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All Journal Sintaksis: Publikasi Para Ahli Bahasa dan Sastra Inggris International Journal of Educational Technology and Society
Riscitta Ogilvie Hubertus Sinaga
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Computer Science & IT Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Metaphor in James Cameron’s Titanic Ria Valentine Angela Manalu; Riscitta Ogilvie Hubertus Sinaga; Nayla Azahra; Syamsul Bahri
International Journal of Educational Technology and Society Vol. 2 No. 3 (2025): September: International Journal of Educational Technology and Society
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/ijets.v2i3.344

Abstract

The Titanic drama contains many figurative expressions that reflect deep emotions, life values, and internal conflicts. These figures of speech are used to describe love, fear, sadness, and hope in a more vivid and memorable way. The emotional experiences of the characters, especially Jack and Rose, are shown not only through direct dialogues but also through creative figurative language. This study aims to examine the types of figures of speech found in Titanic, a drama film directed by James Cameron. Using a qualitative descriptive method, this study analyzes the film's dialogues based on the conceptual figurative theory proposed by Lakoff and Johnson. This study identified three main types of figures of speech: structural, ontological (including personification and metonymy), and orientational figures of speech. The results showed that structural figures of speech were the most dominant type, appearing in 45.9% of the total data, followed by ontological figures of speech at 29.7%, and orientational figures of speech at 24.3%. This finding proves that figures of speech are not only used to beautify language but also to express feelings and views on life in a deeper and more emotional way. The allusions in Titanic help the audience understand the characters' thoughts and experiences better.
Comparative Analysis of Charlie Chaplin Animations: Safari at The Park and The King in The Ring Using Peirce’s Triadic Theory Nadia Kumari; Melyana Pinem; Riscitta Ogilvie Hubertus Sinaga; Jessica Hotnida Nainggolan; Meisuri Meisuri
Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris Vol. 4 No. 3 (2026): Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris
Publisher : Asosiasi Periset Bahasa Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61132/sintaksis.v4i3.2651

Abstract

This study analyzes visual signs in the Charlie Chaplin animations Safari at The Park and The King in The Ring using Charles Sanders Peirce’s semiotic framework, focusing on icons, indexes, and symbols. Film and animation communicate meaning through visual elements such as gestures, facial expressions, movements, and character interactions, making them rich for semiotic analysis. Using a descriptive qualitative method, the research identified and categorized visual signs in both animations. Results show that icons, which resemble real-world objects, dominate by establishing story settings natural safari environments in one animation and competitive boxing arenas in the other. Indexes reveal cause-and-effect relationships, demonstrating how gestures, expressions, and actions convey danger, fatigue, or emotional shifts. Symbols convey conventional or cultural meanings, such as Charlie Chaplin’s bowler hat and cane representing his comedic identity, a championship belt symbolizing victory, or a rose indicating affection. While both animations use the same types of signs, the intensity and focus vary with the narrative context: Safari at The Park emphasizes situational and natural elements, whereas The King in The Ring highlights competition and emotional reactions. This study confirms that Peirce’s triadic model effectively explains how meaning is constructed in animation through dynamic visual communication.
Co-Authors Jessica Hotnida Nainggolan Meisuri Meisuri Melyana Pinem Nadia Kumari Nayla Azahra Ria Valentine Angela Manalu Syamsul Bahri