The seven traditions of communication theory—semiotic, phenomenological, cybernetic, sociopsychological, sociocultural, critical, and rhetorical—help us frame our studies into specific categories. These traditions, theorized by Robert T. Craig (2007), “provide sufficient coherence to allow us to look at theories side by side and to understand their essential commonalities and differences” (Littlejohn & Foss, 2011, p. 44).
As a filmmaker, I feel that my work relates closely to the semiotic, phenomenological, and rhetorical traditions of communication theory. To be successful at my job, I have to master the use of symbolism, the assignment of meaning, and the art of visual rhetoric. I can also use my expertise in these areas to critique other films and derive meaning, much like Burke’s “equipment for living” theory. Even though my professional videography is more informative than entertaining, I can still use these communication tools to better understand the value of my work.
The Semiotic Tradition
The unifying forces of this tradition are the sign, “defined as a stimulus designating or indicating some other condition,” and the symbol, “which usually designates a complex sign with many meanings, including highly personal ones” (Littlejohn & Foss, 2011, p. 45). In film, these signs and symbols are everywhere. Filmmakers are keen to use these devices because they helps them tell the story and maybe even infer a greater meaning.
The Phenomenological Tradition
This tradition expands on semiotics by seeking to understand how people interpret the world around them. More specifically, a person’s perception of a phenomenon—whether it be an object, event, or condition—must be examined (Littlejohn & Foss, 2011, p. 47). This tradition is important to consider because a person’s interpretation of a film is directly related to their own life experience. At the same time, a person’s life experience could also be shaped by film.
The Rhetorical Tradition
At its core, rhetoric involves a symbol user who “creates a text or artifact for a particular audience” (Littlejohn & Foss, 2011, p. 62). Like the rhetors of ancient Greece, modern day filmmakers employ the rhetorical elements or invention, arrangement, style, delivery, and memory in their production. Filmmakers engage in the rhetorical tradition by choosing to present their film in a specific manner, much like a politician would prepare a speech for his constituents.
To illustrate these three traditions in action, I’d like to discuss one of my recent favorites: Jordan Peele’s Get Out. In the film, “a young African-American visits his white girlfriend’s parents for the weekend, where his simmering uneasiness about their reception of him eventually reaches a boiling point” (Peele, 2017). Peele uses his personal experience as an African-American to intentionally include symbols of racism in the film. Furthermore, Peele includes these symbols to reinforce the subtlety of modern racism in the United States. His visual rhetoric seeks to impart a message of hope—that the film could serve as a vehicle for examining and correcting our racist tendencies (ScreenPrism, 2017). Check out this awesome video by ScreenPrism:
Pretty cool, right? As the video suggests, Get Out is so much more than a horror film!
While this may seem like a cop out, my favorite theory within these traditions is easily Kenneth Burke’s “equipment for living.” This theory argues that rhetoric—and film, its descendant—provides “a creative set of guidelines for selecting a course of action as we move through the world” (Littlejohn & Foss, 2011, p. 358). Burke’s view of rhetoric suggests that any form of discourse is capable of influencing its audience.
While I remember being taught to see the moral of a story, I feel like I have recently stopped doing that in favor of examining the more technical aspects of film. After this course, however, I want to explore the semiotic, phenomenological, and rhetorical aspects of filmmaking more closely. I believe that studying these realms of communication theory—aside from the technical filmmaking skills needed—will help me improve my professional videos drastically.
I might even consider diving into cinema therapy. Who knows?
References:
- Littlejohn, S. W., & Foss, K. A. (2011). Theories of human communication (10th ed.). Long Grove, IL: Waveland Press, Inc.
- Peele, J. [Director]. (2017). Get Out. Retrieved from http://www.imdb.com/title/tt5052448/
- ScreenPrism. (2017, May 28). Get Out Explained: Symbols, Satire & Social Horror [Video]. Retrieved from https://www.youtube.com/watch?v=ubNKSgdT1FQ