The Case of Midnight in Paris

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ITU A|Z • Vol 13 No 3 • November 2016 • 145-154 The use of qualitative data analysis software to read landscapes in movies: The case of Midnight in Paris

Başak ÖZER1, Yasin Çağatay SEÇKİN2 1 [email protected] • Department of Landscape Architecture, Faculty of Architecture, Istanbul Technical University, Istanbul, Turkey 2 [email protected] • Department of Landscape Architecture, Faculty of Architecture, Istanbul Technical University, Istanbul, Turkey

Received: February 2016 • Final Acceptance: October 2016

Abstract Urban public landscapes include several discourses. Movies strengthen, diversify and change these discourses. For this reason, movies are a very important interaction area for the discipline of landscape architecture. With visual, aural and kinesthetic narrative, they have influences on landscapes and landscape perceptions.These influences are analyzed by reading movies and used as data in research. According to the aim of studies and researchers’ background, various methodologies are used. One of them is qualitative data analysis software. This does not have a common method.The aim of this study reveals a methodology concerning the use of qualitative data analysis software to read landscape narratives in movies. In this context the case study is Midnight in Paris. Paris is consciously used as one of the characters of the movie. Thus, the narrative about Paris urban landscapes through the movie is revealed.Processing data in the proposed methodology con- sisted of designating the 7 basic Code Families (Landscapes, Places, Time, Movie characters, Discourses, Human behaviors, Music and Sounds); defining each sequence as a Quotation; creating Codes for each Quotation; and classifying Codes according to Code Families. Analyzing the movie was done by reading Networks between Codes and Code Families, and looking at statistical data in reports. Con- nections between Code Families contain important data to analyze visual, aural and kinesthetic landscape narratives in movies. Landscapes/Places and Time, Landscape/Places and Discourses, Landscapes/Places and Human behaviors give basic data for reading movies.

Keywords doi: 10.5505/itujfa.2016.22448 doi: ATLAS.ti, Landscape analysis, Midnight in Paris, Movies, Qualitative data analysis. 146

1. Introduction Besides these methodologies, quali- While urban public landscapes are tative data analysis software was used shaped interaction with various fac- for reading movies. This does not yet tors, at the same time they include have a common method but gives an several discourses. These landscapes advantage to researchers who aren’t speak with their residents and visitors from the discipline of cinema. This when they live, walk and look around software provides a technique for edit- (Barthes, 2009). Also landscapes are ing various sorts of data, such as text, used in movies which construct their audio, visual and multimedia, which own narratives. Thus movies strength- facilitates interpretation and also assists en, diversify and change the discourses in increasing the credibility of research about urban public landscapes. Be- findings (ATLAS.ti, 2002). There are- cause of these effects, movies are a very some qualitative data analysis software important interaction area for the dis- like MAXQDA, NVivo and ATLAS. cipline of landscape architecture. With ti. The context and services of these visual, aural and kinesthetic narrative, programs are generally the same. They they have influences on landscapes give both qualitative and quantitative and landscape perceptions. This effec- results; give opportunities to make a tiveness, consciously or unconsciously, detailed analysis to read a movie; and determines the landscape appreciation provide various data to interpret with criteria and open space preferences for Networks and reports obtained from people. the analysis. Reading movies is an action that pro- The aim of this study reveals a meth- duces the basic meaning and connota- odology concerning the use of qual- tion by signifiers in the construction of itative data analysis software to read narrative (Jahn, 2015; Monaco, 2002). landscape narratives in movies. In this According to the aim of the study, var- context the methodology was used for ious methodologies were used to read, reading a movie, Woody Allen’s Mid- for example discourse analysis, content night in Paris (Allen, 2011). In this film, analysis, semiological analysis etc. The Paris is used not only as a background most common methodology of these but also as a character of the movie. In methodologies is semiology. Semiol- this way it is aimed at affecting tourist ogy is a science that investigates indi- behavior and increasing Paris’ tourism cators. Indicators are generally defined income (Özer, 2015b). Therefore there as any kind of forms, objects or cases, is a conscious narrative about Paris ur- which represent something other than ban landscapes in Midnight in Paris. itself and replace what they represent. In this regard, words, symbols, and 2. Methodology signs and such are considered as indi- The qualitative data analysis soft- cators (Rıfat, 2009). ware allows working on many docu-

