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Roland Barthes: Mythologies 119

Table 6.3 Primary and secondary signification.

Primary signification 1. Signifier 2. Signified
Denotation 3. Sign
Secondary signification I. SIGNIFIER II. SIGNIFIED
Connotation III. SIGN

He claims that it is at the level of secondary signification or connotation that myth
is produced for consumption. By myth he means ideology understood as a body of
ideas and practices, which by actively promoting the values and interests of dominant
groups in society, defend the prevailing structures of power. To understand this aspect
of his argument, we need to understand the polysemic nature of signs, that is, that they
have the potential to signify multiple meanings. An example might make the point
clearer. I discussed in Chapter 1 how the Conservative Party presented a party political
broadcast that concluded with the word ‘socialism’ being transposed into red prison
bars. This was undoubtedly an attempt to fix the secondary signification or connota-
tions of the word ‘socialism’ to mean restrictive, imprisoning, against freedom. Barthes
would see this as an example of the fixing of new connotations in the production of
myth – the production of ideology. He argues that all forms of signification can be
shown to operate in this way. His most famous example of the workings of secondary
signification (see Photo 6.1) is taken from the cover of the French magazine Paris Match
(1955). He begins his analysis by establishing that the primary level of signification
consists of a signifier: patches of colour and figuration. This produces the signified:
‘a black soldier saluting the French flag’. Together they form the primary sign. The pri-
mary sign then becomes the signifier ‘black soldier saluting the French flag’, producing,
at the level of secondary signification, the signified ‘French imperiality’. Here is his
account of his encounter with the cover of the magazine:

I am at the barber’s, and a copy of Paris Match is offered to me. On the cover, a
young Negro in a French uniform is saluting, with his eyes uplifted, probably fixed
on the fold of the tricolour. All this is the meaning of the picture. But, whether
naively or not, I see very well what it signifies to me: that France is a great Empire,
that all her sons, without colour discrimination, faithfully serve under her flag, and
that there is no better answer to the detractors of an alleged colonialism than the
zeal shown by this Negro in serving his so called oppressors. I am therefore faced
with a greater semiological system: there is a signifier, itself already formed with
a previous system (a black soldier is giving the French salute); there is a signified
(it is a purposeful mixture of Frenchness and militariness); finally there is a pres-
ence of the signified through the signifier (2009: 265).

At the first level: black soldier saluting the French flag. At the second level: a positive
image of French imperialism. The cover illustration is therefore seen to represent Paris