We can make analysis Tampopo with these codes. Proairetic code (code of action)...In a narrative events happen consecutively like a chain. First of all in Tampopo, Goro and Gun get hungry and they go in a noodle restaurant. They fight a group of men in there. And bla bla bla...Spectator

Semic code...Where we identify characters of film? And how presents film these characters to us? We identify firstly Goro that he saves a little child. And we understand he is a good guy. Than, he fight with lots of men. Now we understand he is a brave guy. And bla bla bla...Symbolic code...Opposite concepts are put in same place. We understand a concept with its opposite concept. In Tampopo, we see synthesis of west and east. We understand east with west. Or another example is for symbolic code is the last scene of Tampopo. A mother feeds a baby with her breast. Food and sex is in a same frame. Cultural codes...Films have references of cultures. Tampopo use Japan culture like noodle.

Important thing is interaction of these codes. What makes Tampopo? Firstly it uses west and east mythology together. We call it is a “noodle western”. Goro is more a west cowboy like John Wayn

Some topics in this essay:
Goro Spectator, Roland Barthes, Samurai Noodle, Japanese Japanese, Goro Gun, , Wayne Japanese, Tampopo Firstly, USA Tampopo, Tampopo Japan, writerly text, japan culture, text analysis, japanese culture, bla bla, text spectator, code code, west east, tampopo goro, film looks,