Diah Amanda Resfika, Teguh Sulistyo, Maria Cholifah

ROLAND BARTHES’S THEORY OF SEMIOTICS ANALYSIS IN THE KOREAN DRAMA LOVELY RUNNER

Introduction

Roland barthes’s theory of semiotics analysis in the korean drama lovely runner. Explore Roland Barthes' semiotics in the K-drama 'Lovely Runner.' Analyze visual signs (e.g., eclipse, umbrellas) to uncover character emotional dynamics and development, emphasizing visual storytelling.

Abstract

This study examines the application of Roland Barthes's semiotic theory in analyzing the Korean drama "Lovely Runner," focusing on the emotional dynamics and character development of Ryu Sunjae and Im Sol. The research aims to uncover how various visual signs, including the total solar eclipse scene, yeonji gonji (rouge on the cheeks) scene, the umbrellas, Sunjae’s wristwatch, the sunflowers, and samgyetang, convey the characters' feelings and emotional journeys. Utilizing a descriptive qualitative method, the analysis highlights the denotative and connotative meanings of these symbols, revealing their significance in the narrative. The findings indicate that one visual sign can articulate the emotions of both characters simultaneously, while also expressing the emotional states of a character across different scenes and settings. This study contributes to the literature on semiotics, particularly within the context of Korean dramas, and emphasizes the importance of visual symbols in conveying emotional depth and character development. Ultimately, the research underscores the potential of visual storytelling as a powerful medium for exploring the character's feelings and emotions.

Review

This study outlines an investigation into the semiotic layers embedded within the Korean drama "Lovely Runner," utilizing Roland Barthes's theoretical framework to deconstruct the emotional journeys of its central characters, Ryu Sunjae and Im Sol. The abstract clearly articulates a focused objective: to reveal how specific visual signs, ranging from a total solar eclipse to culturally significant items like *yeonji gonji* and *samgyetang*, convey complex emotional dynamics. Employing a descriptive qualitative method, the research promises to delineate both the denotative and connotative meanings of these symbols, offering a valuable contribution to the understanding of visual storytelling in Korean dramas. A significant strength of the proposed research lies in its specific identification of key visual symbols that appear central to the narrative's emotional fabric. The stated finding—that a single visual sign can articulate the emotions of both characters simultaneously, or track a character's emotional evolution across different scenes—is particularly compelling. This approach suggests a nuanced application of semiotics, moving beyond simple interpretation to explore the dynamic and multifaceted nature of visual communication in popular culture. Such an analysis not only enriches the discourse around semiotics but also provides meaningful insights into the sophisticated narrative techniques employed in contemporary Korean dramas. To further enhance its impact, the full study could benefit from a more explicit discussion regarding the specific choices made in selecting these particular visual signs for analysis, and how they uniquely function within the broader cultural context of Korean television. Additionally, while the abstract mentions denotation and connotation, a deeper engagement with other aspects of Barthes's semiotic theory, such as his concept of mythologies or the interplay of *studium* and *punctum*, could offer a more granular and theoretically robust analysis. Exploring potential cultural specificities in the interpretation of these symbols, especially for a global audience, would also enrich the study's contribution to semiotics within cross-cultural media studies.

Full Text

Comments

You need to be logged in to post a comment.