Figure 1. The interface of ATLAS.ti. ITU A|Z • Vol 13 No 3 • November 2016 • B. Özer, Y. Ç. Seçkin 147

Figure 2. Some codes of landscapes. ments in different formats. It enables of layer, considering movie elements. the processing of data by Quotations, The process of designating Codes Fam- Code Families, and Codes etc. in these ilies is also a crosscheck of creating documents. Quotations, Code Families, the Code. It can discover some Codes and Codes were chosen according to which are missing. At the end of the the aim of study. As a result of process- second process, creating Codes and ing the data, various Networks, digital designating Code Families, 566 Codes data, and reports etc. were obtained. and 7 basic Code Families were deter- Relations between Codes constitute mined. networks which are necessary for the Within the scope of this study, Codes reading, analysis and interpretation of were created specifically according to movies. Midnight in Paris but 7 basic Code Fam- The analysis of Midnight in Paris ilies were determined for all landscape was conducted by ATLAS.ti 7 (Figure analyzing in all movies. These Code 1). Two documents were used: the vid- Families are Landscapes, Places, Time, eo in .avi format (Allen, 2011), and the Movie characters, Discourses, Human scenario in .pdf format (Allen). The behaviors, and Music and Sounds. The video format of Midnight in Paris was determining and the crosscheck pro- the primary document. cesses are supported by the literature. The first process was defining Quo- Landscapes: Landscapes in movies tations in the video. This defining was are selected depending on narratives, made according to sequences, not movie characters, discourses, time plans. Sequences are parts composed etc. They are sometimes only a back- by plans as they gather in a systemat- ground, sometimes one of a character ically successive way and have seman- of movies. In this way, meanings can tic integrity (Köprü, 2009). Therefore be attributed to landscapes. For this sequences are determined considering reason, landscapes should be analyzed plans which are consecutively in the in detail according to their typologies, same place. Each Quotation at the same classes, and elements. Landscapes in time formed movie sequences. At the the each sequence of Midnight in Par- end of the sequence defining process, is are encoded like Parks, Boulevards, 125 Quotations were obtained, created Squares, River (side), Historical land- by 423 plans. 96 of them were outdoors scapes, Cultural landscapes etc. (Figure while the others were indoors. 2). The second process was creating Places: Movies have effects on cre- Codes, and appointing these Codes to ating, strengthening and effacing im- the Quotations. Codes are created con- ages. These images are decisive in sidering the aim of study. Code Fam- person-place relations. Landscapes in ilies were synchronously designated movies are imagined by images, dis- because of the excess of Codes. Thus courses, actions etc. Thus, some land- Codes were classified. scapes are specifically identified as The Code Families are used as a kind Places so that Places are encoded un-

