The Discourse of Pictures: Iconicity and Film Studies

Abstract

I n its analysis of images, film theory since the 1970s has been deeply indebted to structuralist and Saussurean-derived linguistic models. Indeed, it would be difficult to overstate the depth and importance of this relationship. As Robert Stam has noted, Semiotics in general, and film semiotics in particular, must be seen.., as local manifestations of a more widespread linguistic turn.' To speak, for example, about a film, as many film analysts now do, irrespective of the critical methodology employed to generate the reading, is to index and emphasize this lineage. Like books, films are regarded as texts for reading by viewers or critics, with the concomitant implication that such reading activates similar processes of semiotic decoding. But does it? To what extent are linguistic models appropriate for an understanding of how images communicate? Film theory since the 1970s has tended to place great emphasis upon what is regarded as the arbitrary nature of the signifier-signified relationship, that is, upon the purely conventional and symbolic aspect of signs. What this focus has tended to displace is an appreciation of the iconic and mimetic aspect of certain categories of signs, namely pictorial signs, those most relevant to an understanding of the cinema. This stress upon the arbitrary nature of semiotic coding has had enormous consequences for the way film studies as a discipline has tended to frame questions about visual meaning and communication. Our purpose here is to examine some of these consequences and to see how well they square with the observable evidence about how viewers perceive and comprehend cinematic sequences. We will see that current film theory, tracing its lineage from Saussure, Althusser, and Lacan, has constructed accounts of the ways in which film transmits meaning that are, in certain important respects, counter to the observable skills, abilities, and reactions of real-world viewers. The viewer, as theorized in these accounts, differs substantially from his/her real-world counterpart. We shall emphasize some of these discrepancies in order to suggest a reorientation of theoretical focus. In short, a renewed attention to the iconic, mimetic nature of pictorial signs is warranted, so that our theories might become more sensitive to the unique, constitutive features of pictorial-as opposed to linguistic-modes of communication. (It is important to note that other currents exist in contemporary film theory. Pier Paolo Pasolini and Peter Wollen, for example, have offered analyses of cinematic signs that are inflected rather differently than the Saussurean-inspired accounts that this essay examines.2 More than 20 years ago, Wollen stressed the importance of paying attention to the iconic aspect of pictorial signs. Borrowing from Charles

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