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This article looks at the  semiotics of speech in a Hollywood lm. Sound — and especially speech — plays a  crucial role in the cinematic experience, but a minimal role in lm theory and  criticism. Filmic speech generally drives plot and characterization, while  visual techniques are developed to construct and comment upon a lm’s thematic  statements. An interpretive analysis of the 1999 lm  Snow  Falling on Cedars  however,  demonstrates that director Scott Hicks reverses this common relationship between  the visual and the aural, deploying speech to construct and comment upon the  lm’s main theme of memory.

On the relation between sound and meaning in Hicks’ Snow Falling on Cedars