Multimodal Semiotic Analysis of Coldplay’s Viva La Vida: Lyrical, Visual, And Intertextual Meaning
DOI:
https://doi.org/10.37640/jip.v17i1.2384Keywords:
Language learning, mmultimodal discourse, semiotics, intertextuality, song lyricAbstract
This study analyzes Viva La Vida by Coldplay to explore the deeper meaning behind its lyrics and music video.The song tells the story of a fallen king and expresses themes like power, loss, regret, and hope. As a multimodal text, it combines music, words, and visuals to deliver its message. Using a qualitative method, the researcher closely examined the lyrics and visuals.The analysis is based on three main theories: Barthes’ semiotics, Kristeva’s intertextuality and Kress & van Leeuwen’s multimodality. Barthes’ theory helps explain how words like “crown” and “puppet” carry not just literal meaning, but also feelings and cultural ideas. Kristeva’s intertextuality shows how the song connects with older stories from history, the Bible, and literature, such as the French Revolution and Shakespeare. These references give the song deeper emotional value.The music video supports the story through strong visual symbols like a dying rose, broken television, and gestures of surrender. According to Kress and van Leeuwen, these elements add to the overall meaning. In the end, Viva La Vida gives a clear message: power does not last forever, but people can learn and reflect.The song is also useful for learning English grammar, vocabulary, and critical thinking
Downloads
References
Al-Smadi, M. H. (2020). The effect of using songs on young English learners’ motivation in Jordan. International Journal of Emerging Technologies in Learning (iJET), 15(24), 52. https://doi.org/10.3991/ijet.v15i24.19311
Arif, M., & Triyono, S. (2018). What lies beneath Baby Shark song? A critical analysis on Korean society. PAROLE: Journal of Linguistics and Education, 7(1), 44–52. https://doi.org/10.14710/parole.v7i1.17047
Barthes, R. (1957). Mythologies. Éditions du Seuil.
Barthes, R. (1977). Image, music, text (S. Heath, Trans.). Fontana Press.
Chandler, D. (2017). Semiotics: The basics (3rd ed.). Routledge.
Eco, U. (1976). A theory of semiotics. Indiana University Press.
Fiske, J. (1987). Television culture. Routledge.
Forte, D. L. (2023). Music and discourse: A systemic-functional approach for music analysis in multimodal contexts. Multimodality & Society. https://doi.org/10.1177/26349795231153963
Foucault, M. (1980). Power/knowledge: Selected interviews and other writings, 1972–1977 (C. Gordon, Ed.). Pantheon.
Genette, G. (1997). Palimpsests: Literature in the second degree (C. Newman & C. Doubinsky, Trans.). University of Nebraska Press. (Original work published 1982)
Greimas, A. J. (1983). Structural semantics: An attempt at a method. University of Nebraska Press.
Harahap, I. F., & Kembaren, F. R. W. (2023). Learning English vocabulary for young learners through song, move and video methods. Cetta: Jurnal Ilmu Pendidikan, 6(3), 647–655.
Hontarenko, I., & Osmachko, S. (2024). Harmonizing language learning: Exploring the role of music and songs in cultivating motivation and interest among young school students in China and Ukraine. [Working paper]. http://repository.hneu.edu.ua/handle/123456789/33923
Husain, S., Jusoh, Z., Mustapha, N. F., Jalis, F. M. M., & Sim, N. B. (2021). Student motivation to learn foreign languages through song in Malaysia. International Journal of Academic Research in Business and Social Sciences, 11(12), 1831–1840.
Kristeva, J. (1980). Desire in language: A semiotic approach to literature and art (T. Gora, A. Jardine, & L. Roudiez, Trans.). Columbia University Press.
Kress, G., & van Leeuwen, T. (1996). Reading images: The grammar of visual design. Routledge.
Kress, G., & van Leeuwen, T. (2006). Multimodal discourse: The modes and media of contemporary communication. Arnold.
Kumar, T., Akhter, S., Yunus, M. M., & Shamsy, A. (2022). Use of music and songs as pedagogical tools in teaching English as foreign language contexts. Education Research International, 2022, 1–9. https://doi.org/10.1155/2022/3384067
Lotman, Y. M. (1990). Universe of the mind: A semiotic theory of culture (A. Shukman, Trans.). I.B. Tauris.
Monson, O., Donaghue, N., & Gill, R. (2016). Working hard on the outside: A multimodal critical discourse analysis of The Biggest Loser Australia. Social Semiotics, 26(5), 524–540. https://doi.org/10.1080/10350330.2015.1134821
Motschenbacher, H. (2016). A corpus linguistic study of the situatedness of English pop song lyrics. Corpora, 11(1), 1–28. https://doi.org/10.3366/cor.2016.0083
Pratama, I. D., Purnomo, S. F. L. A., Rohmatika, A., & Hutami, N. (2024). Cover it up! Visual euphemisation strategies for transforming non-religious songs into Islamic songs in music videos. Studies in English Language and Education, 11(2), 1046–1066.
Pudjiati, D., & Zuriyati. (2022). Students’ perception of cultural values in “Travel” poem through YouTube. International Journal of Language Education and Culture Review (IJLECR), 8(1), 41–50. https://doi.org/10.21009/IJLECR.081.06
Putri, I. T., & Triyono, S. (2018). “We Shall Overcome” a humanity song by Roger Waters: Critical discourse analysis. Jurnal Humaniora, 30(2), 119. https://doi.org/10.22146/jh.32775
Rantung, K. C. Y., Widiasmoro, Y. M. S., & Dewi, N. (2023). Enhancement of ecoliteracy for language learners using song lyrics. LLT Journal: A Journal on Language and Language Teaching, 26(1), 31–40. https://doi.org/10.24071/llt.v26i1.5437
Saussure, F. de. (1916). Course in general linguistics (W. Baskin, Trans.). Philosophical Library.
Way, L., & McKerrell, S. (2021). Music as multimodal discourse: Semiotics, power, and identity in popular culture. Bloomsbury Academic
YouTube. (n.d.). Coldplay – Viva La Vida (Official Video). Retrieved from https://www.youtube.com/watch?v=dvgZkm1xWPE
Downloads
Published
Issue
Section
License
Copyright (c) 2025 Danti Pudjiati, Venti Mawarni, Bariki Urassa, Haris Hamdani
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution-ShareAlike 4.0 International License
