Dominant Narrative in Roman Polanski’s Late Movies

There are different types of narratives that novelists and the authors select based on the genre of their novels. In each society the existence of some considerations may cause some interventions in an author’s work. Baker elucidates that narratives shape people’s view of rationality, objectivity, morality and of course their conception of themselves and others. “Narratives in this sense are public and personal: ‘stories’ that we subscribe to and that guide our behavior. They are the stories we tell ourselves, not just those we explicitly tell other people, about the world(s) in which we live” (Translation and Conflict: A narrative account, Baker, 2005). In every society people’s behaviors are affected by their race, language, skin color, religion, and culture. According to Vladimir Propp, the way in which a story is told in fictional and non-fictional texts is narrative which can be applied by some consideration. Dominant narratives can be applied to an author or filmmaker’s work. In this article, the dominant narrative in Polanski’s recent movies is analyzed via applying Barthes’s five codes of narrative: action, enigma, semic, symbolic, cultural. Designating the connotative layer of meaning, the dominant narrative will be clarified.