Lexical Codes Of The Movie The Third Day Using Roland Barthes’s Theory (A Linguistic Study)

Abstract

It is impossible to imagine a movie without a screenplay, because a screenplay underlies what is released on the curtain. Screenplays are interesting sources of texts due to the performance of various expressed feelings. In essence, they are means to narrate stories where screenwriters seek to convey meaningful content. The “sentimental load” of a screenplay is usually a vehicle to meet the above goal or a secondary product of a process; it is in fact a strong and critical instrument. It is safe to suggest that the Holy Defense Cinema has introduced a novel and innovative genre in the post-revolution cinema, which reflects the society’s climate in the years of war and following those years in the form of its characters. The Holy Defense Cinema can be regarded as the most important genre of the post-Islamic Revolution Cinema, because it fully represents all the incidents that have occurred in the revolutionary and Islamic society. The goal of this study was to analyze the screenplay of the movie “The Third Day” as a holy defense film based on Roland Barthes’ theories. Accordingly, the main question is: “How can The Third Day movie be analyzed based on the Holy Defense genre framework?” Findings suggest that The Third Day can be analyzed based on Barthes’ five codes, because the hermeneutic, symbolic, cultural, semantic and proairetic codes can be observed in the screenplay. The method of the study is also descriptive-analytical based on Barthes’ theories.