A Semiotic Analysis of The Bodyguard

             When watching The Bodyguard I realized that the film was made in the early 90s and I observed overt text that already has been uninhabitable. But considering the nature and length of this paper I will focus more on tacit and ideologically loaded text or text that has naturalized representations of prejudicial presumptions threaded through them that bas been excepted as "unquestioned assumptions" (Hall 20).
             Specifically, through semiology, I will look at the film The Bodyguard through the critical lens of exoticism and analyze the structures of meaning and origin of the text (Van Zoonen 74). Exoticism embodies the sense of romanticized "otherness" or being foreign (Van Zoonen 82). It is often associated with images and ideologies of primitive, earthly, natural, savage and sexuality (Van Zoonen 84), Defined by bell hooks, exoticism is first and foremost marked by racial difference and closely connected to colonization. Black females are stereotypically portrayed as untrustworthy, "oversexed, sexual initiators and woman of experience" in The Bodyguard (hooks 56). Historically, the image of the exotic, especially the black female, "provided a wonderful occasion to fantasize about all that was forbidden..."(Van Zoonen 84).
             Furthermore, in the film The Bodyguard exoticism is represented through the sexual relationship of Rachel and Frank. The film language, with signs and signifiers, represents Rachel as an exotic sexual trophy of conquest and that the relation ship she has with the white character Frank Farmer will never work out. To illustrate this I will select two scenes from the motion picture The Bodyguard and take a semiotic analysis of the content and bring to light the tacit ideological structures.
             The first scene takes place at Frank's house, where Rachel and he ended up after a date that she asked him out on. As they are talking Rachel takes a samurai sword off of ...

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