4. Todorov's Theory in relation to The Shining
• The beginning of the film starts with an equilibrium. E.g. Jack Torrance is a
normal writer and recovering alcoholic(disruption of the Equilibrium). But,
he goes to a violent hotel where he becomes a monster. At the end of the
film, an equilibrium is restored because characters 'Dandy and Wendy'
escape, they are free. Jack Torrance freezes to death.
7. • Vladimir Propp believed that were only 8 character types with 31 functions.
• This can be applied to The Shining, Twin Peaks: Fire away with me and
insidious.
8. Propp's in relation to psychological horrors
• In a psychological Horror film there is typically a villain and a hero.There is
also a donor e.g. someone who gets given something special/ supernatural.
This is shown in the films 'Insidious' and 'The Shining' through the children
who have been given a 'gift'.
10. • I would apply all psychological Horror films to the Levi-Strauss’s Binary
Oppositions
• For example, The shining is good against evil e.g. Jack Torrance against his
wife and son.
• Twin Peaks: Fire walk with me is about tying to solve the mystery of the
‘bad’ person who killed Laura Palmer with the help of the ‘good’ (FBI)
11. Roland Barthes's enigma code
Linguist Roland Barthes described Five Codes which are woven into any narrative.
12. The Hermeneutic Code (HER)
The Hermeneutic Code refers to any element of the story that is not fully explained and
hence becomes a mystery to the reader.
This is applicable to the Shining Opening title sequence. For example, where are they driving
too? Why is the location so remote?
The enigmas established in the opening tile sequence of Insidious include; why are there
ghosts in the house? What is their motif? Has the house always been haunted?
13. The Proairetic Code (ACT)
The Proairetic Code also builds tension, referring to any other action or event that indicates something
else is going to happen, and which hence gets the reader guessing as to what will happen next.
The Hermeneutic and Proairetic Codes work as a pair to develop the story's tensions and keep the
reader interested.
14. The Semantic Code (SEM)
This code refers to connotation within the story that gives additional meaning over the basic
denotative meaning of the word.
It is by the use of extended meaning that can be applied to words that authors can paint rich pictures
with relatively limited text and the way they do this is a common indication of their writing skills.
15. The Symbolic Code (SYM)
This is very similar to the Semantic Code, but acts at a wider level, organizing semantic meanings into
broader and deeper sets of meaning.
This is typically done in the use of antithesis, where new meaning arises out of opposing and conflict
ideas.
16. The Cultural Code (REF)
This code refers to anything that is founded on some kind of canonical works that cannot be challenged
and is assumed to be a foundation for truth.
Typically this involves either science or religion, although other canons such as magical truths may be
used in fantasy stories. The Gnomic Code is a cultural code that particularly refers to sayings, proverbs,
clichés and other common meaning-giving word sets.