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Figure 3. Some codes of places. der the Places Family. The Eiffel Tower, iors of Movie Characters are described River Seine, Alexandre III Bridge etc. in the sequences linking with movie are some of the Codes under this family characters. (Figure 3). Discourses: Discourse is one of the Time: Although space and time are tools of narrative construction. They explained as different terms, they are represents words, idea and conscious- considered by a person as an integral ness (Jahn, 2015). Places are charac- part of the whole (Kahvecioğlu, 2008). terized and attributed meanings with In view of this approach, outdoor is de- movie characters’ discourses. Within fined in terms of space and time. This this scope, the scenario of Midnight is an individual process because it is re- in Paris was used as the second doc- lated with a person’s perception of the ument. Discourses in this document outside world, structuring and keeping were described in the previously de- in the mind (Kahvecioğlu, 2008). For termined sequences. If there were any this reason, Time Family is created to differences in discourses between the determine time like periods, years, sea- scenario and the video, discourses in sons, daily times (morning, night etc.). the video were used as data. In particu- There are three different periods in lar, Places and descriptions about these Midnight in Paris: 2010s, 1920s and Places were encoded. 1890s. Night, in the name of movie, is Music and Sounds: Music and as important a time of day as daytime. sounds are other narrative tools which Movie characters: The source of psy- help support the Places (Uzunali, chological interaction through movies 2015). Music is an irreplaceable tool is identification (Aka, 2015). When used to both create different emotions a person is watching a movie, he/she and strengthen the message in the nar- leaves his/her own identity for a while rative (Erdoğan & Solmaz, 2005). and puts himself/herself in the movie In Midnight in Paris, there are 16 characters’ place (Aka, 2015; Wedding, pieces of music and 4 sounds. 1 piece Boyd, & Niemiec, 2005). Movie char- of music is a French song, 3 pieces of acters provide this identification with music are English songs, and 12 pieces their discourses, behaviors and feel- of music are instrumental. The sounds, ings. For this reason, movie characters 12 ‘tings’, rain, birds and a dog are used like Gil, Inez, Helen, Gabrielle are de- to described midnight, rain, landscape. fined in eachQuotation under the fam- These musical pieces and the sounds ily of Movie characters. are described in the Quotations. Human behaviors: Behaviors of movie characters and other people are 3. Analysis a kind of discourse and a guide about Qualitative data analyzing software the culture of the public area. Codes creates Networks of ad libitum between under this family are classified into 2 Quotations, Codes, and Code Families. groups: People’s Natural Behaviors and These Networks constitute various data Behaviors of Movie Characters. Behav- which provide the multidirectional

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other Code Families. According to the result of the analysis, the movie was summarized as follow: Midnight in Paris narrates the story of Gil and his fiancée Inez who come to Paris in 2010 as tourists. Gil is an American author and a Paris lov- er. He dreams about living in Paris. One night, he loses his way wandering around the streets of Paris and sits on the stairs of a church. As the church bells begin to ring at midnight, he gets the chance to live the bohemian life of Paris with the famous artists of 1920s. On one occasion he goes back to the 1890s, the period of Belle Époque. There are several spaces in different time periods in the movie. At the end he decides to settle in Paris, breaks up with Inez and gets closer with Gabrielle under the rain, whom he met in the antique shop in the flea market.

3.1. The construction of visual narrative: Landscapes, places and time In Midnight in Paris, the most important milestones of visual narrative about Paris’ urban landscapes are Landscapes, Place and Time. Paris is fantasized with time periods. As under- stood from the name of movie, night is as find a place as daytime. The past Paris, 1920s and 1890s, is as dreamed as contemporary (2010s) Paris. The 2010s comprises 48% of the movie. The season/weather is Spring-Sum- mer and showery (sometimes rainy). Daytime is not described specifically as morning, midday etc., except in one example. There is just one specific daytime scene that is in the morning three times in the 2010s in the hotel room. Contemporary Paris (2010s) is nar- rated with Landscapes and Places, most of which have been imagined. Urban Figure 4. Places from 2010s in ‘Midnight in landscapes (Eiffel Tower, River Seine, Paris’. Louvre Museum, Concorde Square reading of movies. The reading of Mid- etc.), most of which have been well- night in Paris in the scope of this article worn, are shown as visual feasts with- are exhibited that the movie gives, cre- out actors/actresses and lines, with jazz ates and/or repeats some information music in the background, especially and images about Paris urban land- in the part composing the first 60 se- scapes. For this reason, Landscapes and quences/plans (the first 3:03,30 time of Places from Code Families are fit into the movie) (Figure 4). the center of this study’s analysis. Ad- The most powerful image of con- ditionally, we revealed how Landscapes temporary Paris is the Eiffel Tower. It and Places support and establish the is seen at different times during the

