Starting from a semiotic approach, this essay will explore how cinematic signs and codes convey meaning to the film Legally Blonde. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Semiotics is the study of signs and behavior in the use of signs. It was defined by one of its founders, Ferdinand de Saussure, as the study of the "life of signs within society". Although the word was used in this sense in the 17th century by the philosopher John Locke, it is only between the end of the 19th and the beginning of the 20th century, with the work of the philosopher Charles Sanders Peirce and Saussure that the word was 'created' idea of ​​semiotics as a method of examining singularities in different films of our world. For example, when we are driving or walking and come across the different colors of a traffic light, we respond immediately, almost without even thinking about it. This happens because the traffic light is a signal consolidated over time and from an early age we have been taught how to react to it and it requires a great deal of unconscious cultural knowledge to also understand its meaning. Our thoughts and actions are not random and this is due to a methodical and planned set of cultural messages and conventions that depend on our ability to understand them instinctively and immediately. Semiotics is a tool that ensures that supposed meanings are clearly understood by people. As time passed, Semiotics also grew and to summarize its evolution here is a brief summary of the evolution of semiotics: the study of the meaning of words (linguistics). Subsequently he moved on to the study of the behavior of society (anthropology and psychology), after that it became a path towards sociology and philosophy which is the study of culture and society, later he moved on to the analysis of artistic products such as films or literature and more recently it has become a practice for researching and analyzing consumer behavior. Thus we arrive at cinematic semiotics. The film communicates meaning denotatively and connotatively. What viewers see and hear is denotative, it is what it is and they don't need to make an effort to remember it. Meanwhile, these sounds and images are conative, and the way the scene is shot is intended to bring out specific emotions in the viewer. The implication commonly includes passionate hints, target translation, social qualities, and ideological suspicions. As indicated by Christian Metz, 'The study of connotation brings us closer to the notion of cinema as art (the “seventh art”).' Within the connotations, there are paradigmatic connotations, which would be a shot that is countered and its companions to be discovered in the worldview. A low-angle shot of a rose conveys the feeling that the flower is in some way overwhelming or overwhelming because we unintentionally contrast it with a high-angle shot of a rose that would diminish its meaning. The syntagmatic connotation would not contrast the rose shot with other potential shots, but would compare it with the actual shots that precede or follow it. The importance is linked to it since it is in contrast with the different shots that we actually observe. Metonomy alludes to a sign's ability to speak to something while simply being a part of it. An example of this is the Eiffel Tower, which is a metonomy of Paris. The film usually uses metonymies because they depend on the outside to discover the inside. Another innovative semiotic device for cinema is the use of analogies, which are characterized as an examination between two things that are random but share some regular characteristics. In the film, a couple of shots,.