Roland Barthes: Roland was a French literary theorist; and he described a text as a galaxy of signifiers, not a structure of signifieds;

it has no beginning, it is reversible we gain access to it by several entrances, none of which can be authoritatively declared to be the main one, the codes it mobilizes extend as far as the eye can read, they are indeterminable the system of meaning can take over this absolutely plural text, but their number is never closed, based as it is on the infinity of language. What Roland mean by this, is that the text is like a tangled ball of thread which needs to be undone in order to gain an insight on many meanings behind the text. His codes are: Action- a narrative device which is produced through action for example a shoot-out. Enigma- This is a narrative which puzzles/riddles the audience creating suspense which will later be revealed towards the ending of the story and creating a sense of relief. Symbolic- Connotation Semic- (denotation) Cultural- A narrative which the audience can recognise as being part of a specific culture, for example Made man is from the mafia culture.

Jacques Derrida: Derridas approach is called deconstruction which is associated with an attempt to expose and undermine; oppositions, hierarchies, Paradoxes on particular texts, philosophical are founded. His strategy involved a phase of thinking in a dual way about everything. The conceptual oppositions of metaphysics: Example; Signifier/Signified; Sensible/Intelligible; Writing/Speech; Passivity/Activity. The extent that they ultimately refer to the presence of something present: Example; Present beneath every accident or event. Derrida also considered when undertaking which he named a "classical philosophical opposition", one never encounters "peaceful coexistence" of the two opposing concepts, but instead a Violent hierarchy where one of the two dominates over the other.

Gerard Genette: Genette believes there are 5 functions for a narrator; 1) The narrative function: The narrative function is a fundamental one. Any time we have a narrative, this role (detachment) is assumed by the narrator, whether present in the text or not

2) The directing function: The narrator performs a directing function when he interrupts the story to comment on the organization or articulation of his text (involvement). 3) The communication function: The narrator addresses the narrate directly (that is, the text's potential reader) in order to establish or maintain contact with him or her (involvement). 4) The testimonial function: The narrator affirms the truth of his story, the degree of precision in his narration, his certainty regarding the events, his sources of information, and the like. This function also comes into play when the narrator expresses his emotions about the story, that is, the affective relation he has with it (involvement). 5) The ideological function: The narrator interrupts his story to introduce instructive comments or general wisdom concerning his narrative (involvement). The time of the narration: 1) Subsequent narration: This is the most common temporal position. The narrator tells what happened in some past time. 2) Prior narration: The narrator tells what is going to happen at some future time. This kind of narration often takes the form of a dream or prophecy. 3) Simultaneous narration: The narrator tells his/her story at the very moment it occurs. 4) Interpolated narration: This complex type of narration combines prior and simultaneous narration. For example, a narrator tells what he experienced during the day (after the fact), and also includes his current impressions about these events.

Clause Levi-strauss: He examined how stories unconsciously reflect the values, beliefs and myths of a culture. He believes that this is conveyed through binary oppositions. This means a conflict between two qualities or terms, for example; weak and strong. Vladimir Propp: Vladimir was a Russian critic and literary theorist. He believes there were typical character roles which are: The hero The villain The donor (helps hero by proving magic object) The dispatcher (send hero on his way) False Hero Helper (helps hero) The princess (The reward for the hero, needs protection from villain) Her father

Tzvetan Todorov: Tzvetan was a Bulgarian theorist, who believes that majority of narratives start with a state of equilibrium where life is normal and the protagonist is happy, and then this state of equilibrium is

disrupted by an outside force. So the process starts with Equilibrium then Disequilibrium then ends up with a new equilibrium.

How does this apply to our production? Well after exploring these theorists in detail, we can identify that majority of this theorys fit into our production. For example Tzevetan Todorovs use of disequilibrium, where the protagonist is hit by a car therefore disrupting the equilibrium, this is equilibrium is when life is normal and the protagonist is happy, by the protagonist being hit it disrupts it. Our production also falls into Vladimir Propps theory as to there is typical characters. Applying this to our production, the protagonist is the hero by having vital information to take down the criminals. There is also a villain who is the person who assigns the hit men to kill the protagonist. Roland Barthes enigma code too applies to our production. This is because through our production the villain is not revealed therefore creating a mystery and engaging the audience as to wanting to find out who this villain is, which is carried out throughout the whole plot which needs to be resolved, and is solved by itself which engages the audience further on the survival of the protagonist. Finally the last theorist which applies to our production is Jacques Derrida deconstruction approach. This is because the protagonist is trying to expose the villains through the vital information which is in his possession, and in his approach it mentions two oppositions where one overcomes the other, in our production the two oppositions are the protagonist and the villains.