myth here does not refer to mythology in the

visual sense of traditional stories, “but to ways of thinking about people, products,

places, or ideas which are structured to send particular messages to the reader or

viewer of the text”. So an advertisement for shoes which contains a photograph of some

one stepping out of a Mercedes-Benz is not only denoting the shoes and a car, but

attaching the connotations of luxury which is available through the sign ‘Mercedes-Benz’

to the shoes, suggesting a mythical meaning which the shoes are part of a privileged

way of life. This mythically means that, these particular shoes are specifically targeting

those who live a luxurious life.

Bignell (2002:17) postulates that media texts often connect one signified idea with

another, in order to attach connotations to people and things and endow them with

mythical meanings. According to Bignell there are two ways in which these associations

work (2002:17). One is called ‘metaphor’ and works by making one signified appear

similar to one different signified; and the other is called ‘metonymy’ and works by

replacing one signified with one another related signified. In addition, myth takes hold of

an existing sign, and makes its function as a signifier on another level. The sign

‘Mercedes-Benz’ becomes the signified luxury, for example.

9.4 Ideological or third order meaning

According to Barthes (1972:128), “if one wishes to connect a mythical schema to a

general history, to explain how it corresponds to the interests of a definite society, to

pass from semiology to ideology, it is obviously at the level of the third type of focusing

that one must place oneself: it is the reader of myths who must reveal their essential

function”. “The ideological meaning of the text is the one which is supported by the myth

on a second level; myth can be understood as a type of underlying meaning: it provides

the reader with a very specific message, and this massage is manufactured to support a

particular ideological position” (University of South Africa 2012:26). On the mythical

meaning assigned to a message underlies an ideological meaning, aimed at

maintaining the status quo (Barthes 1979:128).

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Bignell (2002:24) establishes that an “ideology is a way of perceiving reality and society

which assumes that some ideas are self evidently true, while other ideas are self-

evidently untrue”. “Ideologies are always shared by the members of a group or groups

in society, and ones group’s ideology will often conflict with another’s; myth serves the

ideological interests of a particular group of society” (Barthes 1972:138). The example

of a youth ideology can be related to what the youth accept as cool, funks or stylish.

Bignell highlights that the dominant ideology of a society is subject to change, as the

economic or political balance of power changes. If one looks back years ago, what is

perceived as stylish, funky or cool have evidently changed.

10 RESEARCH DESIGN

The research design here is qualitative research design. Qualitatively, the signs and

sign systems have been analysed in terms of the semiotics used in the different

advertisements and television programmes. Exploration and description of different

variables: connotative/mythical and ideological meanings that are ascribed in different

mass media texts. The comparative analysis of the different semiotics used in the

advertisements and television programmes is applicable in this research study. The

data will be collected by analysing the variables that are relevant to the applicable texts

(advertisement photographs and soap operas).

As far as the advertisements are concerned, the applicable variables are the use of

ideology, use of prominent person (DJ Fresh and Mo Flava), indexical, iconic and

symbolic codes, and connotative/mythical meanings. On the other hand, as far as

television texts (soap operas) are concerned what were investigated are the variables:

story-line techniques, usage myth and ideology, use of lighting, colour and music, and

genre convention.

11 DATA-COLLECTION METHOD AND TECHNIQUE

11.1 Research method

The research method of this study is semiotic qualitative content analysis to explore

how the advertisements and soap operas use semiotics (signs, sign systems and

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codes) to produce the meanings and convey the messages. It is relevant to the

research issue that analyse the additional meanings (connotative/mythical and

ideological meanings) contained in the advertisements as well as the soap operas.

The objective is to establish the mythical and ideological presentations in the media

texts (advertisements and soap operas).

11.2 Sampling method

A random sample was drawn from a purposive sample of only those advertisements

published by tertiary institutions as well as those published by the foot-wear advertisers.

This sample is a non-probability sample which is not representative of any target or

accessible population of advertisements and soap operas.

A sample of advertisements was drawn from the Hype Magazine of April/May 2012 as

well as soap operas Generations and Rhythm City broadcast in December 2012. When

paging through this magazine it becomes apparent that it contains many advertisements

from tertiary education institutions aimed at the youth who have recently graduated.

They also contain many clothing and footwear advertisements targeting the youth who

like a popular style of hip-hop music. The soap operas (soapies): Generations (2012)

and Rhythm City (2012) are appropriate for analysis since they are popular to the

society of South Africa and the meaning they produce and the messages they convey

affect the vast number of television audiences. The viewers sometimes assimilate what

the see on these soapies and claim to identify with the characters.

