"The Obvious and the Code"

Raymond Bellour, in his article “The Obvious and the Code,” examines the workings of a simple piece from The Big Sleep and concludes that working behind the simplicity of the classical Hollywood style is a highly structured and very measured representation. This schematic, he claims, is concentrated on repetition, but a repetition, which seeks to subvert itself with subtle differences in the use of cinematic codes. Furthermore, this repetition works to create a symmetrical structure, which is the very key to narrative. Through a difficult dissection of twelve shots, Bellour demonstrates how through non-obvious codes the film creates meaning. Bellour describes how twelve shots where there is relative inaction set between two extremely active scenes tell us more about the film, characters, and the film's meaning than the seemingly major scenes. Bellour talks about the relative "poverty" of this segment; he explains how to the average viewer it would seem nothing but a long take, or maybe at most two or three shots, but in actuality the segment is twelve extremely important shots. Overall, Bellour expresses how all of the shots, ordered and edited the way they are, contribute to the development of the movie's narrative and meaning.