Semiotic Elements of Barthes Model on Wall’s Ice Cream Advertisement

International Journal of English Linguistics, Literature, and Education (IJELLE) Vol. 6, No. 2, December 2024, pp. 181-197 ISSN 2686-0120 (print), 2686-5106 (online) 181 http://journal.univetbantara.ac.id/index.php/ijelle/index SEMIOTIC ELEMENTS OF BARTHES MODEL ON WALL’S ICE CREAM ADVERTISEMENT Farhatunisa Aulia Sultan Halim a,1,*, Andang Saehu b,2, Myrna Nur Sakinah b,3 a,b,c Faculty of Adab and Humanities, State Islamic University of Sunan Gunung Djati, Bandung, Indonesia *; 2 ; 3 * Corresponding Author 1 Received 8 December 2024; accepted 31 December 2024; published 31 December 2024 ABSTRACT Wall’s ice cream advertisements contain various semiotic elements that can be analyzed linguistically and visually. Despite the extensive use of semiotics in advertising, limited research focuses on the application of Barthes’ semiotic model in food product advertisements. This study aims to identify and analyze the verbal and non-verbal semiotic elements found in Wall’s ice cream advertisements using Roland Barthes’ framework, which classifies semiotic elements into denotation, connotation, and myth. A descriptive qualitative method is employed, using 4 data sourced from advertisements on digital platforms such as Instagram and Pinterest. The analysis follows Barthes’ Order of Signification to examine how verbal and non-verbal signs construct layered meanings. The results show that the advertisements contain all levels of Barthesian semiotics, there are 12 signs of Signifier, 7 signs of Signified, 10 signs of Denotative, 7 signs of Connotative Signifier, 7 sign of Connotative Signified, 1 sign of Connotative sign. Signifier and Connotative Signifier elements dominating. Meanwhile, there is only one Connotative sign. These findings provide insights into how Wall’s advertisements evoke emotions and cultural narratives, offering valuable guidance for future research on semiotics in advertisements. KEYWORDS Advertisement Barthes model Ice cream Semiotics Wall’s This is an openaccess article under the CC–BY-SA license 1. Introduction Advertising has become an essential medium of modern communication, providing as a link between companies and their target consumers. Advertisements allow businesses to effectively and attractively convey their identity as brands, values, and product features. As defined by Kotler and Keller (2016), advertising is a strategic weapon that properly involves people by means of aesthetics, emotions, and reasoning. Seeking to evoke emotions and create more significant relationships with consumers, such a combination produces lasting brand experiences that beyond basic product information (Kotler and Keller 2016). Advertising functions as both a promotional tool and an art form, capable of conveying meaning and combining emotions (Rigby and Lee 2024). Ice cream frequently takes prominence in promotional advertising (Winata 2015). Ice cream is a centuries-old culinary product that has evolved in flavour, shape, and social importance. Ice cream has been present for thousands of years, with early evidence dating back to ancient China roughly 2000 years ago, when royal households enjoyed a basic delicacy composed of ice and milk. Ice cream was first introduced in Europe in the 17th century and then expanded around the world as the food business and refrigeration technology advanced (Weiss 2011). By considering ice cream-specific advertising, the emphasis moves to ideas of luxury, happiness, and moments of nostalgia. To appeal to their consumers, ice cream companies may employ visually appealing images and emotional story line. Studies on sensory products like ice cream have found that advertisement promoting taste, texture, and the pleasure connected with their consumption doi :10.32585/ijelle.v6i2.6024 182 International Journal of English Linguistics, Literature, and Education (IJELLE) ISSN 2686-0120 (print), 2686-5106 (online) Vol. 6., No. 2, December 2024, pp. 181-197 enhance consumers (Shukla 2023). Food and beverage advertisements often highlight the sensory experience and pleasant feelings consumers may get from the product by combining visual and verbal elements (Curran 2021). One of the ice cream brands with visual and verbal aspects meant to grab consumers' attention is Wall's (Boggy 2023). Wall’s, a prominent ice cream brand, utilises advertising strategies that emphasise emotional messaging and consumption experiences. Wall's advertisements frequently highlight themes of happiness by depicting families, children, or leisurely moments, thereby associating their product with everyday joyful experiences (Naibaho., S Sinaga., Juaniva. 2020). The use of emotional elements in advertising has the potential to improve brand memory and increase customer intent to purchase (Bhargavi 2024). Wall's advertisements are pertinent for analysis through a semiotic lens. In the case of ice cream, advertising not only showcase the product but also attempt to create an emotional experience that connects with consumers. Based on studies, food and beverage advertising frequently emphasise sensory sensations and pleasant feelings through the use of visual and verbal elements (Singh 2023). Wall's, a well-known ice cream commercial, uses advertising methods that emphasise enjoyment and connection in its narratives. This provides an engaging creating for analysing how semiotic elements in these advertising interact intimately to convey effective messages. Semiotics is the examination of signs and the systems of meaning produced by many modes of communication, encompassing both verbal and non-verbal forms. In semiotics, a sign is a fundamental element that represents something else, enabling the comprehension or attribution of meaning to certain objects, occurrences, or concepts. Ferdinand de Saussure, a linguist recognised as a pioneer in contemporary semiotic theory, characterised a sign as a combination of "signifier" and "signified," with the signifier referring to a material form or symbol that is apparent, and the signified relating to the concept or meaning it conveys (Saussure 1983). Semiotic elements, encompassing both verbal and non-verbal elements, significantly influence the construction of meaning in advertisements. These elements encompass images, colours, text, sounds, and symbols that together construct a specific narrative or message. Verbal signs consist of linguistic components, including words, sentences, or phrases, employed to communicate explicit meaning within a message. In communication, verbal signs are typically explicit, conveying information that is readily comprehensible to the audience. Barthes demonstrates that verbal signs frequently offer "anchorage" or clarifications for visual components, aiding the audience in grasping the primary meaning of the message. Non-verbal signs include visual elements such as images, colours, facial expressions, body movements, and various symbols. These signs function implicitly, frequently creat (...truncated)