A Semiotic Analysis of Everything Everywhere All at Once Movie Posters
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Movie posters play a crucial role in the film industry, serving as both marketing tools and narrative devices that introduce audiences to a film’s themes and aesthetics. This study conducts a semiotic analysis of two Everything Everywhere All at Once movie posters to explore how visual and symbolic elements communicate meaning to different target audiences. Employing Charles Sanders Peirce’s triadic model (icon, index, symbol) and Roland Barthes’ dual-level meaning theory (denotation, connotation), the research follows a qualitative descriptive approach. Data were collected through direct visual analysis and audience perception assessment via questionnaires. Findings reveal that Poster 1 predominantly features indexical signs (53.17%) and connotative meanings (55.56%), encouraging deeper interpretation, whereas Poster 2 relies more on iconic signs (64.71%) and denotative meanings (51.63%), providing a straightforward depiction of the film. These differences suggest distinct marketing strategies, with Poster 1 catering to an audience that appreciates symbolic complexity, while Poster 2 appeals to a broader, general audience. The study contributes to media studies and film marketing by demonstrating how semiotic elements influence audience perception and engagement, offering insights for designers and marketers in crafting effective promotional materials.
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