A purposive sample was drawn from all the advertisements of tertiary institutions that

were published in the Hype Magazine of April/ May 2012. Each of these advertisements

was numbered and placed separately, one for educational institutions and another for

footwear advertisements, therefore, a random sample of two advertisements per

category (tertiary education and footwear advertisements) was drawn by blindly

selecting two pieces of paper (two numbers). As far as the soap operas are concerned

the purposive sample of the two soap operas: Generation 2012 and Rhythm City (2012)

were selected from the different television channels, SABC1 and e.tv.

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11.3 Data collection procedure

This study can be established by collecting the data from the Hype Magazine and the

television programmes called Generations (2012) and Rhythm City (2012) were viewed

on the same day. The units of analysis in this scenario are different ideological and

mythical meanings that are produced by the signs and sign systems as well as codes

that are found in the two advertisements as well as those found in the television

programmes.

The applicable variables in terms characteristics of accessible population are the

denotation, connotation/social myth, the use of ideology - use of prominent person: DJ

Fresh (a popular radio presenter and television personality) and Mo Flava (a

commercial comedian and radio presenter), and indexical, iconic and symbolic codes.

On the other hand, as far as television texts (soap operas) are concerned, the variables

are the use of use of ideology, story-line techniques, use of music and sound themes,

use of colour and lighting, motifs on the use of multicultural characters and genre

convention.

The advertisements were taken from the Hype Magazine that is available on a monthly

basis. As far as the soap operas are concerned, the Rhythm City can be viewed on e.tv

every weekday at 6:30 in the afternoon, and the Generations can be viewed every week

at 8:00 in the afternoon on SABC1.

12 DATA ANALYSIS

12.1 Introduction

Bynner and Stribley (2010:260) postulate that data analysis is primarily

concerned with “the unraveling of relationships between variables”. The type

of analysis that is prevalent in this study is qualitative data analysis.

“Qualitative data takes the form of words and visual images observed or

creatively produced; they are associated with strategies of research as

grounded theory, phenomenology and observations” (Descombe 2007:286).

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Babbie (2004:396) shows that the data analysis stage in research can be

described as the stage whereby the researcher will be able to see what

answers the data yield on the research question. The data analysis of this

study has paved the way to the way the presentation of results as presented.

12.2 Semiotics applied in advertisement 1: Converse all Star Shoes

This advertisement promotes Converse All Star Shoes: the shoes that are

popularly used by the youth. It is black and white in colour, with the smiling

comedian, “Mo Flava”, posing humorously with a trambouline (a musical

instrument) in his hand, wearing an old pair of the similar advertised canvas

shoes. Mo Flava is a popular, commercial comedian and radio presenter

extremely adored by the youth. The man on the advertisement is wearing a

white t-shirt and the black skinny jeans (perceived by the youth as cool and

funky). Mo Flava is sitting, laid-back on a city park; on the background there is

a man jumping with a guitar on his hand.

On the advertisement appears the boldly typed graphics: “The Right to Tune”.

The brand name and logo appear on the bottom of the A4 page of an

advertisement. The advertisement also informs how one can reach the

advertisers through social media, watch comic videos and enter for the

competitions. The advertisement atmosphere is musical as one sees the man

holding a musical instrument, the man on the background is jumping with a

guitar. The words on the advertisement, “The Right to Tune”, portray a

musical mood.

12.2.1 Use of myth and ideology

The myth in this advertisement is: in order to be part of the “cool, stylish and

funky” youth culture one must wear the Converse All Star Shoes. The “cool,

stylish and funky” dogma is applied by the bold message: The Right to Tune.

This message implies that the Converse All Star Shoes gives one the right to

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tune or stay updated. The ideology in this advertisement is connected to

consumerism.

12.2.2 Denotation

The literal/obvious meaning of this advertisement is what is seen: the smiling man with

a trambouline in his hand. This straight forward meaning is also the demonstrated

picture of the advertised shoes, the unrecognised man jumping with a guitar on the

background, as well as the written words appearing on the advertisement.

12.2.3 Connotation

Barthes (1979:20) establishes that connotation is the imposition of second meaning that

is realised at the different levels of production of the photograph and represent a coding

of the photographic analogue. The connotated message of this advertisement is applied

by the use of the popular celebrity that the youth can claim to identify with. The

communicated message, connotatively, is: if one wears Converse All Star Shoes he/she

belongs under humorous characters like Mo Flava’s (the man on an advertisement).

Because Converse All Star Shoes are expensive, they can be used to connote

signifieds of wealth and cool, as well as “having the right to tune”, as words on the

advertisement puts it.

