The Obvious and the Code

In his article “The Obvious and the Code,” Raymond Bellour discusses 12 shots within the sequence in The Big Sleep where Vivian and Marlowe are talking in a car. I thought Bellour’s analysis in terms of the 7 codes he develops, framing, static/moving, angle, characters on screen, speech, time, and narration, all greatly contribute to a heightened understanding of the film itself and a better knowledge of the underlying cinematic forces at work. Simply put, Bellour explains that the seemingly obvious or insignificant elements of a sequence, such as which character is shown while talking or how long they speak for is not entirely arbitrary, and actually serves as a kind of code, that is a purposefully made systematic combination of minute details to be subconsciously interpreted as a catalytic narrative expedient. I think it’s interesting that Bellour investigates the relationship between the editing patterns and mise-en-scene repetitions, and the overarching narrative. The two can be used to mirror each other and guide the audience towards accurate knowledge of what is occurring on-screen. The subtle differences between the shots are “powerful and discrete,” and lend additional information about the nature of Vivian and Marlowe’s relationship.