DYM Applying Barthe's Theory

Roland Barthes wrote an essay called S/Z, in it he identified a number of codes (set of rules) which he proposed are linked together in the production of all kinds of stories.  Therefore, he postulated that all stories used the same 5 codes and that all genre signifiers can be grouped under them to create narrative.  These codes are:

1. Action Code

Depicts the events which take place in the narrative - the who, where, when of the story.  Action codes are sequential.

2. Semantic Code

Refers to character and characterization.  The actions in the story are explained by the character's view point on events.

3. Enigma Code

Involves the setting up of a mystery, it's developed and resolution.

4. Referential Code

Involves explaining or informing.  Mise-en-scene is a referential code.

5. Symbolic Code

Involves the reading of the connotations of signs which transforms them into symbolic representations eg. a character can symbolize bravery.

Applying Barthe's Theory to opening of 'Rear Window'

1. Action Code

A man wakes up an apartment and answers a phone call from his boss, we guess he is the main character.  There are other people we see, a man shaving across the road, a couple wake up on a balcony with their bed there and a woman dances in another apartment.

2. Semantic Code

We see the film from the main character’s point of view.  He is in a wheelchair.  He keeps looking across the road to women dancing in her underwear. 

3. Enigma Code

Why is the man in a wheelchair? What is the job his boss wanted him to do? Why are people sleeping on their balconies? Why does he have so many magazines/photo’s?

4. Referential Code

The film is directed by Alfred Hitchcock which creates big expectations and a typical storyline the audience would expect.

5. Symbolic Code

The cast and wheelchair symbolise the fact he can’t walk.  As he is trapped in his apartment because of his broken leg, we see that he can see everything from his window which suggests he may see something he doesn't want to see.

DYM Applying Levi-Strauss' Theory

Strauss argued that narrative has two main characteristics..
1. That it’s made of units that are put together according to certain rules.
2. That these units form relations with each other, based on binary opposites, which provide the basis of the structure.

The idea of opposites that he proposed roughly works out something like this, we often understand a concept by knowing what it isn’t. This, he said, meant that in texts we had direct (or roughly direct) opposites that reflected differing ideas in narratives. These opposites were often in conflict in the narrative and that was where the crux of the story or the crisis of the narrative lay.

Pale Rider
Good vs Evil
Quiet vs Loud
Still vs Action
Slow vs Fast
Night vs Day
Life vs Death
Sun vs Storm
Dark vs Light
Calm vs Panic
Innocent vs Evil
Threat vs Safety
Town vs Country
Death vs Survival
Attacker vs Victim
Cowboys vs Villagers
Peace vs Destruction
High Angle vs Low Angle
Open Space vs Enclosed
Black Horse vs White horse
Peacefull Village vs Chaotic Speed
Slow Editing vs Choppy Fast Editing
Spiritual Experience vs Everyday Normality

Die Hard
Good vs Evil
Hero (cop) vs Villians (terrorists)
Past vs Future
Home vs Away
New York vs LA
Husband vs Wife
Single vs Married
Marriage vs Career
Relaxed vs Arguing
Maiden Name vs Husband’s Surname
Outside vs Inside
Open Space vs Enclosed
Empty vs Crowded Party
Happy Light Party vs Sinister Dark Street
High Technology (terrorists) vs Old Fashioned (mcclane)
Light Upbeat Music (party) vs Dark Tense Music (terrorists)