12.2.4 Social myth

Myth can be described as bringing together of signs and their connotations to shape a

particular message; these are the ways of thinking about people, products, places, or

ideas which are structured to send particular message to the reader or viewer (Bignell

2001:16). In essence, social myths are related to the way the society interpret and make

sense of the particular communicated message.

This advertisement for shoes contains a photograph of someone smiling, relaxed on the

city park is not only denotating the shoes and the park, but attaching the myth. This

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myth means that these particular shoes are specifically targeting those who like to

perform in front of the people or those who like to be noticed.

12.2.5 Iconic signs

Iconic signs are the easiest to interpret. Here, like in denotation, the signifier resembles

the referent as iconic signs represent what is given on the message (Bignell 2002:15),

Icons here are the advertisement picture or photograph an all the written word

accompanying the advertisement.


Like connotation, these signs have logical common sense connection to the idea they

represent rather than direct resemblance to the object (Lester 2011:55). For example,

an hour glass implies the movement of time. In this advertisement, the atmosphere,

energy portrayed by the man on the picture and the cool atmosphere of the place on the

background stands for what the advertisers want to communicate.


The symbols appearing on this advertisement are the trademark, logo and brand name,

words, posture and gesture of those appearing in the advertisement. The smiling face of

the man on the picture is the powerful symbol of humor, artistic sense as well as

friendliness. The relaxed atmosphere of the background is associated with the cool

mood.

12.3 Semiotics applied in Advertisement 2: Boston Media House

This advertisement promotes the tertiary institution: The Boston Media

House, a college that that offers various kinds of qualifications. The colours

used are yellow, dark-orange and maroon, which are the corporate colours of

the institution advertised. This advertisement used the DJ Fresh (Radio and

television personality). The man on the picture (DJ Fresh) is standing

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confidently, wearing the casual red and white shirt with the jeans, on his wrist

there is an expensive silver watch. DJ Fresh is standing with a traditional

records disc.

There are boldly printed messages communicated: the name of the college.

“Getting the Right Start” is used as a catch phrase; “I did” are the words

inverted, referred to as being uttered by the respected disc jockey. The words

‘guidance, qualification, recognition’ appear as the motto of the institution

advertised. Following are the list of the reasons to graduate with a media

diploma from the given institution; as well as the contact details of the college.


The myth in this advertisement is: studying in this college will put one in the

chances of being compared to DJ Fresh. The referred words: “I did”, as

uttered by the youth idol can play a role in persuading the reader into

choosing/selecting the college. The other message: “get the right start at

Boston” implies that by enrolling with the college one gets the right start on

the career, like DJ Fresh did. The ideology in this advertisement is connected

with education and popularity.

12.3.2 Denotation

The literal/obvious meaning of this advertisement is what is seen: the man

standing straight, with a record tape disc on his hand. This meaning is

associated with the words written in different positions and different textures,

without additional meaning of any kind.

12.3.3 Connotation

This is the imposing of the second meaning applied when the messages were

being interpreted. The connotated message of this advertisement is applied

by the use of the popular celebrity that the youth look-up to. The

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communicated message, connotatively, is that: if one enrolls with the Boston

Media House, he or she will be like the character on photographed, DJ Fresh.

Because the man on the advertisement is successful in his life, this can be

used to connote signifieds of success and prosperity. An expensive watch

connote wealth that might be caused by enrolling with Boston college.

12.3.4 Social myth

Mythically, there are various signs and their connotations appearing in this

advertisement, which can be interpreted by society. The tertiary institution’s

advertisement portrays a man wearing casually and cool. The use of the

prominent person is used as a myth that means that: studying n this institution

may lead one to successful life, like that of the icon used.

12.3.5 Iconic signs

Here, like in denotation, the advertisement as a whole resembles the referent.

Boston Media House advertisement is taken as it is given, with all the written

words accompanying the advertisement, without the interpretation of

meaning.


In this advertisement, the youth idol, DJ Fresh implies the popularity and

iconism rather than direct resemblance of the man standing and wearing

whatever he is wearing. The signs of the advertisement (messages) have

logical common sense connection to the idea that the Boston Media House is

the right start to being compare to the popular DJ Fresh.


The symbolic signs appearing in this advertisement are trademarks, logo and

the brand name of the college. The other symbolic signs are the words: the

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messages, gesture and posture of the man appearing on the advertisement.

The friendly face of the man on the advertisement’s picture is the powerful

symbols of warmth and friendliness, as associated with the tertiary institution.

These are the messages that symbolise the particular meaning that the

advertisers of the service wish to convey toward the viewer of the text.


