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The Luxury Culture in Arab Film: Route 10 by Omar Naim (A Semiotic Analysis of Roland Barthes)

ELS Journal on Interdisciplinary Studies in Humanities · Vol. 8 No. 3 (2025) · pp. 993–1006

DOI
10.34050/els-jish.v8i3.47424
ISSN
2621-0835, 2621-0843
Published
2025-10-01
Publisher
Hasanuddin University
Language
en
License
creativecommons.org/licenses/by-sa/4.0

Abstract

This study examines the representation of luxury culture in Omar Naim’s film Route 10 using Roland Barthes’ semiotic approach. The research aims to reveal how luxury objects and fashion function not merely as literal signs but as symbols of social hierarchy, prestige, and cultural adaptation. Employing a qualitative descriptive method with content analysis, selected dialogues and scenes are analyzed to uncover denotative and connotative meanings embedded in both narrative and visual elements. The findings indicate that luxury is depicted through icons such as branded cars, high-heeled shoes, and premium bags, representing elite status and global prestige. Indexes, including personal assistants, palatial residences, and exclusive privileges, highlight social hierarchies and structural inequalities. Symbols, such as formal attire, wedding gowns, and the fusion of religious tradition with modernity, reflect both aspirational and contradictory aspects of elite culture, including elitism, hypocrisy, and social distinction. Overall, the film presents luxury as a phenomenon that functions both as a marker of prestige and a source of social tension, illustrating how material and symbolic representations of wealth influence perceptions of identity, status, and cultural values in contemporary Arab society.

Keywords

Collaboration network of the authors

8 authors · 11 co-authorship links

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  • Sunan Gunung Djati State Islamic University Bandung
  • Different organisations
  • Same organisation
  • Affiliation unknown
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Co-authorOrganisationJoint articles
Siti NurhalizaSunan Gunung Djati State Islamic University Bandung2
Siti KhofifahSunan Gunung Djati State Islamic University Bandung1
Maman Abdul DJalielSunan Gunung Djati State Islamic University Bandung1
Mohammad Rosyid RidhoSunan Gunung Djati State Islamic University Bandung1
Suci Veramitha AprianiSunan Gunung Djati State Islamic University Bandung1

Affiliations come from OpenAlex; journal OAI-PMH metadata carries none. Authors without an OpenAlex ID are matched by name, which can merge or split people.

Metadata source: OAI-PMH (metadata jurnal) https://journal.unhas.ac.id/index.php/jish/oai, first harvested 3 Nov 2026, last seen 8 Nov 2026.
Original metadata (oai_dc) 
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	<dc:title xml:lang="en">The Luxury Culture in Arab Film: Route 10 by Omar Naim (A Semiotic Analysis of Roland Barthes)</dc:title>
	<dc:creator xml:lang="en">Nur Afiffah, Syifa</dc:creator>
	<dc:creator xml:lang="en">Komarudin, Edi</dc:creator>
	<dc:creator xml:lang="en">Mardiansyah, Yadi</dc:creator>
	<dc:subject xml:lang="en">Luxury Culture</dc:subject>
	<dc:subject xml:lang="en">Semiotic Analysis</dc:subject>
	<dc:subject xml:lang="en">Social Hierarchy</dc:subject>
	<dc:subject xml:lang="en">Arab Film</dc:subject>
	<dc:subject xml:lang="en">Cultural Representation</dc:subject>
	<dc:description xml:lang="en">This study examines the representation of luxury culture in Omar Naim’s film Route 10 using Roland Barthes’ semiotic approach. The research aims to reveal how luxury objects and fashion function not merely as literal signs but as symbols of social hierarchy, prestige, and cultural adaptation. Employing a qualitative descriptive method with content analysis, selected dialogues and scenes are analyzed to uncover denotative and connotative meanings embedded in both narrative and visual elements. The findings indicate that luxury is depicted through icons such as branded cars, high-heeled shoes, and premium bags, representing elite status and global prestige. Indexes, including personal assistants, palatial residences, and exclusive privileges, highlight social hierarchies and structural inequalities. Symbols, such as formal attire, wedding gowns, and the fusion of religious tradition with modernity, reflect both aspirational and contradictory aspects of elite culture, including elitism, hypocrisy, and social distinction. Overall, the film presents luxury as a phenomenon that functions both as a marker of prestige and a source of social tension, illustrating how material and symbolic representations of wealth influence perceptions of identity, status, and cultural values in contemporary Arab society.</dc:description>
	<dc:publisher xml:lang="en">Hasanuddin University</dc:publisher>
	<dc:date>2025-10-01</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
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	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://journal.unhas.ac.id/index.php/jish/article/view/47424</dc:identifier>
	<dc:identifier>10.34050/els-jish.v8i3.47424</dc:identifier>
	<dc:source xml:lang="en">ELS Journal on Interdisciplinary Studies in Humanities; Vol. 8 No. 3 (2025): SEPTEMBER; 993-1006</dc:source>
	<dc:source>2621-0835</dc:source>
	<dc:source>2621-0843</dc:source>
	<dc:source>10.34050/els-jish.v8i3</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://journal.unhas.ac.id/index.php/jish/article/view/47424/13428</dc:relation>
	<dc:rights xml:lang="en">Copyright (c) 2025 Syifa Nur Afiffah, Edi Komarudin, Yadi Mardiansyah</dc:rights>
	<dc:rights xml:lang="en">https://creativecommons.org/licenses/by-sa/4.0</dc:rights>
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