In his essay Rhetoric of the Image Roland Barthes states that only images from advertisements will be studied, “because in advertising the signification of the image is undoubtedly intentional.” Images from advertisements present an interesting study because all of the image's subtle language has not only been placed there on purpose, but has been put there with mathematical precision designed specifically to elicit reaction from potential consumers. This is an aspect of advertising which everybody is aware of on some level but which people do not necessarily consider to the degree that it actually exists. Literally every single part of an advertisement is designed to further the thought the ad is trying to instil. In visual ads such as the printed one for The Sopranos, the denotative and connotative codes are inextricably linked. “The linguistic message can be readily separated from the other two, but since the latter share the same (iconic) substance, to what extent have we the right to separate them? It is certain that the distinction between the two iconic messages is not made spontaneously in ordinary reading: the viewer of the image receives at one and the same time the perceptual message and the cultural message” (36). This is especially true of ads for entertainment which exists within a visual medium such as television. It is sometimes true that icons of pop culture become so ingrained in society's collective conscious that they become signs for themselves; in this particular ad Tony Soprano is a sign for Tony Soprano.

Upon closer examination one can dissect the image into the various messages it puts across. The ad's denotative code consists of the image of Tony Soprano, a suit wearing male pattern baldness sufferer, looking both contemplative and suspect while the Statue of Liberty and the sun's reflection on the Hudson are visible over his left shoulder. Some geese can be seen just over his right. In terms of connotative code the expression on Mr. Soprano's face implies shady dealings and a cold, calculating nature. His suit implies power, success: this character's aforementioned shady dealings have been prosperous. The statue and the geese speak of immigration, the cultural melting pot of New York City, as well as opportunity and of a slightly warped interpretation of the 'American Dream.' The monochromatic color scheme implies drama, as well as the contrast between good and evil. It is unclear which side Tony chooses but his eyes are looking away from the source of light in the image. The cloudy skies show the beginnings of a storm and appear to reflect whatever Tony is brooding on in a full blown pathetic fallacy. There is little text on the page apart from large black letters which say “The Final Episodes,” echoing the ad's epic tone, broadcast dates, and the only part of the image not printed in black and white, text reading “Made in America.” The double entendre here fortifies the slightly corrupt take on the 'American Dream' and ads a touch of dark humor. It is also probably worth noting that nowhere on the ad does the phrase “The Sopranos” appear. It may be that James Gandolfini's character is ingrained enough into the collective pop culture woodwork that at this point no introduction is required, but it certainly signifies that the ad is not aimed at people who have never heard of The Sopranos before (such people probably exist), and implies that the final episodes will not be anything new, implying rather that what the happy viewer already knows, loves, and expects from the show will come to a dramatic close.

Barthes also mentions how the ad he discusses, an ad for Panzani brand food products, attempts to emphasize the signs which represent Italy. “A second sign is more or less equally evident; its signifier is the bringing together of the tomato, the pepper and the tricoloured hues of the poster; its signified is Italy or rather Italianicity. (34)” Even more interestingly, Barth points out that these things do not establish actual “Italianicity,” but one as defined by an international vision (the ad is French) of what Italianicity might mean, and a vision based largely on tourist stereotypes at that. Barthes then mentions that even the name itself is designed to implant thoughts of Italy in a non-italian consumer base, as the name Panzani would not actually stand out amongst Italian consumers. “An Italian would barely perceive the connotation of the name, no more probably than he would the Italianicity of tomato and pepper.” (34) This is interesting when applied within the context of the Sopranos ad. Just as the Panzani ad attempts to convey a sense of Italian-ness, the Sopranos ad attempts to convey a sense of both Italian-ness and American-ness. Just as the name Panzani would not stand out amongst Italian consumers, neither would “The Sopranos.” The name is similarly tailored to evoke thoughts of Italian-ness amongst international consumers. The Statue of Liberty similarly conveys Americana, New York City, and the cultural hodgepodge therein. An Italian family Family in New York City combined with the image of James Gandolfini evokes at least in terms of American entertainment images of The Sopranos.