Semiological analysis of 'Revelations'

DENOTATION:

Shot one: wide, long shot pan of priest walking in a church, shot ends focussed on a nativity sequence.

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Shot two: close-up of nativity sequence on fire.

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Shot three: extreme close-up of the figure of Joseph burning with a black background.  Flash of flames in which reveals ‘Rom-Com Productions’ in white lettering.

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Shot four: extreme close-up of the figure of Mary burning with a black background.  Flash of flames in which reveals ‘in association with Hurtwood House’ in white lettering.

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Shot five: extreme close-up of the figure of a king burning with a black background.  Flash of flames in which reveals ‘a Millie Driver Film’ in white lettering.

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Shot six: extreme close-up of the manger burning with a black background.  Flash of flames in which reveals ‘Mark Philipp Morgan’ in white lettering.

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Shot seven: extreme close-up of the figure of Joseph burning with a black background.  Flash of flames in which reveals ‘Rom-Com Productions’ in white lettering.

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Shot eight: ECU of flames in the foreground overlaying burnt satanic lettering and ‘Sarah Driver’ in white letters.

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Shot nine: ECU of flames in the foreground overlaying burnt images and ‘Sarah Driver’ in white letters.

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Shot ten: ECU of flames in the foreground overlaying nun in the church and ‘Production designer Rory Skeoch’ in white letters.

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Shot eleven: ECU of flames in the foreground overlaying pan images of stain glass and ‘Editor Oli Bayliss’ in white letters.

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Shot twelve: ECU of flames in the foreground overlaying imagery of basement and ‘Produced by Rory Skeoch’ in white letters.

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Shot thirteen: ECU of flames in the foreground overlaying burnt satanic photographs and ‘Directed by Millie Driver’ in white letters.

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Shot fourteen: ECU of flames in the foreground and ‘Revelations’ in white lettering.

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Shot fifteen: black screen, white printed font ‘Revelations’.