A Barthesian Semiotic Analysis of Elphaba's Mythological Construction in the Movie "Wicked"

Abstract

This study aims to identify the semiotic signs used to construct the myth of Elphaba as the Wicked Witch in the film Wicked and to explain how this mythical construction functions within the film’s social context. Employing a descriptive qualitative method, the study applies Roland Barthes’ semiotic theory of denotation, connotation, and myth. Data were collected from selected scenes representing Elphaba’s character and analyzed through repeated viewing and transcription. The analysis reveals 15 semiotic signs, classified into six categories: physiological signs (e.g., green skin), visual signs (e.g., all‑black clothing), artifactual signs (e.g., black pointed hat, flying broom), behavioral signs (e.g., strange dance, uncontrollable magic), linguistic signs (e.g., “Oz Dies” message), and atmospheric signs (e.g., father’s death). The dominance of negative connotations—such as green skin being associated with strangeness and danger—indicates that the film leverages social prejudice to shape public perception. Mythologically, these signs are used by ruling figures (the Wizard and Madame Morrible) to label Elphaba as evil, diverting attention from their own corruption. The findings suggest that Wicked constructs the myth of Elphaba not only for narrative engagement but also to critique how society judges individuals based on appearance and conformity, offering a deeper reflection on morality, identity, and the social construction of wickedness