The Third Meaning in Visual Storytelling

In his essay "The Third Meaning," Roland Barthes discusses the dual layers of meaning present in a film or photograph. The first level is straightforward and informative, providing details such as setting, costumes, characters, and their relationships. The second level is symbolic, revealing deeper connotations within the image. Barthes illustrates this concept with a scene from Eisenstein's film "Ivan the Terrible."

Barthes identifies three levels of meaning in the image of courtiers raining gold over the young Czar's head: the obvious, the symbolic, and the obtuse.

The obtuse meaning goes beyond the scene's information and communication, becoming complex and challenging to determine. Barthes contrasts this obtuse meaning with the simpler, more symbolic meanings found in the image."OBTUSUS means that which is blunted rounded in form. Are not the traits which I indicated (the make-up, the whiteness, the wig) just like the blunting of a meaning too clear, too violent?

Barthes raises the question of whether the obvious meaning in images like those from Eisenstein's The Battleship Potemkin can be easily understood, suggesting that it may have a complex and elusive quality.

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He points to examples such as an old woman with a clenched fist symbolizing her commitment to the revolution, and two women covering their mouths in sorrow, to illustrate his argument. These instances prompt a deeper analysis of the layers of meaning present in visual storytelling.

Barthes argues that the symbolic meaning of an image is not overshadowed but rather enhanced by what may seem like an obscure message.

The old woman in the picture appears to convey something beyond simple interpretation, hinting at a deeper layer of meaning tied to disguise and unintentional expression. Even gestures can communicate more than intended by the individual. Barthes contrasts two stills of the same old woman: one clearly depicting grief, while the other conveys a more intricate message that transcends traditional signs of mourning.

In his writing, Barthes suggests that the unsettling trait, comparable to an unwelcome guest who lingers in silence when unwanted, is located in the area of the forehead, possibly connected to the headscarf holding in the air. In the following scene, the unclear significance disappears, leaving behind only the expression of sorrow. Examples of The Third Meaning can be seen in the performances of Marlon Brando as Don Corleone and Al Pacino as his successor in "The Godfather". Initially, Brando is obscured in shadows, shown from behind with a supplicant before him seeking a favor. The explicit meaning is evident -- such as the father's indignation over his daughter's mistreatment and his reluctance to approach the Godfather.

The symbolic meaning lies in the relationship dynamic between the supplicant and the Godfather, in which the supplicant is portrayed as inferior to the king-like figure of the Godfather. This symbolism is further reinforced by Brando's hesitant gestures in response to the supplicant's appeal, sparking curiosity about his underlying reluctance. As the film progresses, it becomes evident that Brando's role as the Godfather is rife with complex and conflicting emotions, adding a deeper layer of ambiguity to his character.

Despite his desire to be a true American and engage in legitimate business, he finds himself as the leader of a Sicilian crime family. He must patiently await respect from those who secretly view him as nothing more than a glorified thug. Through his gestures, proud demeanor, and underlying pain of being perceived as just a common criminal even after a long life, Marlon Brando effectively conveys the complexities of his character in response to various situations. In one scene, a supplicant approaches Don Corleone on the day of his daughter's wedding, requesting him to behave like a dog.

Instead of ejecting him, the man is subjected to a deliberate act by the Don to make him say the right words of respect. Throughout this time, we sense that Brando's portrayal of the Don reflects a deep inner turmoil. As we continue watching the film, these three layers of meaning become apparent: the basic narrative level, the symbolic level with the supplicant kissing the Don's hand, and the elusive third meaning in Brando's enigmatic performance.

As the film transitions to the wedding scene, viewers are aware of the deeper layers present in both the film and Brando's portrayal. This is exemplified when Brando reacts to learning that his youngest son, Michael, is responsible for avenging his shooting. The anguish on his face signifies his desire to shield Michael from the criminal lifestyle that has ensnared the rest of his family.

Brando getting shot adds to the intense scene, signaling Michael's decision to seek revenge for his father. While it seems natural for a son to retaliate against his father's attacker, this action raises the question of whether Michael can truly escape the criminal underworld and lead a regular life with Kay. This moment reveals the inner conflicts within the character, going beyond surface symbolism to uncover their true emotions and motives.

The emotional impact of The Godfather comes from the deep underlying currents that go beyond the surface levels of information and symbolism. This ambiguity is exemplified in the scenes in Sicily, where Michael (portrayed by Al Pacino) starts to understand the future awaiting him as a fugitive gangster. In the Corleone village, surrounded by local peasants, he is far removed from his familiar life in New York.

Michael meets a stunning girl and feels a sudden intense love for her, they quickly fall in love. Shortly after, Michael confidently explains to the girl's father his desire to marry her, even before speaking to her. In a society where men arrange marriages in patriarchal systems, Michael's bold declaration pleases the father, astonishes his friends, and perhaps even surprises himself, ultimately winning over the family.

At the informational and symbolic level, the emotional drama unfolds as Michael prepares to marry someone who embodies innocence and purity. This is evident in their interactions leading up to the wedding, but it becomes even more intriguing during their first sexual experiences. Despite his initial doubts, Michael is captivated by his new bride's beauty, sensuality, and voluptuousness. It is clear that he deeply values her and is striving to emulate her purity in his own behavior.

Michael's relationship with Kay raises questions about his faithfulness and the nature of their romance. Al Pacino's gestures in the film suggest there may be more to his character than meets the eye, hinting at a possible dark side that contrasts with Kay's innocence. The ambiguity in Pacino's expressions points to a deeper complexity in the character of Michael.

In the film, the third meaning is most convincingly expressed in Brando's death scene. We witness him pretending to be a typical grandfather, playing with a young boy in the garden before suddenly clutching his heart and suffering a heart attack. Up until this moment, his actions are all deceiving - despite being a corrupt criminal, he portrays himself as a kind and loving grandfather striving for redemption by pretending to be normal. Both Brando and Pacino's performances surpass mere symbolism and information, delving into the complexity of their characters through layers of disguise.

In conclusion, according to Barthes, the third meaning provides a different structure for a film, while not undermining the narrative. The filmic element, as Barthes describes it, is what cannot be explained or represented in words. It exists beyond language and meta-language. The third meaning, which is theoretically identifiable but indescribable, represents the transition from language to significance and the foundational aspect of the filmic itself.