This television programme falls under the soap opera genre. It is a captivating

drama that involves humor, also dealing with family issues about life, love and

relationships (South African TV series... 2011). This soapie shows how

people are making success of their lives under, sometimes, challenging

situations. The music theme composer of this programme is Mr Steve

Hofmeyer. Generations is a South African produced soap opera created and

produced by Mfundi Vundla.

The backdrop of Generation is the advertising industry with a storyline that

focuses on the dreams and aspirations of South Africans (South African TV

series... 2011). This soapie is an example of South African cultural products

of 1994, post –election South Africa. The setting is that of two rival advertising

agencies: Yona Yethu Media and Afri-Media, headed by black South Africans.

Suspense, intrigue and tension are the orders of the scenes as the plot

unfolds and romance influences relationships between warring parties (South

African TV series... 2011).

The sub-plot was selected from the episode of Monday, 18 December 2012,

8:00 in the afternoon. In this subplot, Phenyo’s (the cousin of Sibusiso)

mother is not happy that his son is planning to marry Dineo. Dineo is

notoriously known for being promiscuous, and multi past marriages. Sibusiso

(the owner of Afri-Media) insist on negotiating the lobola deal only with the

males paternally related to Dineo, not her mother Ruby (township tavern

owner). As Noluntu (Mawande Memela’s daughter) is getting the birth cramp

she is forced to meet with her gay baby father Senzo (Sibusiso’s son).

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Mawande (Yona Yethu Media’s owner) and Sibusiso cannot escape their fling

at is unfold whenever they meet to talk business. Khethiwe, a widow who is

involved in her man’s (Khaphela) death gets over drunk to escape the guilty

conscience. Akhona (Yona Yethu Media’s field journalist) is issued a warrant

of arrest for hitting her maid Zodwa – who is trying to steal her man, Nicholas

who also works at Yona Yethu Media.

12.4.1 Use of music and sound themes

The music theme of this television programme is found in the opening

sequence, as well as, in the title music of the show. This is the unique sound

distinguishing the programme from the others. The sound usually switches as

the scenes continue, accompanying the mood of the story or scene.


This soapie challenges the racism ideology whereby the black South Africans

were not expected to run their businesses succesfully. There is a new

dominant ideology that this television programme is communicating; it is the

social experience where any individual, regardless of race can be allowed to

run a media business. As a cultural product this soapie perpetuate accepted

ideology in increasing nuanced and complex ways. Such an ideology can

become the accepted view of the world which influences people's

interpretation of situations and events. It is the representation of people and

events, based on unquestioned assumptions which may be factual or fictitious

but which forms the premises upon which attitudes may be based. The

message being implied by this soapie is that any human being, black or white

can be able to run businesses, especially, those that were regarded as white

businesses, such as media agencies.

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12.4.3 Use of colour and lighting

When thinking about light and darkness, we often associate light with clarity,

warmth and/or security, whereas darkness can be associated with resting,

coldness, unpredictability and/or tension. Lighting is used to make a scene

appear more realistic and/or it can be used to add to a compositional

orientation by balancing the different visual elements in relation to one

another. Lighting in this soapie often function as indexical signs - pointing to

and focusing attention on selective elements of the content within the frame

sign systems.

Colour in this television programme is used to convey and clarify information.

However, colours work on ones subconscious and each colour can produce

an emotional reaction of its own. For example, in African cultures all-black

colour as worn by Khethiwe signifies that she is a widow for the time being.

Colours as used in this soapie are associated with temperatures (such as

warmth, coldness and happiness). Colours that were used in Khethiwe’s

house highlights that the situation is doom as every family member mourns

the death of the head of the family.

12.4.4 Genre conventions

This television programme has a form, pattern, or style that is identified as a

soap opera. This soapie is conventionally fictional but considered by many as

factual or more real as it tackles the real life situations. This soap opera also

addresses the subject matter related to previously taboo topics (for example

rape, homosexuality, illegitimacy, alcoholism or even Satanism).


This often controversial slivers of real life show, set in Johannesburg and

produced by legendary Curious Pictures, takes a fast and hard look at the

highs and lows of South Africa’s music business (Welcome to Rhythm

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City…2013. 2011). This soap opera gives the viewers a grand tour where

music is the universal language, raw ambitions, the currency, and a time

honoured custom is to stab people in the back. This is the story of the stop-

stall-restart careers of the big stars, their egos and greed; the press hype and

spins; the recording companies and studios; the gigs; the nightclubs; the

launch parties; the drugs; the booze; the sex; the crime; and always, the

money.

