The representation of emotions through modes of signs and visual grammar: A case study in Ariana Grande’s “we can’t be friends” music video
Keywords:
Meanings, Modes of sign, Music video, SemioticsAbstract
This study analyzes the modes of signs in the music video “We Can’t Be Friends” by Ariana Grande using Daniel Chandler’s theory (2007). This study aims to explain how modes of signs function to construct meaning and convey emotional depth within the music video, as well as to demonstrate how semiotic theory can help audiences understand messages related to personal struggles, anxiety, loneliness, and mental health issues. The data source of this research is the music video itself, while the data consist of visual elements such as images, settings, gestures, facial expressions, and objects found in the scenes. A qualitative descriptive method is applied by recording and repeatedly watching the video, capturing scenes that contain sign elements, and classifying each sign according to its mode. The analysis is supported by the theory of visual grammar proposed by Kress and van Leeuwen (2006), which examines representational, interactive, and compositional meanings to explain how visual elements construct meaning. The modes of sign found are iconic mode, indexical mode, and symbolic mode. Through these three modes, visual elements in the music video function as signs that help viewers interpret emotional experiences and narrative development. These signs show a direct cause-and-effect relationship and serve as evidence of emotional reactions, physical conditions, and ongoing processes within the narrative. Regarding the second research problem about the types of meanings associated with each mode of sign, the analysis shows that there are three types of meaning found, namely representational meaning, interactive meaning, and compositional meaning.
Downloads
References
Antari, N. N. P., Rajistha, I. G. N. A., & Warmadewi, A. . I. M. (2023). The Sign Found in The Movie “Mr Harrigan’s Phone.” PRAGMATICA : Journal of Linguistics and Literature, 1(1), 18–29. https://doi.org/10.60153/pragmatica.v1i1.15
Arinata, I. M. T., Pratiwi, D. P. E., & Sulatra, I. K. (2022). An Analysis of Verbal and Non-Verbal Signs in Rexona Clinical Protections Advertisement. Austronesian: Journal of Language Science & Literature, 1(2), 47–55. https://doi.org/10.59011/austronesian.1.2.2022.47-55
Br. Perangin-angin, A., Syahputra, F. P., Andayani, W., & Jalil, Z. A. (2023). Semiotic Analysis of Overthinking in Music Vidio Takut by Idgitaf. International Journal of Cultural and Art Studies, 7(1), 01–08. https://doi.org/10.32734/ijcas.v7i1.11276
Casmita, P., Pratiwi, D. P. E., & Tustiawati, I. A. M. (2024). Verbal and Non-verbal Signs of Starbucks Advertisements. Austronesian: Journal of Language Science & Literature, 3(3), 149–156. https://doi.org/10.59011/austronesian.3.3.2024.149-156
Chandler, D. (2007). Semiotics: The Basics. Routledge. https://doi.org/10.4324/9780203014936
Gapur, A., Baiquni, R., & Pujiono, M. (2018). Tunda-Tunda Bamban Dalam Kebudayaan Masyarakat Melayu Tamiang di Aceh (Analisis Wacana Teks, Koteks, dan Konteks). ETNOSIA : Jurnal Etnografi Indonesia, 3(2), 141. https://doi.org/10.31947/etnosia.v3i2.3617
Grande, A. (2024). Ariana Grande - we can’t be friends (wait for your love) (official music video). Youtube. https://www.youtube.com/watch?reload=9&v=KNtJGQkC-WI
Irmayanti, N. P. E., Widiadnya, I. G. A. V., & Suastini, N. W. (2023). Analysis of semiotics on “Part of Me” Music Video by Katy Perry. Journal of Humanities, Social Science, Public Administration and Management, 3(3), 20–29.
Kartiawan, I. K., Pratiwi, D. P. E., & Juniartha, I. W. (2022). DISCOVERING THE IMPLIED MEANING OF SIGNS USED IN TOOTHPASTE ADVERTISEMENT VIDEOS. KULTURISTIK: Jurnal Bahasa Dan Budaya, 6(2), 106–111. https://doi.org/10.22225/kulturistik.6.2.3827
Kress, G., & Leeuwen, T. van. (2005). Reading images: The grammar of visual design. Routledge.
Kurniawan, I. M. A. S., Kasni, N. W., & Claria, D. A. K. (2022). Sign Found in Movie the Hitman’s Bodyguard. KnE Social Sciences, 297–302. https://doi.org/10.18502/kss.v7i10.11298
Latifah, A., Dewanto, D., & Astutik, A. (2023). A SEMIOTIC ANALYSIS OF VISUAL SIGNS AND MEANINGS ON PRINCE ALI SOUNDTRACK MUSIC VIDEO FROM ALADDIN MOVIE 2019. EL2J (English Language and Literature Journal), 2(1), 1–11. https://doi.org/10.38156/el2j.v2i1.14
Loi, A., Gusti Agung Dalem Karisma Purwaningrat, I., Nyoman Kardana, I., & Wayan Kasni, N. (2022). Sign Found In The Movie Spiderman : Far From Home. KnE Social Sciences, 442–456. https://doi.org/10.18502/kss.v7i10.11312
Pratama, P. E. Y. A., & Budiartha, P. G. (2025). Interpretation of Verbal and Visual Signs in the Converse Shoes Printed Advertisement. ELYSIAN JOURNAL : English Literature, Linguistics and Translation Studies, 5(1), 70–84. https://doi.org/10.36733/elysian.v5i1.10150
Qurratuain, H. (2018). SEMIOTIC ANALYSIS ON TWENTY ONE PILOTS’ MUSIC VIDEO “HEAVYDIRTYSOUL” [Universitas Brawijaya]. https://repository.ub.ac.id/id/eprint/166527/1/HAYYUNDI QURRATUAIN.pdf
Suwitri, N. L. N., Santika, I. D. A. D. M., & Pratiwi, D. P. E. (2021). An analysis of semiotic found in the selected skincare advertisement. Journal of Language and Applied Linguistics, 2(2), 217–227. https://doi.org/10.22334/traverse.v2i2.48
Yola, N. N. K., & Subagia, I. K. (2025). Sign Found in Movie A Quiet Place Part 2. Journal of English Language Literary Studies, 1(1), 58–71.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Gloria Valerie Moananohas, Rajistha I Gusti Ngurah Adi, Claria Dewa Ayu Kadek (Author)
This work is licensed under a Creative Commons Attribution 4.0 International License.
- Authors agree to publish their work under the Creative Commons Attribution 4.0 International (CC BY 4.0) license.
- Authors retain copyright to their work and may reuse or distribute it.
- HUMANIOLA reserves the right to request revisions and make final publication decisions.
- Authors are responsible for ensuring that their work does not infringe upon third-party copyrights.
- Archiving in digital repositories may be done for long-term access and preservation.
