I will look at the use of codes, both specifically cinematic and non-specific. I will examine how meaning is created and show how there is a certain norm of sub-codes, which have become a convention of film. The convention is sometimes broken in independent film, but for the most part, becomes apparent in both films. It seems that in contemporary films, the use of the standard sub-codes has become so standardized that it is almost unavoidable. It is very tempting for filmmakers to use this conventionalized system of sub-codes because it has become the norm in making films.
Codes are necessary in every film but sub-codes differ from film to film.
A code could be editing, camera movement or shots, while a sub-code of editing might be continuity.