People in Rhythm City carry a lot of baggage (as we all do) on their individual

journeys through life - but how they deal with it makes a breath taking

viewing. The story focuses on mentally unwell master manipulators with

monstrous murder plots, mediocre wannabes, and innocents who struggle to

achieve their high-altitude dreams (Welcome to Rhythm City…2013. 2011).

By viewing this programme, one is guided through the building and collapsing

of empires and gets through brash Soweto, then posh-lush Northern Suburbs,

followed by Johannesburg’s notorious city centre. Here the viewer meets all

kinds of South Africans in diverse urban communities. The soapie offers

subtitles so the viewer will pick up the locally uses slang.

A lot of Rhythm City’s prominent citizens are continuously climbing on, or

falling off, the fame wagon. They are the real power brokers of the industry:

record companies, promoters, producers, agents, managers – and the media.

Nearly always anxiously waiting at home are the families, friends, and lovers

of these personalities (Welcome to Rhythm City…2013. 2011). They too,

battle with affairs of the heart and cope the best they can with everyday life.

The show has a core cast (including real life singers KB and Pam Andrews),

writers, and directors who are of Emmy award status talent.

The sub-plot was selected from the episode of Monday, 4 December 2012,

6:00 in the afternoon. In episode Lucilla and Miles Vilakazi (married owners of

Redemption Records) makes Nkhensani an offer at Redemption, but her

reaction is not quite what they expected as she regrets the deal. Nkhensani is

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the daughter of the recently deceased, notorious Ivan Tshinawa who was a

share holder at Redemption Records. It is up to her of what she does with her

late father’s shares.

David Genaro, Satan's best-loved servant, the former unhinged head of

renowned Redemption Records is realising that the BK (a mafia gang the he

has bad history with) are a threat he can no longer ignore (Welcome to

Rhythm City…2013. 2011). He comes up with a plan that will get them off his

back for good, but it requires him going back to jail. Meanwhile, soft-hearted,

God-fearing community worker, Mamokete (town ship gym owner whose man

Kop Khuse works as a driver at Redemption Records) discovers evidence

discovers that someone is sleeping in the gym. She arrives at the conclusion

that this is a homeless person. Without knowing that this person is Bash (a

guy who once let her daughter drunk) she sets out to make his life better.


The music theme of this television programme is found in the opening

sequence, as well as, in the title music of the show. This is the unique sound

distinguishing the programme from the others. The sound usually switches as

the scenes continue, accompanying the mood of the story or scene.


This soapie challenges the racism ideology whereby the black and white

people were not allowed to live together. There is a new dominant ideology

that this television programme is communicating; it is the social experience

where the different races can work together. As a cultural product this soapie

perpetuate accepted ideology in increasing nuanced and complex ways. Such

an ideology can become the accepted view of the world which influences

people's interpretation of situations and events. It is the representation of

people and events, based on unquestioned assumptions which may be

factual or fictitious but which forms the premises upon which attitudes may be

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based. The message being implied by this soapie is that human beings can

be able to live in harmony, run the business together, regardless of race or

colour.


There is a When thinking about light and darkness, we often associate light

with clarity, warmth and/or security, whereas darkness can be associated with

resting, coldness, unpredictability and/or tension. Lighting is used to make a

scene appear more realistic and/or it can be used to add to a compositional

orientation by balancing the different visual elements in relation to one

another. Lighting in this soapie often function as indexical signs - pointing to

and focusing attention on selective elements of the content within the frame

sign systems.

Colour in this television programme is used to convey and clarify information.

However, colours work on ones subconscious and each colour can produce

an emotional reaction of its own. For example, the colour themes that are

found in Suffocate’s night club are different to the ones that are found in the

office. Colours as used in this soapie are associated with temperatures (such

as warmth, coldness and happiness). Colours that are used in the suburban

scenes are different to the ones found in the townships.


This television programme has a form, pattern, or style that is identified as a

soap opera. This soapie is conventionally fictional but considered by many as

factual or more real as it tackles the real life situations. This soap opera also

addresses the subject matter related to previously taboo topics (for example

rape, homosexuality, illegitimacy, alcoholism). Here, the viewers can be

capture by the way the story is narrated; they can even assimilate the ways

that they saw on television. The viewers can also mirror themselves thought

this soapie.

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13 FINDINGS

13.1 Introduction

As far as the magazine advertisements are concerned the results will be presented under the

following headings: use of ideology, denotation, connotation, social myth, iconic signs, indexical

signs and symbolic signs. The results will also be presented under the objectives of the study:

sign systems used to convey the meaning in the selected advertisements and soap

operas, the music and sound themes techniques used to emphasise the climate of the

scenes in soap operas, how ideologies and myths are being communicated in

advertisements as well as soap operas, and the way advertisements use the same

ideologies in order to appeal to the readers.

