The Use of Barthes Code by Quentin Tarantino and Alfred Hitchcock

The Use of Barthes Code by Quentin Tarantino and Alfred Hitchcock

Roland Barthes was another influential figure in the narrative and film world. The Frenchman was a renowned philosopher and critic that developed his five narrative codes. These codes can be applied and woven into any narrative structure. As a result we have tried to apply his 20th century philosophical theories on film into our narrative , and I have also decided to relate his ideas to two important directors in the thriller genre , Alfred Hitchcock and Quentin Tarantino.

The Hermeneutic Code (HER)

The Hermeneutic code or Enigma code describes any part of a film that is not fully explained to the viewer. This is adopted throughout most thrillers and is key to entertaining the viewer and withholding tension. The Hermeneutic code is expressed using one or more of the following three techniques:

Snares:  This is when the truth in a production is purposely avoided by either the narrative structure or by how the characters react to certain situations.

Equivocations: This technique is used to give the viewer partial or often incomplete answers as to how the film will end. For example , in Tarantino’s  film ‘Reservoir Dogs’ The narrative is played using a non linear narrative fashion , which impacts on the viewers understanding of the events taking place. This links to using equivocations as the viewer partially understands what is happening after the diamond heist goes wrong , but still leaves them in the dark about many of the issues raised when the film is edited in an unorthodox fashion. Similarly to Reservoir Dogs , our film will use equivocations to engage the viewers and keep them entertained throughout. As our film starts , our main character receives a letter through his door with a hostage picture attached. At this point we have purposely adopted the use of ‘snares’ as this act offers the viewer no reason as to why the event occurred and the narrative structure avoids answering the question until a further point i the movie. However, as the film plot develops and evolves, bringing in new characters such as the main characters boss , who offers unclear and distorted answers to the characters question , equivocations are used. The viewer begins to extend their knowledge of the film slowly , yet are not given a clear answer as to how the hostage situation will be resolved.

Jammings: This is when the narrative structure makes it clear that there is no answer to a problem. Similarly to the uses of snares in our media production we have used jammings in the earlier scenes to convince both the main character and the viewer that no matter what the characters actions are , there will be no clue as to whether the disequilibrium will be resolved , and whether the main character will get any closer to answering the questions raised in the first scene after receiving the hostage letter through the door. It is only until further points in the film , such as meeting the main characters boss, that the use of jammings will be substituted with the use of equivocations as explained previously. The final scenes of the movie will help the viewer understand , and this is also when the plot if tied off and closure on the narrative structure can be attained.

The Proairetic Code (ACT)

Along with the Hermeneutic code, the Proairetic code is also used in film to create tension through the use of actions and activities performed by the main character throughout the film. Barthes described that these two codes work together to build and create tension in a film and keep the viewer interested for the events about to follow. A quote from Barthes about the Proairetic and Hermeneutic codes states:

 ‘Two sequential codes: the revelation of truth and the coordination of the actions represented: there is the same constraint in the gradual order of melody and in the equally gradual order of the narrative sequence.’

In Hitchcock’s production ‘Rope’ the use of actions helps raise tension also. Brandon and Philip murder their friend David Kently and place him inside a chest. This is not the act that builds tension for the viewer as it occurs in the first scene and tension is not built up and released in a traditional Hitchcock style. Yet the action that follows creates suspense for the viewer throughout the rest of the film. Brandon and Philip host a dinner party with the chest inside the same room. The camera angles create suspense as the chest stays in shot for the majority of the film , which makes the audience wonder whether a guest will eventually unearth what is hidden within. Further actions taken by the pair create tension such as placing the food for the party on top of the chest.

Much like Rope , our production aims to use the Proairetic code through the actions taken by the main character and the secondary characters around him. For example, the action in the first scene of the unmarked letter coming through the door will create tension as it leads the viewer into the unknown. The audience are suddenly transformed with he main character from a state of normality into a disequilibrium. Further actions we have adopted for our film for our character to take will create tension also. For example, using the main characters boss as a secondary character that eventually becomes more of a hindrance than a help will be used to create suspense. Our main character will need his help to unearth clues to the narrative , yet the vagueness of his answers will leave the viewer wanting the plot to evolve.

