Narrative Analysis "Curfew" (2012) I will be applying Roland Barthes's narrative theory to the 2012 short film "Curfew" directed by Shawn Christensen. Roland Barthes believe a text is either open (which is that it's open for interpretation) or clones (which means there is just one obvious meaning in the text. If a text is open, Barthes suggests these 5 following codes can be used to unlock the meaning of a text: Enigma Code Action Code Semantic Code Symbolic Code Referential Code Most texts will follow at least a few of these codes, if not all and they're all used to drive the narrative forward in different ways. The enigma code is an unanswered question, a mystery. Clues will be given throughout the text for the mystery to be resolved and the effect of the enigma makes the audience want to know more. Unresolved enigmas tend to frustrate an audience but also makes a text open for interpretation. The action code is there to crea...
Editing! Q1: The cut is the most basic editing techniques and is essentially cutting from one shot to another. Q2: The purpose of the cut is to change the perspective and to advance the story. Q3: Cutting in action is cutting a scene whilst the subject still is in motion. Q4: Cutting in action is often used on punches and kicks but can be as simple as a character turning or someone walking through a door. Q5: Cut away is when you cut to an insert shot and then back. Q6: The purpose of a cut away is to show that something is a part of the same diegesis or e.g showing what's going o in a character's head. Q7: Cross cutting is when the editor intercuts between locations. Most phone conversations in films are usually cross cut. Q8: When cross cutting is used effectively it can amp up the tension and suspense in a sequence. It's also used to show what's going on in a character's head. Q9: Jump cuts is when the editor cuts between the same shot and is usually us...
How does the interview affect your thoughts about Godard and his film 'Vivre sa Vie' (1962)? The interview makes me think of Godard as a young melancholic man that had a desire to create art in such a genuine that way he needed a 'soulmate' to express his love for film. He wanted to fall in love with the main character in the way the audience would fall in love with her, capturing the essence of her personal character instead of constructing one. One thing Godard wanted to achieve was to represent the real lives of the post-war french youth, instead of sensationalising lifestyles that were out of touch and prominently displayed in the french filmscape at the time. Anna Karina was not like other actresses, but a Danish immigrant that worked her way up all by herself without losing herself and her mind. She stood out to Godard just as she stood out to us in the film, which gives us a sensee of individualism as an audience, as she was not sensationalised as a character ...
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