13.2 Semiotics applied in advertisement 1: Converse all Star Shoes


The results show that this advertisement use the ideology of cool, stylish and

funky, as applied in the advertisement: “The Right to Tune”. The ideological

message behind this mythical statement communicated in by the

advertisement is that if one buys this product he/she will be cool and have the

right to tune or be street wise.

13.2.2 Denotation

Here there is no second order meaning attached to the advertisement as is. The

literal/obvious meaning of this advertisement is what is seen: the smiling man with a

trambouline in his hand. This straight forward meaning is also the demonstrated picture

of the advertised shoes, the unrecognised man jumping with a guitar on the

background, as well as the written words appearing on the advertisement.

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13.2.3 Connotation

The overall results show that this advertisement use connotation or second order

meaning. The connotated message in this advertisement appears in the use of popular

figure or celebrity, who is also an idol to the youth. The audience can associate with the

celebrity with the advertised product. By that way the youth can connote the product by

associating it with the attributes of the celebrity: young successful and cool.

13.2.4 Social myth

The overall results highlights that this advertisement use social myth. The social myth

used in this advertisement is that of popularity and idolism. This advertisement for

shoes contains a photograph of someone smiling, relaxed on the city park is not only

denotating the shoes and the park, but attaching the myth. This myth means that these

particular shoes are specifically targeting those who like to perform in front of the people

or those who like to be noticed.

13.2.5 Iconic signs

The straight forward meaning of this message is what is given in the advertisement.

Icons here are the advertisement picture or photograph an all the written word

accompanying the advertisement.


The overall results highlights that this advertisement use indexical signs. The indexical

signs as applied in this advertisement are the park, relaxing atmosphere of the place on

the background. This indexical sign of the background communicate the message

intended by the producers of the advertisement. Like connotation, these signs have

logical common sense connection to the idea they represent rather than direct

resemblance to the object (Lester 2011:55). For example, an hour glass implies the

movement of time. In this advertisement, the atmosphere, energy portrayed by the man

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on the picture and the cool atmosphere of the place on the background stands for what

the advertisers want to communicate.


The overall results highlights that this advertisement uses symbols: trademark, logo and

brand name, words, posture and gesture of those appearing on the advertisement.

These symbols communicate; convey the particular message to the viewers. The face

of the man smiling can symbolise humour and friendliness. The park appearing on the

background symbolises relaxation. All these symbols can be associated with the

advertised product by the viewers.



The overall results highlights that this advertisement use myth and ideology.

The myth in this advertisement is: studying in this college will put one in the

chances of being compared to DJ Fresh. The referred words: “I did”, as

uttered by the youth idol can play a role in persuading the reader into

choosing/selecting the college. The other message: “Get the Right Start at

Boston” implies that by enrolling with the college one gets the right start on

the career, like DJ Fresh did. This myth can lead to the ideology of success,

literacy and education when associating the above mentioned messages

13.3.2 Denotation

The literal/obvious meaning of this advertisement is what is seen: the man

standing straight, with a record tape disc on his hand. This meaning is

associated with the words written in different positions and different textures,

without additional meaning of any kind.

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13.3.3 Connotation

The overall results highlights that this advertisement uses connotation: the

youth can see the celebrity appearing and start associating the product with

all the celebrity’s characteristics and attributes. The aim of the advertisers is

for the youth to be willing to look like a man in the advertisement. That is how

the attention is captured and the product gets to be sold assisted by this

connotation. This is the imposing of the second meaning applied when the

messages were being interpreted.

13.3.4 Social myth

The over all results highlights that this advertisement uses social myth.

Mythically, there are various signs and their connotations appearing in this

advertisement, which can be interpreted by society. The use of the prominent

person is applied to make the targeted market think about the life of the

person appearing and the associate his successful life with buying the

product.

13.3.5 Iconic signs

Here, like in denotation, the advertisement as a whole resembles the referent.

Boston Media House advertisement is taken as it is given, with all the written

words accompanying the advertisement, without the interpretation of

meaning.


The overall results highlights that this advertisement uses indexical sign:

iconism and popularity. The sign of the message (advertisement) have logical

common sense connection to the idea that the advertised service can

guarantee one’s the right start of being like the man on the advertisement: DJ

Fresh. In this advertisement, the youth idol, DJ Fresh implies the popularity

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and iconism rather than direct resemblance of the man standing and wearing

whatever he is wearing.


