Semiotic Analysis of Austin Powers

1. Introduction

The objective of this project is to scrutinize the film Austin Powers: The Spy Who Shagged Me through the lens of semiotics. Our group has chosen to approach our analysis through the extraction of narrative models, metonyms, metaphors, the use and also subversion of stereotypes and intertextuality. The film uses these devices to both inject humour and to subvert the notions that society has brought us up to believe in.

The methodology employed is the viewing and analysis of the film while secondary data sources include academic papers and Internet articles. Selected scenes and examples are discussed due to word constraint.

2. Synopsis

The story begins with Austin Powers frolicking in bed with his wife Vanessa. He then finds out that she is actually a fembot trying to assassinate him. After her self-destruction, he is pleased that he can continue with the carefree life of a swinging bachelor.

Meanwhile, Powers' nemesis, Dr Evil, is planning to get back at him. He has built a time machine which will take him back in time to 1969, when Powers was still frozen in the Cryo Chamber. He employs Fat Bastard to infiltrate the Ministry of Defence and steal Powers' mojo. Without his mojo, Powers would be rendered impotent and no longer powerful enough to thwart Dr Evil's plan to dominate the world. Apart from Fat Bastard, Dr Evil also has a new sidekick - Mini Me, who is his exact replica but one-eighth his size.

Upon realizing what Dr Evil has done, Powers is sent back in time by his superior to deal with the crisis. Other than recovering his mojo, his main task is to stop Dr Evil from destroying Earth with a laser-emitting weapon which he placed on the Moon. In the final battle in Dr Evil's headquarters, with the help of CIA agent Felicity Shagwell, Powers succeeds in foiling the evil plan and forces Dr Evil to escape with Mini Me. The film ends with Powers bringing Shagwell back to 1999, into his bed.

3. Analysis

3.1 Narrative Models

Todorov's Narrative Theory

Five generic stages are suggested in this theory: (1) equilibrium, (2) disequilibrium, (3) recognition of the disruption, (4) an attempt to repair and finally (5) a restoration of (new) equilibrium. When put in context, the start of the film presents itself as a state of equilibrium in which Powers is in pleasure with Vanessa. The start of the disequilibrium is implied by Powers' realization that Vanessa is actually a fembot. The actual disruption that leads to the development of the story is that Dr Evil is back to conquer the world and he has to first steal Austin's mojo in order to achieve this. At the same time in the "present", Powers, who is thrilled in bed, suddenly realizes that he has lost his libido. His expression of dismay and worry reflects the recognition that disequilibrium has set in. In his attempt to repair, a distressed Powers travels back in time to retrieve his mojo and deal with Dr Evil. The story ends with Powers successfully eliminating his arch enemy from the face of Earth (at least for the time being). A new equilibrium is restored and he realises that what he has been looking for all along is not his lost mojo but love.

Propp's Folktale Model

There are six archetypal characters found common in Propp's study of folktales. Applying his model to the modern narrative in this film, we can identify all six elements. The subject is our hero Austin Powers who wants to seek his stolen mojo, identified as the object. Many a time, the donor of the object is also the seeker or subject. This film is of no exception. The receiver of the stolen mojo is Dr Evil, who is also the villain, and he indeed enjoyed having this "force of life". Powers is lucky enough to have a helper: the CIA agent, Felicity Shagwell. The quest for the object has brought them together but Felicity is the helper in more than one way. Her attractiveness becomes the best impetus for Powers to restore his mojo.

Barthes' Narrative Codes

He suggests five codes which narratives operate by in his book S/Z, cited in James Watson (1998). Barthes contends that all stories contain these five elements and each line in a narrative makes use of one or more of these codes: action code, semantic code, enigma code, referential code and symbolic code. They interact with each other and create meaningful associations so that each can better assert itself through others.

(1) Action code: This portrays the occurrence of events in a narrative and essentially helps to develop the story. The loss of Austin's mojo and Dr. Evil's plans to take over the world compel Austin to go on a quest which otherwise would have been unnecessary.

(2) Semantic code: Also known as the character code, it works by revealing features about a person which help develop the story. We see the vain side of Austin unfold gradually throughout the movie, and it is this vanity that pushes him on to accomplish his assigned task in order to recover his mojo as well.

(3) Enigma code: As Watson suggests, this "involves the setting up of mystery, its development and finally its resolution." One enigma in the story is the site of Dr Evil's base. To uncover that, Felicity has to seduce Fat Bastard so as to plant a homing device on him. Laboratory examination of his stool sample found together with the device revealed traces of a plant which grows exclusively in one place, hence leading them to Dr Evil's island base.

(4) Referential code: Cultural codes are ubiquitous in the show. Be it in 1999 or 1969, Austin Powers is always clad in frilly-laced costumes or eight-buttoned shirts that were the height of fashion of performers or swingers in the 1960s. His time-travel machine is a Volkswagen Beetle, the de rigueur mode of transport in that era. In between scenes, audiences are constantly reminded of his groovy personality with clips of him cavorting, rocking and swinging against a flamboyant-flower backdrop (What people would call the "Flower Power" of the Sixties).

(5) Symbolic code: This works at the connotative level. The most outstanding of all is the mojo. Such a word is not existent and exclusive to the films of Austin Powers. The term 'mojo' connotes a man's libido, manhood and sexual prowess. This is complemented by Powers' bunch of chest hair, shaped like a heart. He is portrayed as a lady-killer and women love him because he is sexy even at first glance.