The video uses a linear narrative with a short flashback to add depth. 80% of audiences agreed the flashback scene of the main character's past relationship added to the story. Barthes' concepts of proairetic, enigma, and symbolic codes are seen. The proairetic code drives the narrative forward through the character's actions. The ending is left open with questions, using the enigma code to allow viewer interpretation. Symbolic codes represent themes of communication breakdown and letting go of the past.

1. Narratological analysis of the video.
The majority of the events in my music video take place in chronological
order, however an element of the plot takes place in the past (the
flashback). Due to there only being a short flashback, means I have used a
linear narrative. We decided upon using a flashback because we wanted to
add depth to our story and aimed to draw the audience in. From our
audience feedback, 80% agreed that the christmas flashback scene added
another element to the narrative. I think this is because flashbacks (or
memories) give a more personal touch to the video and overall help
strengthen the idea that Hammad and Louisa were in a relationship together
for a long period of time, and therefore the viewers could identify more
with Hammad.
I used Roland Barthes’ narrative codes to
help shape different ideas and meanings
into my production. Barthes is known for
codes such as proairetic, enigma, and
symbolic which I believe can be seen in
production.
Roland Barthes concept of proairetic code
provides a way of understanding how
narremes in my music video drive the narrative. For example, when the
main character picks up the clothes, the action functions as a proairetic
code by driving the narrative forward to enter a new narrative due to his
actions. Similarly, the use of the mobile phone functions as a proairetic code
because it acts as a catalyst of the further events in the music video.
The music video I produced for ‘f e v e r’ uses a Todorvian narrative
structure. Tzvetan Todorov suggested that conventional narratives are
structured in stages/acts and his theory can be applied to my music video.
The equilibrium is seen in the beginning interior shots (sitting on the bed),
where there is a sense of peace from the use of bright lighting. The
disequilibrium could be seen when the main character picks up the clothes
and places them into the bag because there is a disruption and ambiguity
brought onto the characters actions. As the character walks outside there is
still disequilibrium up until the
protagonist decides not to throw away
the photograph- there is a sense of relief
and a new beginning, yet still a mystery
and ambiguity is left for the to the
viewer.

2. The video is therefore left open ended (Barthes) and there are questions
raised such as ‘who and what happened to the girl?’and ‘why did he keep
the photograph but leave it on the floor at the end?’ This therefore makes
use of Roland Barthes ‘enigma code’. This is also known as a Hermeneutic
code and refers to any element in a story that is not explained and,
therefore, exists as an enigma for the viewer. This allows viewers to draw
their own conclusions to these questions and to an extent adds a relatability
to the story- because not everything in life tends to always have happy,
unrealistic endings like many media texts do. By having an open text with
enigma code supports Mikhael Shores’ idea that ‘music video directors make
videos as ambiguous as possible, with just enough narrative or suggestive
concept to draw the view in’.
Another way enigma code is used in my music video is when Hammed throws
away the clothes but decides to keep the photograph. This was used to
make the audience think why he may doing this and what he will do with it
in the end- it adds more focus to the main character and his actions. This
prop acted as a framing device- it followed Hammad from the beginning to
the end and helped create a theme of heartbreak. He uses the photograph
to remember her but at the end leaves the photo behind in order to move
on. In a way, the photograph acts as a framing device because it adds a
secondary story- the past relationship can be seen in the memories of our
main character and the photograph of Louisa, but the primary story is about
letting go of these.
Symbolic codes (Barthes) were used in our production to create deeper
meanings in our narrative. For example, the mobile phone Hammad uses but
receives no answer represents the breakdown of communication that can
exist in everyday life by simply not picking up the phone or answering a text
message and how dependant life has become for young people on
technology.
Another symbolic code raised by my partner was how the the photograph
was first introduced to the character at eye level, but by the end was left
on the ground. This may represent the journey of clinging to the past and
letting go.