The Semantic Code (SEM)

The semantic code creates tension and suspense in the thriller by the use of connotations of certain features in the narrative such as props and dialogue. The connotation of certain features in the film will delve into greater meaning of different symbols within the production. For our film specific symbols and props will employ connotations that keep the viewer entertained. For example, the letter through the door that disrupts the sense of normality in the first scene will have a number code attached to the back of it. The denotations of this is just sequenced numbers , yet the connotations will fuel and develop the story into further points. For example, these numbers have connotations of such things as:

·         Phone Numbers

·         Map co-ordinates

·         Pin codes

·         Door Codes

·         Bar codes

·         Address

Our main character will need to develop an understanding of what the codes on the back of the photo mean , and there are so many connotations linked to this plot will allows us real freedom when developing a narrative. When the viewer first watches the opening of the letter from a P.O.V shot this also places them in the main character s viewpoint and allows them to feel similar emotions . When the envelope is open ,the hostage picture will have connotations that will evolve the plot also and keep the viewer entertained. The hostage situation seen will give the viewer connotations and feelings of urgency and pressure for the main character to solve the mystery. The fact that the picture can be seen at the moment unforeseen of times follows Hitchcock’s rule of releasing tension at an unexpected moment.

The Symbolic Code (SYM)

The symbolic code is similar to the semantic code. It once again delves into the connotations of what certain features of a film mean , but offers no definite answer as to what certain aspects are meant to connotate to. In fact Roland Barthes often suggested that under the symbolic theory unlike the semantic theory , connotations of props etc can actually mean the opposite to what the viewer expects them to.

For example, in Alfred Hitchcock’s film ‘Rope’ the murder Brandon and Philip commit has connotations to the viewer of a wrongful act and being liable by law. However, as the film develops , the pair try to attempt the perfect murder by hosting a dinner party straight afterwards.  During the film , the two seem to have followed their plan and there are looking successful. This uses the symbolic code because murder is does not connotate into punishment here, yet achievement and victory for the two main characters. Using the symbolic code in situations like this plays with the audiences mind as they will expect one thing to happen within the narrative , yet another occurs.

Similarly to Hitchcock’s film ‘Rope’ we will use Barthes’ symbolic code in our production. For example, the scene in which the letter is opened and the hostage picture is recognised , this has connotations of danger and a sense of urgency. However, as the plot and narrative evolves , it tests the viewers understanding of what is occurring in the film. This is because the hostage situation has deeper meaning than just a normal one , as the plot jumps into other territories such as a struggling marriage and a bosses affair. This contradicts the simple connotations of  a hostage situation and helps make our thriller movie intense and dramatic.

The Cultural Code (REF)

The cultural code can also refer to props and symbols within the film. It mostly refers to symbols related to science or religion, although other canons such as magical truths may be used in fantasy stories. When these images are seen in films their connotations are not challenged and only connotate to traditional views.

For example ,  in Quentin Tarantinos production of Pulp Fiction, a religious speech is quoted by Samuel.L.Jacksons hit man character Jules right before he kills another character. The quote is front he bible and is as follows:

‘and I will execute great vengeance upon them with furious rebukes; and they shall know that I am the Lord, when I shall lay my vengeance upon them.’

This quote uses the cultural Barthes cultural code as the words within such as ‘vengeance’ and ‘execute’ only have connotations of violence and death. Jules proceeds to kill the secondary character. What Barthe is trying to explain by the cultural code is that when using symbols from certain areas such as religion or science, only one connotation can be understood and is used within a production.

The 5 codes expressed by Barthe are used in all narrative to build tension and is adopted by directors to influence how much or how little they want the viewer to understand their production.  In our media production we aim to adopt some of these 5 codes as it will enable us to create a tense and suspense filled thriller that viewers will be entertained and hooked by.

Mitchell