Nur Afifah

Visual Interpretation Of Love In Mohammed Hamaki's Layla Video Clip (Charles Sanders Peirce Semiotics)

Introduction

Visual interpretation of love in mohammed hamaki's layla video clip (charles sanders peirce semiotics). Explore love's visual interpretation in Mohammed Hamaki's Layla music video using Charles Sanders Peirce's semiotic theory, revealing emotional and cultural meanings.

Abstract

This article examines the visual interpretation of love through audiovisual representations applied to Layla's music video. Layla is an Amiyyah Arabic song sung by musician Mohammed Hamaki. The researcher is interested in discussing the meaning in Layla's audiovisual, which focuses on the visuals of 2 subjects as a couple. In discussing the audiovisual meaning, the researcher will examine the cultural meaning based on the representation of the Layla video clip and its love symbols using Peirce's triadic model. This research is a descriptive, qualitative study, utilizing the tapping technique. The theory employed in this research is Charles Sanders Peirce's semiotic theory, combined with Stuart Hall's representation theory approach. The results revealed the discovery of emotional and cultural meaning in Layla's audiovisual description of Peirce's triadic semiotic argument. This study can contribute to a more comprehensive understanding of Peirce's semiotic theory, particularly in the context of literary research and audiovisual art, such as video clips.

Review

This article proposes an examination of the visual interpretation of love within the cultural context of Mohammed Hamaki's "Layla" music video, an Amiyyah Arabic song. The study's core objective is to decipher the audiovisual meanings, specifically focusing on the depiction of a couple and the symbols of love embedded within the video clip. Employing a qualitative, descriptive research design, the investigation judiciously combines Charles Sanders Peirce's semiotic theory with Stuart Hall's representation theory to analyze the cultural and emotional nuances represented visually, utilizing what is termed a "tapping technique." A significant strength of this research lies in its robust theoretical framework, bringing together two influential perspectives to offer a multi-layered analysis of a contemporary cultural artifact. The choice of an Amiyyah Arabic music video as a case study is particularly commendable, as it promises to offer culturally specific insights into the universal theme of love, enriching semiotic studies beyond often Western-centric examples. The abstract's assertion of having discovered both emotional and cultural meaning through Peirce's triadic model suggests a successful and meaningful application of complex theory to popular media, positioning the study to contribute substantially to the understanding of semiotics in audiovisual art. While the abstract provides a compelling overview, the full paper would benefit from a more explicit articulation of how Peirce's triadic model directly integrates with Hall's representation theory to form a cohesive analytical framework, rather than simply being combined. Furthermore, the "tapping technique" is mentioned as a research method but remains undefined; a brief elaboration on its nature and application within a semiotic, qualitative context would enhance clarity. Finally, while the article aims to contribute to "literary research" alongside audiovisual art, the abstract's predominant focus on the latter suggests that the precise connection to literary studies could be more clearly delineated or adjusted to reflect the primary emphasis of the work.

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