The overall results highlights that this advertisement uses symbolic signs:

trademarks, logo and brand name of the college. The words: the messages

on the advertisement, gesture and posture of the man on the advertisement

picture are the powerful symbols of success, warmth and friendliness as

associated with the advertised institution. These are the messages that

symbolise the particular meaning that the advertisers of the service wish to

convey toward the viewer of the text.



The overall results highlights that this advertisement uses music and sound

themes. Firstly, this soap opera has a sound that distinguishes it from the

other soapies. This music and sound is found in the opening sequence. The

other music or sound applied are the ones that emphasise a particular scene.

The sound usually highlights the mood and atmosphere of the part of the

storyline or scene.


The overall results establish that this soap opera uses myth of the black-

South Africans being successful entrepreneurs, owning their own businesses.

Here the myth – the previously held perception that the blacks can not sustain

in the business is challenged. The ideology that this television programme is

communicating is social experience where any individual, regardless of colour

or race can be allowed to own a huge business like the media agency.

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This soapie challenges the racism ideology whereby the black South Africans

were not expected to run their businesses succesfully.


The overall results show that this television programme uses colour and

lighting applications. When thinking about light and darkness, one often

associate light with clarity, warmth and/or security, whereas darkness can be

associated with resting, coldness, unpredictability and/or tension. The lighting

technique is usually used to make the scenes and characters more appealing

and bright. The colour in the selected episode signifies that the character:

Khethiwe is a widow for the time being. Colours that were used in Khethiwe’s

house show the mourning situation of darkness.


The overall results highlights that this television programme use genre

convention. This television programme use genre convention. As far as genre

is concerned, this television programme can be identified as a soap opera,

focusing on the topics that can be easily ignored by many, previously taboo

topics such as rape, homosexuality, illegitimacy and even alcoholism.



The overall results highlights that this television programme uses music and

sound themes. Firstly, this soap opera has a sound that distinguishes it from

the other soapies. This music and sound is found in the opening sequence.

The other music or sound applied are the ones that emphasise a particular

scene. The sound usually highlights the mood and atmosphere of the part of

the storyline or scene.

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The overall results highlight that this soap opera use myth of multicultural and

multiracial individuals working together. The myth of the previously held

perception that the differing races cannot work together is being challenged,

the apartheid ideology is being challenged. There is a new ideology being

instilled by the soap opera: harmonious, rainbow nation South Africa.

The message being implied by this soapie is that human beings can be able

to live in harmony, run the business together, regardless of race or colour.


The overall results highlights that this television programme uses lighting,

especially to make the scenes more appealing and bright. The Three

dimensional (3D) types of scenes, especially, in the townships communicate

a lot of sense to the viewers. Colour as applied in this soap opera are found in

differentiation of setting of the scenes, for example, the colour themes that

are found in Suffocate’s night club are different to the ones that are found in

the office. Colours as used in this soapie are associated with temperatures

(such as warmth, coldness and happiness). Colours that are used in the

suburban scenes are different to the ones found in the townships.


The overall results highlights that this television programme uses genre

convention. This television programme has a form, pattern, or style that is

identified as a soap opera. This soapie is conventionally fictional but

considered by many as factual or more real as it tackles the real life

situations. This soap opera also addresses the subject matter related to

previously taboo topics (for example rape, homosexuality, illegitimacy,

alcoholism). Here, the viewers can be capture by the way the story is

narrated; they can even assimilate the ways that they saw on television. The

viewers can also mirror themselves thought this soapie.

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14 CONCLUSIONS

The aim of this study was to analyse the two magazine advertisements and two


presentation found in the media texts: television programmes (soap operas) and

advertisements. The objectives of the study were to determine differently used sign

systems by the producers in order to interact with the targeted readers. The way

advertisers use the sign systems in order to interact with the targeted readers was

investigated. The music and sound themes techniques used were also investigated on

how they take part in the television programmes. The use ideologies and myths as

applied in the selected texts.

This advertisement clearly identified the target and accessible population and correlated

findings into the literature review on media semiotics. The results show a picture that

producers of the media texts use the various numbers of techniques in order to make

the meaning clear and also communicate their intentions. The advertisers use the

various signs, sign systems and codes that support them in selling their products. When

the targeted buyer looks at the advertisements he or she get attracted due to the

myths/connotations and ideologies being created by the advertisements. The signs

used in the visual images or photographs, especially in the advertising, communicate

meanings to the viewers. The photographs used by the advertisers convey meanings as

they transmit messages intended by the producers. The findings of this research led to

the conclusions that the creators of the characters representative of South African

society use the different signs in order to influence the mentality of the viewers of the

texts; and that the commercial bias of media production had a strong influence on the

manner in which society was being portrayed.