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Figure 6. Constructing urban landscape identifiers for Paris in ‘Midnight in Paris’. In the second one, Gil walks along the riverside alone and looks mindfully. With these two sequences, the river represents both characters’ inner world and their struggle to find peace. Figure 5. Eiffel Tower in ‘Midnight in Paris’. From outdoor sequences under- standing that Paris’s topography is day and appears bright at night, in the mostly plain because slope streets, background of six plans, from the first stairs and cityscape are seen in less sequence until the last sequence of the than 10% of them. This typology of movie (Figure 5). Paris affects people’s behaviors that River Seine and its bridges are the aren’t movie characters. People’s most two important landscape elements of common urban landscape behaviors in the movie. They are seen 11 times in 2010s are walking and bicycling. Pub- 2010s, and 1 times in 1920s. 9 of these lic space behaviors of movie characters sequences are showed in the first 60 in all periods also form a perception plans which only contemporary Paris about a city. According to the analysis, images are used. Also these two ele- the behaviors of the movie characters ments have representative role in oth- are to drink coffee in cafes in boule- th th th er 3 sequences (98 , 107 , and 125 ) vards, experience bohemian life in the because of having movie characters. In bars on historical streets, go to muse- the first one, Gil and Adriana see Zel- um gardens, wander around palace da Fitzgerald walking around the riv- gardens, buy souvenirs from historical erside than they prevent her to jump markets, and walk (Figure 6). into river and commit suicide in 1920s. Meanings to the nightscapes in the

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Figure 7. Network of discourses about Paris City. movie are strengthened by the use of in relation to some places, especially the 1920s (Golden Age) and 1890s Paris. (Belle Époque). These periods narrate Various discourses about Paris are Paris as created by the imagination, developed in the movie (Figure 7). or fancied. Fancied Paris is used to These appraisals are presented with ad- strengthen the narrative of contempo- jectives like “unbelievable”, “gorgeous rary Paris and to view Paris from a dif- in the rain”, “great”, “perfect”, “wonder- ferent and new perspective. In this way, ful”, “a mystery”, and “most beautiful at Allen wanted to create emotional ex- midnight in Paris”. For instance, as the periences of Paris and tried to increase first line of the movie, Gil says “This is interest in the city. 51% of the movie unbelievable - look at this. There’s no is fancied Paris, 42% is 1920s, and 9% city like this in the world. There never is 1980s. Outdoor plans of 1920s and was.” 1890s are 33% of the whole outdoor The study detected that, besides the plans of the movie. landscapes of Paris, narrative construc- Three historic buildings are used tion relates mainly to the United States with their landscapes as parts of the of America followed by France, Spain story: Palace and Garden of Versailles; and African countries, respectively. In the Cathedral of Notre Dame and its this construction, California, Beverly garden; the stairs and streetscape of Hills, Hollywood, Malibu and Alabama Church of St. Etienne du Mont. The were among the places which take part common thread to all these architec- in the discourses. tures is representing cultural richness of The people involved in discourses the past periods of Paris. While movie are as important a factor as the dis- characters are visiting the palace, Paul courses about places because place ap- narrates the historical background. preciations and practices carry infor- Museum Guide reads Adriana’s words mation about characteristics of movie about her love for Gil from an old lit- characters. Gil talks about his admira- erature book in Notre Dame Garden. tion of Paris and considers settling in The stairs and streetscape of the church the city. However Gil’s fiancée Inez and open doors to be acquainted and talk her mother Helen don’t agree with him with various artists of 1920s. and speak their opinions transparent- ly. They make their affirmation about 3.2. Landscapes and places by places in America, like Malibu. the way of aural narrative The elements of aural narrative The center of the aural narrative (Sounds) are used to characterize plac- about landscapes and places are the es and time in Midnight in Paris. There movie characters’ discourses in Mid- is a ‘ting’ and it’s heard when Gil goes night in Paris. These discourses attri- to the stairs. From the 12 ‘thigs’ the un- bute meanings and create perceptions derstanding is that the stairs belong to

