In structuralist film theory, a paradigm is the 'vertical' set of all possible choices or substitutions for any element in the film, while the 'horizontal' sequence of chosen elements is the syntagm.
The concepts of paradigm and syntagm are foundational tools of structuralism, a mode of analysis that originated in linguistics with Ferdinand de Saussure and was later applied to cinema. This framework proposes that any system of meaning (like a language or a film) can be understood by analyzing it along two distinct axes.
Consider a very simple scene: a cowboy enters a saloon. The syntagm is the sequence of shots that shows this action.
Now consider the first shot: a medium shot of the cowboy, who is wearing a black hat.
The paradigm represents all the unrealized choices for each element in this shot:
| Element | Chosen Element (Syntagm) | Possible Substitutions (Paradigm) |
|---|---|---|
| Shot Size | Medium Shot | Close-Up, Wide Shot, Extreme Close-Up |
| Hat Color | Black Hat | White Hat, Brown Hat, No Hat |
| Character | Cowboy | Sheriff, Outlaw, Saloon Girl |
By considering the paradigmatic choices, a film analyst can better understand the meaning of the syntagmatic choices. The meaning of the cowboy wearing a black hat is created in opposition to the possibility of him wearing a white hat (invoking the classic hero/villain paradigm). Asking ‘Why this choice and not another?’ is the essence of paradigmatic analysis. It forces us to recognize that every element in a film is the result of a deliberate selection from a vast set of possibilities, and each selection is loaded with potential meaning.
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