Semiotics in "Keri": Unraveling the Emotional Language of Colors and Symbols

 Introduction:

Semiotics, the study of signs and symbols and their interpretation, plays a significant role in understanding the deeper meanings embedded in various forms of communication, including literature, cinema, and visual arts. The film "Keri" serves as an intriguing example of how semiotics is skillfully utilized to convey complex emotional narratives. Drawing inspiration from Roland Barthes' semiotic theories, this paper aims to analyze the film's use of colors and symbols to portray the intricate dynamics between characters, particularly the mother-daughter relationship, and how they are reconciled during the mango season.

Roland Barthes' Semiotics:

Roland Barthes, a prominent French theorist, developed a groundbreaking theory of semiotics. He argued that signs are used to communicate meanings, and these signs can be broken down into two components: the signifier (the physical form) and the signified (the concept or idea). Additionally, Barthes emphasized the importance of connotation and denotation in understanding signs' layers of meaning.

The symbolism of Mango Season (Keri):

The mango season in Gujarat symbolizes a time of sweetness, warmth, and sharing. It serves as a powerful backdrop for the emotional journey that the characters embark upon during this period. The mango, representing taste and color, metaphorically mirrors the transformation of the mother-daughter relationship from sour to sweet, from conflict (green) to resolution (yellow).

Colors as Semiotic Elements:

The film employs colors as potent semiotic elements to convey emotions, conflicts, and character dynamics. The extensive use of green, representing rawness and conflict, is associated with the strained relationship between Chitralekha and Revati. On the other hand, the introduction of yellow, symbolizing ripeness and resolution, coincides with the mending of their relationship. The colors reflect the characters' emotional states and serve as visual cues for the audience to interpret the narrative.

Character Dynamics through Colors:

Following Barthes' theory, the characters in "Keri" are associated with specific colors that convey their emotional stances. Chitralekha and Revati's clashing emotions are represented through contrasting green and yellow tones. Vivaan, embodying maturity and understanding, is depicted with subdued colors, reflecting his supportive role in bringing the family together. Animesh, symbolizing responsibility for the conflict, is portrayed with primary colors complementing Chitralekha's shades. Radhika's emotional neutrality is represented by a subdued complementary palette.

Static Shots as Symbols of Pause and Contemplation:

Barthes' concept of the "punctum," an element that punctuates an image and elicits an emotional response, can be related to the film's static shots. The absence of moving shots emphasizes the characters' contemplation and the emotional vacuum they experience. The stillness accentuates the pauses, allowing the audience to engage with the character's inner struggles and growth.

Conclusion:

"Keri" is a masterful display of semiotics, drawing inspiration from Roland Barthes' theories to weave an intensely emotional narrative. Using colors and symbols, particularly the mango season and its association with raw and ripe emotions, provides a rich and meaningful cinematic experience. The film's exploration of the mother-daughter relationship, reconciliation, and forgiveness is brought to life through the language of semiotics, inviting the audience to immerse themselves in the nuances of human emotions. Through this analysis, we can appreciate how "Keri" artfully communicates the beauty and complexity of the mother-daughter bond, ultimately leaving a lasting impression on the viewer's heart and mind.

Dr. Darshan Ashwin Trivedi

Filmmaker, Educator, Researcher

Writer-Director: Keri