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Figure 8. The stairs in ‘Midnight in Paris’ (photo: Özer, 2015a). a church and time is midnight (Figure Figure 9. Constructing urban landscape 8). identify for Paris in ‘Midnight in Paris’. The music in the movie is mainly and “Paris in 1920s”. The movie char- used to strengthen the narrative which acters are also involved in this relation- is formed by Landscapes, Places, Time, ship. In the last sequence of the movie, and Human behaviors. Music genres Gil comes together with Gabrielle by are selected according to the feelings walking in the rain at midnight in Par- which are desired in the places. The is. As they come together in the final, first 3:03.30 part (4%) of the movie is it emphasizes the tacit romance (Figure a kind of advertisement for Paris. It is 9). accompanied by jazz music (Si Tu Vois “The city of love and romance” and Ma Mere) and suggestive of romantic “the city of light” are used to define Par- Paris. is throughout the world (Gürel et al., 2013), and these adjectives are given 3.3. Tacit messages by construction in the movie as tacit messages. Begin- of kinesthetic narrative ning in the first sequence of the movie, The kinesthetic narrative in the the message of romance is processed movie is mostly given through tacit in certain sequences. Eighty percent messages. These messages are used to of the romance sequences are outdoor strengthen the images and discourses shootings and in different time frames about the city. (Figure 10). When the relationship of Land- Woody Allen uses rain for 4 purpos- scapes, Places, Time, Discourses and es: to describe seasonal time; to create Human behaviors in the movie is ob- an image for Paris; to strengthen ro- served, it is seen that some identities mance; and identify the movie charac- about the city of Paris are built, such as ters. “Paris in the rain”, “midnight in Paris” Gil’s, Inez’s and Gabriel’s discours-

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He has an encounter with Gabrielle on the bridge in the last Quotation (125th Sequence). The conversation between them is below: Gil: “Can I walk with you or can I buy you a coffee? I hope now sore the r a i n .” Gabrielle: “That’s okay. I don’t mind getting wet.“ Gil: “I feel like that. Yes, it’s more beautiful.“ Gabrielle: “Actually, Paris is the most beautiful in the rain.”

4. Conclusion Movies provide important data, not only for art-based research but also for different disciplines like sociology, economics, landscape architecture etc. Therefore they should be analyzed and interpreted. Qualitative data analysis software facilitates reading movies for researchers. The study stages used with this methodology for a landscape architecture perspective are as follows: • Video formats of movies should be used as the main document for analysis studies. • A movie should be separated into Figure 10. Romance in ‘Midnight in Paris’. Quotations according to sequences. • 7 Code Families should be built up: es about rain and behaviors under the Landscapes, Places, Time, Movie rain provide data about romance, char- characters, Discourses, Human be- acter analysis, and movie characters’ haviors, Music and Sounds. relationships. For example, Gil and • In each sequence, Codes should be Inez are talking their first line at the defined relating toCode Families beginning of the movie: and identified relating toCode Fam- Gil: “Can you picture how drop dead ilies and Quotations. gorgeous this city is in the rain? Imag- • For analysis studies, Networks ine this town in the twenties -Paris in should be looked between Code the twenties- in the rain- the artists and Families. writers-“ • Relationships between some Code Inez: “Why does every city have to be Families include important data for in the rain? What’s wonderful about get- the analysis of landscape narrative: ting wet?” Landscapes/Places and Time visual Gil’s and Inez’s approaches about landscape narrative; Landscapes/ rain are also seen their behaviors. In th Places and Discourses aural land- the 84 Quotation, it is raining. Inez, scape narrative; Landscapes/Places Helen and Gil get out from the antique and Human behaviors kinesthetic shop and walk to their car. Inez and landscape narrative. Helen use an umbrella but Gil’s hands • The most used Codes are shown the are in his pockets and he walks without main narrative elements of movies. an umbrella. These discourses and behaviors, to- References gether with the idea of living in Paris, Aka, T. (2015). Sinematerapinin gives other information about charac- Grup Uygulamalarındaki Etkinliği ve ters. Gil wants to live in Paris but Inez Bireysel Terapi Uygulamalarıyla İlgili doesn’t agree with him. At the end of Gözlemler. Psikesinema, Ocak-Şubat the movie, Gil decides to live in Paris. The use of qualitative data analysis software to read landscapes in movies: The case of Midnight in Paris 154

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