To conclude, the different advertisements use the same sign systems (written and

unwritten language that complement the pictures) in order to interact with the targeted

readers. The foot wear advertisements refer to different ideologies to that of the tertiary

institutions. The South African multicultural society portrayed in the two soap operas

reflects the ideology of the rainbow nation. Both of the television programmes

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communicate the same ideologies, especially harmonious, heterogeneous, multicultural

society.

15 ASSESMENT OF ETHICAL REQUIREMENTS

15.1 Sampling

A random sample was drawn from a purposive of only those advertisements published

by tertiary institutions as well as those published by the foot-wear shops. This sample is

a non-probability sample which is not representative of any target of accessible

population of advertisements and soap operas. Ethically, this sample is correct since no

population is going to be biased.

A sample of advertisements was drawn from Hype Magazine of April/May 2012 as well

as soap operas Generations and Rhythm City dated 13 April 2012. When paging

through this magazines it became apparent that they contain many advertisements from

tertiary education institutions aimed at the youth who recently educated. They also

contain many foot wear advertisements targeting the youth who like a popular style of

hip-hop music. The soap operas: Generations (2012) and Rhythm City (2012) are good

for analyses since they are popular to the society of South Africa and the meaning they

produce as well as messages they convey affect the vast number of television

audiences. The population is accurate for the purpose of the study.

This media research is ethical, worthwhile, proper and acceptable as a result of a

representative sample drawn. There is no reason why a snowball or known-group

sample cannot be drawn (and treated as an ethical step in the research process). The

following "dictates" that this is an appropriate sample: the nature of the problem, the

objective(s) and especially the population’s characteristics. The use of non-probability

samples create important ethical implications, such as related to external validity,

especially due to the fact that this study is in qualitative content analyses.

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15.2 Treatment of subject and data

The objectivity and accuracy of the collection of data, the coding of data and the

interpretation of data are clear and accurate since they postulate all that need to be

highlighted. The development of content analysis categories will lead one to a clear

understanding of the issue discussed. Categories are operationally constructed and

how they meet the requirements of being discrete, mutually exclusive and exhaustive

since they give us detailed information of what is to be analysed in order to reach the

conclusion.

15.3 Development and application of measuring instruments

All the measuring instruments that are used in the selected research method are

accurate and effective since they accommodate internal validity, and clarify what is

being measure. External validity of the measuring instrument allows that the same

measuring instrument be used in similar research that takes place in another situation

and during another time. Reliability of this analysis highlights that if the research was

repeated, it would yield the same results.

Analyses are qualitative since there is nothing counted but the exploration and

description the categories that will lead to the conclusion, for example, the ethics

ideologies that are use in the advertisements or television programmes highlight what

the producer wish to communicate.

SOURCES CONSULTED

Babbie, E & Mouton, J. 2001.The practice of social research. South African edition.

Cape Town: Oxford University Press.

Barthes, R. 1972 [1957]. Mythologies. Translated by A Lavers. London: Paladin.

Barthes, R. 1979. Image-music-text. Essays selected and translated by S Heath.

Glasgow: Fontana/Collins.

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Bignell, J. 2002. Media semiotics. An introduction. 2nd edition. Manchester: Manchester

University Press.

Bynner, J & Stribley, KM. 2010. Research design: the logic of social inquiry. The State

University: Rutgers.

Descombe, M. 2007. The good research guide: for small scale social research projects.

3rd edition. Open University Press: New York.

Fourie, PJ (ed). 2001a. Media studies. Volume 1; institutions, theories and issues.

Lansdowne: Juta.

Fourie, PJ (ed). 2001b. Media studies. Volume 2; content, audiences and production.

Lansdowne: Juta.

Lester, PM. 2011. Visual communication: images with messages. Belmont, Calif:

Wadsworth.

University of South Africa. Department of Communication Science. 2012. Mass

communication theory: Tutorial letter 101/2012 for HCMMCTG. Pretoria.

Boston Media House: 2012. Hype Magazine. 1 (10):77

Converse All Star. 2012. Hype Magazine. 1 (10): 23

Generations. 2012. [Television programme] Morula pictures

Broadcast: 20:00, 13 September 2012, SABC 1

Rhythm City. 2012. [Television programme] Curious pictures

Broadcast: 18:30, 13 September 2012, e.tv.

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ADDENDA

Converse All Star. 2012. Hype Magazine. 1 (10): 23

42

42

Boston Media House: 2012. Hype Magazine. 1 (10):77

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The meaning presentation found in media texts (magazine advertisements and television programmes).

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