Texts reflect the civilization and values of their epochs by showing and turn toing positions of the composers on the issues of the context. The verse form The End and the Beginning by Wislawa Szymborska and the Austrian movie 71 Fragments of a Chronology of Chance by Michael Haneke carry through this by representing issues in 1990s society such as the increasing influence of media and the dislocation of interpersonal communicating.
The End and the Beginning is a Polish verse form by Wislawa Szymborska which captures a wars wake on its guiltless citizens and how. in clip. both the war and its beginnings are forgotten. It therefore shows how the values of a state or society may alter over clip as the positions and sentiments of its citizens alteration.
The overall tone of the verse form is inexorable and acrimonious. with both clear mentions and poetical allusions to decease throughout. The verse form can be rendered into two parts the first focussing on reconstructing and the 2nd focussing on the attenuation of memories with the passing of clip.
In the first portion. the 3rd and 4th stanzas highlight the citizens positions. accomplished through mentions to reconstructing on a much smaller graduated table. Person must glaze a window. rehang a door. Szymborska addresses the fact that we are shown the impact of war on a much larger graduated table and foreground the importance of such little. about everyday undertakings that are required in the procedure of reconstructing a state. In bend. this can be seen as a microcosm for the larger effects of war on a state. such as the states economic stableness and planetary connexions both of which became progressively of import in the ninetiess. with issues such as globalization and consumerism holding profound impacts on the universe.
Szymborska besides addresses the issue of the increasing impact of media in the 1990s. The gap lines allude to the intelligence media and how it subsumes such tragic events into cliched headlines and sound-bytes. We. as viewing audiences. automatically assume that the annihilating effects of war would be righted and our heads are instantly focused on the following article. Szymborska highlights the contrast between this premise and really holding to cover with the rebuilding in the line Things habit straighten themselves up after all. She continues in the 5th stanza with the line Photogenic its non. wryly noticing on the scopophilia of society in the 1990s. She besides highlights the negative. shoal and sensationalist qualities of the media with its attractive force towards force instead than reconstructing with the line All the cameras have left for another war.
Towards the terminal of the verse form. Szymborska addresses the loss of cognition with each coevals. She is yet once more noticing on the values of her society ; on the compulsion with the hereafter. ensuing in our burying the of import events of the past events from which we must larn instead than repetition. peculiarly in the last stanza. The cognition of the event has fundamentally faded into every bit small as nil. In contrast to the imagination used earlier. the tone suggested here is more relaxed. as seen with the words stretched out. However. the lines besides carry dark. negative undertones with allusions to decease person must be stretchedgazing at the clouds. demoing that as memories fade. we are apt to do the same errors once more.
Similarly. the Austrian movie 71 Fragments of a Chronology of Chance ( 71 Fragments ) by Michael Haneke offers a review of Austrias flush society and analyses the general dislocation of communicating and apprehension in a universe with increasing engineering and altering values. Set in the 1990s. it besides takes the media to task for its desensitizing function in society. The movie is based on the intelligence point of a bank shot by a 19-year old. who so kills himself.
Haneke uses the movie to picture what he himself says is a cross-section of society. He exemplifies the dislocation and debasement of human interpersonal communicating within our civilization. despite the outgrowth of engineerings in the 1990s which allowed us to pass on more efficaciously. By structuring the movie into 71 fragments. Haneke splits up the narrative. reenforcing the subject of disaffection and the dislocation of interpersonal communicating. This atomization is besides visually portrayed through the jigsaw-like paper game. Part-way through the movie. a pupil fails to work out the mystifier taking to an effusion of choler. boding his concluding act of force.
Haneke has besides used elusive movie techniques to add to the sense of a dislocation of communicating. The camera is ever positioned in such a manner that makes the audience feel detached from the characters. Rather than linking emotionally with the characters. the audience is made to analyze them. therefore reflecting the emotionless province which our society has assumed with altering values. The characters themselves are non named. leting them to go representative of types within society. The usage of media is besides present throughout the movie with Haneke demoing the progressively invasive presence of media within society as values change and mankind becomes more technological and industrialised. By reiterating the same articles at the terminal with the embedding of the films event as another narrative. Haneke remarks on how the media subsumes any perturbation into the even surface of society and integrates it into the ageless watercourse of trivialised information.
The movie besides serves a didactic intent. as Haneke high spots and criticises the blatant usage of force in Hollywood action movies. stating that his movies are intended as polemical statements against the American barrel down film and its dis-empowerment of the witness. The detonation of force in the concluding scene is disconnected. with the gunfires looking harsh and cold and the calls of torment of the characters chilling. The victims are non portrayed. therefore adding a sense of ambiguity as to who the casualties really are ; the characters or the viewing audiences for appreciating force.
The long return following this scene besides tests the audiences forbearance. demoing the grueling procedure of blood pooling around a organic structure. leting the respondent to reflect upon the tragic events which have merely taken topographic point. Haneke besides challenges the intelligence medias desensitizing function on persons and society. as seen with the assorted narratives on the struggles in Northern Ireland and Sarajevo. which are ironically juxtaposed against intelligence of Michael Jackson. whose pleading seems about humourous in comparing.
An analysis of the verse form The End and the Beginning by Wislawa Szymborska and the movie 71 Fragments by Michael Haneke reveals the altering values and civilization of the 1990s. The texts highlight the dislocation of communicating and the increasing importance of media within a society which is going progressively technological and therefore. can be seen as a contemplation of our ain. somewhat more advanced civilization. Therefore. they are illustrations of texts which reflect the civilization and values of the epoch in which they are composed.
Szymborska. Wislawa. The End and the Beginning ( Poem ) . Retrieved from: hypertext transfer protocol: //www. threepennyreview. com/samples/szymborska_su97. hypertext markup language.
Haneke. Michael. 71 Fragmente einer Chronologie des Zufalls ( Film ) . Released in 1994.