Christina Ricci and Semiology: Two Great Tastes That Go Great Together

Just as it is necessary to have a system of language in order to make sounds and utterances meaningful, so do we have an established system of entertainment which makes celebrities meaningful. Jonathan Culler explains that Structuralism is based on “the realization that if human actions or productions have a meaning there must be an underlying system of distinctions and conventions which makes this meaning possible” (56). Indeed, it would be impossible to recognize the significance of Paris Hilton washing a car with a hamburger in her hand or Britney Spears shaving her head if there was not a system of associations and differences which spell out for us how things are supposed to be in our culture, particularly within the realm of media and entertainment. As Culler notes, “the rules of English enable sequences of sound to have meaning” (56), just as the rules of American pop culture enable the celebrities within it to have meaning. This is certainly the case with the former child—and now identifiably adult—actress, Christina Ricci. Ms. Ricci is one of the few actresses who, although her name represents only one sound image, one signifier, is able to signify two very different cultural concepts; she is both the mysterious, delicate, but often threatening young girl and the seductive, damaged, often severely abused and troubled young woman.

Ferdinand de Saussure begins his semiologic analysis of linguistics by asserting that “language is a system of signs that express ideas” and that this system serves as more than just a “naming-process” (60). The same applies to the signs within the system of media and entertainment, as evidenced by Ricci. On the surface, it is easy to declare that Ricci signifies ‘young actress’ with ‘odd tastes.’ If we stop there, that would be a case of mere naming. However, it is more beneficial and certainly more productive to look at this sign within the context of the system from whence she originated, and in order to do so, it is important to look at other signs and how they are similar to and different from her. As a child actress, Ricci already differentiated herself from other signs in that her name evoked a sense of discomfort and concern. Her child roles typically involved her being empowered (particularly in the two Addams Family films). As an adult, she differentiates herself from other signs in that the utterance of her name signifies weakened, disempowered sex object or victim. As a child she was mostly empowered, as an adult, not so much. Hence, the child Ricci, when compared to a sign like her such as Drew Barrymore, signifies a much different concept. Whereas Drew represents the adorable innocence our culture associates with children, Ricci represents the dark side of childhood that our society often ignores. Similarly, whereas the adult Drew represents a mature and healthy young woman who has overcome terrible obstacles, Ricci signifies ongoing trouble and victimization and, more importantly, a lack of interest in conforming, changing, or ‘healing.’

By comparing the significations of Ricci and Drew as both child and adult stars, and then by looking at how these stereotypes are manifested elsewhere, we are able to recognize greater societal value systems. Saussure explains that “the respective value of the pieces depends on their position on the chessboard just as each linguistic term derives its value from its opposition to all the other terms” (64). In the same vein, the sign “Christina Ricci” derives its value from its difference from the sign “Drew Barrymore,” and other signs as well. Each sign represents a different side of our culture, and this would not be apparent without the two signs being placed next to each other. Based on the concept of Ricci as “sex kitten,” we see the cultural value of not just feminine sexual appeal, but the weakened female object. Conversely, based on the concept of Drew as “sweet, woman-child,” we see the cultural value of pure, delicate, and almost motherly woman. It is the repeated juxtaposition of these two cultural mythologies, which in fact are more like contradictions, that enables us to better understand our culture and the signs we perceive on a daily basis.

---Culler, Jonathan. "The Linguistic Foundation."

Rivkin, Julie and Michael Ryan, Eds. Literary Theory: An Anthology. 2nd ed.Malden: Blackwell, 2004.

---Saussure, Ferdinand de. "Course in General Linguistics."