Roland Barthes - Enigmatic, Symbolic and Proairetic codes.

Roland Barthes (1915-1980) was a French scholar most known for his '5 codes of narrative'. Only 3 however, are relevant to the production of music videos, the Symbolic code, Enigmatic Code and Proairetic code. These codes feature in nearly all media texts - if it's got a narrative, it will have some of these narrative codes.

We will keep them in mind when we are planning our music video to ensure a professional outcome with a strong narrative structure.

1) Enigmatic Code

An Enigmatic code is constructed through leaving the audience confused about what is going to happen. A specific event/ object is presented to the audience without a full reason and the audience seek an explanation/ full resolution.

An example of a enigmatic code in a media text can be seen throughout Series 2 of the popular TV series Breaking Bad. Throughout this series, there are many shots of a damaged pink teddy bear floating in the pool. The audience is confused by this as there is no explanation for it and we haven't seen it before in the show. It is only towards the end of the series where its explanation is revealed and the enigma surrounding it is resolved.

An example of an enigmatic code in a music video can be seen in Arctic Monkey's 'A View from the Afternoon'. This music video features a character playing the drum part of the track in an urban setting. This video features several enigmatic shots that lack an explanation and don't seem to be coherent with the simple narrative of the video and viewers are left asking questions. For instance, shots such as the ones below are examples of the enigmatic code:

Enigmatic shots such as these, often experiment with lighting/ coloration. The music video is entirely shot in black and white apart from the contrasting, unexplored, shot in the bottom right.  The shot in the top left comes at a time of daylight lighting so it stands out and reinforces the unexplained nature of the enigmatic code.

2) Proairetic Code

Barthes' Proairetic code refers to an action/ event that results in  the audience wanting to see and expecting a resolution to. An example within a media text can be seen in Episode 4 of the first Series of Luther. In this episode, Graham Shand (Rob Jarvis) chases a female character into the bathroom in an attempt to presumably murder her. Through close ups, shot-reverse-shot and the clever use of diegetic and non-diegetic sound, tension is dramatically built during this sequence as Shand attempts to break into the bathroom. The directors cross cuts to members of the detective team en route to the house Jarvis' character is in. This is an example of proairetic code because the audience anticipate the police intervening and what to see Shand caught before he gets into the bathroom. In the nick of time the police arrive and arrest the charactr before he gets in - the problem is resolved.

An example of a proairetic code in a music video can be seen in Wheatus' 'Teenage Dirtbag'. In this music video, the audience is positioned with a male character who is portrayed as and treated by his peers as a 'loser' and is often subject to bullying/teasing from other students. We learnt that he is in love with a girl called Noelle but "she doesn't give a damn about" him. Naturally, as we're positioned with this character, we want him to eventually 'get the girl' and we expect this to happen during the narrative. At the end of the video, at the prom night, Noelle presents "two tickets to Iron Maiden" and he goes off with her to dance. This would be a textbook example of a proairetic code because the audience anticipated and sought this resolution which eventually occurred. However, the proairetic code is undermined when we learn he was asleep the whole time and it was just a dream.

3) Symbolic Codes

In media texts, a symbolic code is a character, action or object that symbolizes an exterior meaning. it can be used to contradict, challenge or represent a wider message within a narrative. In a way, it is like a visual metaphor. An example of the use of the symbolic code in a media text can be seen in Alfred Hitchcock's 1958 film "Vertigo". Throughout this film, Hitchcock frequently utilises spirals to portray the dizzy and disorientating symptoms associated with vertigo. In this case, the symbolic code reinforces the overall message of the narrative and represents a common theme within the film.

An example of symbolic codes in music videos can be seen in Alt-J's 'Breezeblocks'. The director Ellis Bahl features a very clever use of reverse footage to construct a linear narrative - but backwards. However, there are key shots throughout the video that still contribute to the construction of a clear plot line. It may not be as easy to follow as a regular music video but the use of slow motion for example provides the audience with the time to figure out what is happening in each shot. In addition, the director uses the symbolic code to vitally aid the establishment of the narrative and characters in this dimly lit and reversed music video. For example, the are a several shots of the characters hands. We see close ups of the male characters hands and close ups of the murdered female characters hand, often in quick succession. We see that the male is wearing a wedding ring and the female character is not. At 0:11, there is a close up of the male characters hand at the point where the musics strong pulse dramatically kicks and the volume increases. The use of this shot at this specific point in the track heightens the importance of this symbolism. This use of the symbolic code help establish the characters to the audience as well as the conflict between them. Through the juxtaposing symbolism, we learn that they are not married and instead that the male character may be married to the other female character in the cupboard. The symbolism used in close ups of the hands reinforces this binary opposition and adds to the sense of conflict between these two characters - constructed as well through the general narrative of the video. This music video illustrates Barthes symbolic code very well as it has been used to contribute to the general narrative and strengthen the audiences interpretation of the characters.

How we could use Enigmatic, Symbolic and Proairetic codes in our final production

Enigmatic

One way we could implement the enigmatic code is through the use of the photo the boy takes off the cork board and carries in his pocket.  Towards the start of our video, the boy unpins one photo from a cork board but the audience doesn't see what it is. Throughout the music video, we will be selective with the shots of the boy looking at this photo in order to keep it hidden from the audience. This will create a mystery and enigma surrounding the photo as the audience are interested in what it is of. At the end of the video, the photo the boy has been carrying with him the whole time is revealed as a photo of the couple by a fence/ bench/ point of interest (not decided yet) at the location they are both now in. 

Symbolic

During our final production, we are planning to implement flashback type shots of the boy and girl visiting places they visited as a couple. For example, the boy is going to walk past a restaurant and it will cut to a shot of him and the girl walking in. This acts as symbolism as it portrays to the audience how things have changed over time and their relationship has deteriorated. Binary opposition between them as individuals and when they were a couple is reinforced as there is a clear cut comparison between when they were in a relationship and now. We will have an identical shot but one will be a flashback, symbolising how their relationship has changed.

Proairetic

From the outset of the video, we want to clearly establish that the girl and boys relationship has ended. However, the reminiscent theme of the video and the text messages the girl is sending will hint at the fact that they could forgive each other and get back together. Naturally the audience expects this issue to be resolved. The song lyrics often mention "a call for your pardon" indicating to the viewers that the video may feature some forgiveness and resolution. The expectation that this disequilibrium will be resolved is a good example of the proairetic code in our own music video.