Barthes analysis of the opening sequence of ‘Peeping Tom’

We used Barthes theory of codes to analyse the first 4.5 minutes of ‘Peeping Tom’ which was directed by Michael Powell in 1960.




1) Action code: depicts the events which take place in the narrative
- The man approaches the lady
- They walk into an alleyway and into her room where she begins to undress
- He goes closer with his camera and she starts screaming
- We see him watching his film back as the opening credits come up
2) Enigma code: setting up of the mystery, development and resolutionAs the start of the opening sequence is shot from the POV of the killer, his identity is kept secret. He doesn’t speak or react to the woman or any other characters that pass by him. Also as he follows the woman down the alleyway at night time it is quite dark which is mysterious and can signify danger.

3) Semantic code: refers to character and characterisation
The man’s identity is kept secret all the way through the opening sequence. We don’t know what he looks like as the camera is his POV.
We find out more information about the woman- she is a middle aged a prostitute, the way she is dressed – red skirt and lipstick, she also speaks although the main character doesn’t respond.

4) Referential code: explaining / informing
- The opening credits
- Reference to prostitution in ancient Britain

5) Symbolic code: connotations of signs
- Red skirt and lipstick = blood, murder
- ECU of the eye which jumps open = watching/ peeping, thriller
- Dark, night time, alleyway = danger/ enigma

Levi-Strauss’s analyses of the openings of "Pale Rider" and "Die Hard"

Levi Strauss looked at narrative structure in terms of binary oppositions which are sets of opposite values which reveal the structure of media texts, e.g. good and evil.

Pale Rider (Clint Eastwood, 1985)
Quiet village vs. Loud horse riders
Survival vs. Death
Peace vs. Violence
Water vs. Fire
Femininity vs. Masculinity
Young vs. Old
Die Hard (John McTiernan, 1988)Happiness vs. Sadness
Innocence vs. Evil
Safety vs. Danger
New York vs. LA
Japan vs. America
Togetherness vs. Apart
Victims vs. Villains
Prepared (villains) vs. Unprepared (victims)
Life vs. Death
Law vs. Criminals
Defenceless vs. Attackers
Work life vs. Home life
Violence vs. Non violence
Experienced (Bruce Willis) vs. Novice (driver)
Underground vs. Overground (in the building)

Analysis of Continuity in Willy Wonka and the Chocolate Factory

I have analyzed the continuity of the sequence from 3:28 to 6:30

- Charlie walks out of the shop the door into the centre of the frame and looks towards the action (the right of the frame), the camera cuts to an MLS of the crowd from Charlie’s POV.
- Back to MCU of Charlie as he sets off towards the crowd, this shot flows into the next where we see him running into the frame of a LS of the crowd (Match on action).
- When he gets there, a HA shot shows the newspaper headline between 2 men having a conversation explaining it, so we now know what all the kerfuffle is about.
- MCU of Charlie at his eye level of his shocked reaction to the news.
- He turns to walk away in the above shot, match on action and shot reverse shot to the crab shot, MCU of Charlie walking away from the crowd.
- As he walks we see people in the background continue to read the paper and the audience knows where he is going in relation to the original crowd of people.

- This leads onto a LA, MS of Charlie as he takes out the Wonka bar and looks at it hopefully, cuts to HA of Charlie opening chocolate bar – variety of angles for one simple but important action.
- CUs of Charlie to show his anticipation and CU of chocolate bar covered in shiny foil and Charlie’s fingers as he opens it - focuses and involves the audience in the action of finding the ticket.
- Fast paced cuts between reaction shots and opening the bar = excitement
- Cutaway: ECU of the coveted golden ticket

- Hand comes from right of frame which we know is where the crowd of people were.
- MLS to show dialogue and action between Charlie and woman then quick pan to MLS of crowd as Charlie gets dragged back and disappears into it.
- Crab shot as he fights his way through the crowd and pan to the right as he runs off into the distance
- LSs as he runs home – Est. shots of the different places in town through which he runs give a sense of the direction in which he is running, distance and freedom
- Reverse track to LA as he runs – involves the audience in the movement
- Sideways track (crab shot) of MCU of Charlie running with a smile – focuses on the emotion of the character, the close range leads us to forget that he’s just run into a dark alleyway, this makes the next shot more shocking.
- Zoom into Slugworth as Charlie almost runs into him - audience feel this action too as the shot is from Charlie’s POV.
- Shot reverse shot of the characters as Slugworth talks.
- LA from Charlie’s POV looking up at Slugworth - involves the audience again
- BCU of Slugworth’s face makes him seem even more intimidating
- Wider shot of both characters takes audience out of the conversation as onlookers
- OTS of Charlie looking nervous = emotion
- Camera shows Slugworth walking away from Charlie and Charlie’s expression in this shot matches the CU of him in the next (match on action) before he continues running home.