Chapter 1: The Essence of Semiotics

What exactly is semiotics? This intriguing field has intrigued many prominent figures, including Ira Glass, Todd Haynes, and Christine Vachon, who found its principles pivotal during their time at Brown University.

In 1982, Ira Glass, known for his role as the creator and host of "This American Life," graduated from Brown with a degree in semiotics. As a humorous nod to his achievement, Glass's father presented him with a local newspaper classified ad that read, "Corporate office seeks semiotics grad for high paying position." Glass found this jest unamusing, recalling, "My devotion was to semiotics. It defined my identity during a time when I felt lost."

Not only did Glass embrace semiotics, but a whole generation of graduates from Brown did as well. From its inception as a minor program in 1974 to its transformation into a full-fledged Department of Modern Culture and Media in 1996, this field has produced a variety of influential figures, including Pulitzer Prize-winning author Jeffrey Eugenides and Academy Award-nominated director Todd Haynes. These individuals, among others, navigated the unique atmosphere at Brown, where semiotics flourished, much to the concern of some parents and the delight of many students.

When one shouts "semiotics" in a crowded room, the likely response is, "What do you mean by that?" This is indeed a valid question, and, according to semiotics, it’s a subjective one. Semiotics is fundamentally the study of meaning—how images and words convey significance.

"I was captivated by the idea of using semiology to scientifically critique bourgeois myths," said Roland Barthes, a prominent figure in the field.

To put it simply, semiotics examines how we extract meaning from context. For instance, readers familiar with "This American Life" may be drawn in by the association of "Ira Glass" with a unique intelligence, while others may disengage at the mention of "public radio," associating it with isolation.

The roots of semiotics can be traced back to Ferdinand de Saussure, who introduced the term "semiologie" during his influential lectures at the University of Geneva between 1906 and 1911. Saussure argued that words hold no intrinsic meaning; rather, they serve as signifiers that activate various associations in our minds, leading to the creation of meaning-laden "signs."

Semiotic analysis delves deeper than mere sign dissection. Signs function within "codes"—languages that form the basis of larger structures, such as narratives. In the 1960s, a cohort of intellectuals emerged with the notion that these narratives could be deconstructed to uncover elements that elicit psychological pleasure.

Amidst the political climate of the time, these thinkers posited that narrative enjoyment was crafted for the amusement of the bourgeoisie, thus challenging narrative codes could disrupt the societal spell cast by mainstream media. Barthes articulated this ambition, stating, "I was mesmerized by the prospect of using semiology as a tool to critique bourgeois myths scientifically."

The establishment of semiotics at Brown can be largely attributed to Robert Scholes, a professor emeritus of English and former president of the Modern Language Association. Scholes, who became involved in the semiotic discourse during a conference in Paris in the late '60s, recognized Brown's openness to innovative teaching methods, making it an ideal environment for semiotics to flourish.

In 1973, Scholes brought in Michael Silverman, a scholar who had become disenchanted with traditional English departments. At Brown, Silverman found an opportunity to question the ideological assumptions tied to bourgeois pleasure through cinema.

Despite limited resources, Scholes and Silverman began integrating film into the English curriculum, which soon attracted enthusiastic student participation, including Tim Forbes, who funded screenings that garnered significant attendance.

By 1974, Scholes successfully established a semiotics program, choosing the term "semiotics" for its relative obscurity. They even opted for an intimidating title for their first film course: "Semiotics 66: Introduction to Cinematic Coding and Narrativity," to deter casual interest.

This new major quickly gained a devoted following, and while its curriculum included various literary and film theories, the term "Brown semiotics" began to evoke a distinct cultural identity characterized by a certain aesthetic and attitude.

"Semiotics felt like the ultimate conspiracy theory," reflected Ira Glass. "It revealed how language was structured to keep people in their place, a notion that resonated strongly with young students."

The program cultivated an environment of creative freedom. Christine Vachon, producer of "Boys Don't Cry," recalled receiving copies of emerging journal articles, while Rick Moody described the atmosphere as delightfully chaotic and stimulating.

Students felt empowered, believing they possessed unique insights into the world. "It was as if we had discovered a secret code," Johnson remarked. This sense of discovery eventually led faculty to incorporate artistic production into the curriculum, further blending theory with practice.

However, challenges arose as semiotics began to resemble the very bourgeois pleasure it sought to critique, leading some to view the program as elitist. The language of semiotics became increasingly exclusive, further complicating its accessibility.

As the program gained notoriety, it attracted criticism from external sources. Articles in prominent publications questioned the value of semiotics, leading to funding challenges and concerns about the future of the program.

Yet, as criticism intensified, early semiotics graduates began to make a mark in various creative fields, utilizing their skills in narrative deconstruction to influence contemporary culture. Some graduates, including Moody and Glass, experienced a period of "de-semiotization" as they sought to reconcile their academic insights with practical creativity.

Rick Moody noted a tendency to "infiltrate and double-cross," an echo of semiotic ideas found in the works of various alumni. The concepts once confined to marginal notes in semiotics papers began to permeate mainstream culture.

"We've reached a point where it's commonplace to analyze the underlying messages in media," Vachon observed.

The semiotics program has since evolved, with Tim Forbes contributing significantly to its revival through a substantial grant. Today's students approach semiotics with the understanding that they are mastering an established field rather than pioneering it.

In retrospect, early graduates recognize the lasting impact of their semiotic training on their careers. "Honestly," Glass affirmed, "I wouldn't have my job now without it."

This exploration of semiotics originally appeared in the Boston Globe Ideas section on May 16, 2004, under the title "The Semio-grads."

Chapter 2: Semiotics in Action

This video, "An Introduction to Semiotics," provides a foundational overview of the principles and applications of semiotics, illustrating its significance in understanding meaning-making processes.

In "Semiotics Analysis for Beginners! | How to Read Signs in Film | Roland Barthes Media Theory," viewers are introduced to the practical applications of semiotics in film analysis, highlighting Barthes' contributions to the field.