The Moon is Down :: essays research papers

All through known history the arrangement of majority rule government is by all accounts the most simply, the most intelligent and the most attractive of every single decision framework. Its capacity to acclimate to changing occasions is just one purpose behind its determination. In John Steinbeck’s The Moon is Down, this sturdiness is shown through the townspeople drove by Mayor Orden, under the harsh impact points of their heros.      One of the most evident instances of democracy’s continuance is the opposition shown by the townspeople against their intruders. The persecution and attack of the vanquishers stimulate, rather than pulverize, the craving in the crushed for opportunity. These individuals, who have lived with the possibility of a free standard of majority rule government, decline to be bound under the severe guideline of the vanquishers. It is therefore that they strike back at their trespassers. As said by Mayor Orden to Colonel Lanser of the aggressors, â€Å" ‘The individuals don’t like to be vanquished, sir, thus they won't be. Free men can't begin a war, however once it is begun, they can battle on tragically. Crowd men, supporters of a pioneer, can't do that, thus it is consistently the group men who win fights and the free men who win wars.’ † [pp. 185-186] Thus, it is a result of their opportunity that individuals having faith in the free guideli ne of majority rule government don't let down and kick the bucket when vanquished, don't acknowledge their being burglarized of their privileges, and battle against what is shamefully done to them.      The townspeople battle on once more, maybe with significantly more purpose, after the execution of Alex Morden, rather than their spirits being squashed, similar to the goal. The whole motivation behind Alex Morden’s open execution was to deter potential upstarts, yet the outcome was the specific inverse of what was wanted. The open showcase just enabled the townspeople’s resolve to retaliate. To place it in Mayor Orden’s words, â€Å" ‘Our individuals are attacked, yet I don’t think they’re conquered.’ † [p 139] Consequently, these individuals will not be put down, and, when confronted with circumstances like Alex’s passing, are not stopped yet proceed with fortified purpose.      While obstruction is one part of democracy’s perseverance, assurance is another ground-breaking capacity it has, as it is appeared in the Anders boys’ getaway to Britain for help. On account of their staggering want for opportunity, the townspeople were willing to, and tried, anything conceivable to oppose their intruders.

Write a paper on text from Emile Durkheim's Selected Writings Essay

Compose a paper on content from Emile Durkheim's Selected Writings - Essay Example The division of work basically, is the partition and specialization of work among individuals in the general public. By division, he implies that individuals decide to work as per their inclinations and capacity. Also, by specialization he implies the zone of work alloted to one either all alone or by any outside power. This division of work as indicated by Durkheim isn't a defeat of society; rather it really is a column that would make a deliberate society. This is what is named as Natural Solidarity in his own words. Social agreement comes basically from the division of work. It is described by a participation which is naturally created through the interest by every person of his own advantages. It does the trick that every individual sanctify himself to a unique capacity all together, by the power of occasions, to make himself solidary with others. Labor division among individuals truly causes our general public to run smooth without intruding on each other and keeps up appropriate request. We can unmistakably comprehend this from the accompanying theory by Durkheim: Along these lines, obviously the division of work is a positive one for advancement and to save social request. We as a whole endure as a result of the division of work and it tends to be all around clarified with a straightforward model as this, While shoemakers and craftsmen might be working fine, if ranchers quit working, everybody starves. On the off chance that the woodworkers quit, nobody has any safe house. In the event that the trash haulers don't appear, the boulevards become dumps and sicknesses spread. Durkheim saw that without each other in a profoundly particular society, nobody can endure. This relationship is the reason the division of work doesn't obliterate social request. I am citing another section to clarify the inquiry why division of work is vital and what effect does it have on the general public On the off chance that work turns out to be continuously separated as social orders become progressively voluminous and thick, it isn't on the grounds that outside conditions are increasingly shifted, but since battle for presence is increasingly intense. The citation itself gives a reasonable response to the inquiry. Our general public expands constantly and in the event that we as a whole decide to be on a similar street the outcome would be a gigantic disappointment and our reality will be shaken. This division of work permits us to proceed onward without upsetting the other and making our general public a dynamic one for our endurance. Life continues moving. It doesn't adhere to a specific spot or work. We have to adjust to the progressions that life brings and walk connected at the hip for our reality. This is the manner in which I comprehend the ramifications of division of work on us. Therefore, division of work causes us to search for a path and to make our life simpler just as well as an agreeable one. End To put it plainly, since the division of work turns into the main wellspring of social solidarity, it becomes, simultaneously, the establishment of the ethical request. I might want to close my paper with this section focuses on the requirement for the division of l

Frowning at Conformity Bradbury’s Growing Disillusionment in Freedom of Expression during the Cold War - Literature Essay Samples

After World War II, United States was growing in prosperity as a seeming winner of the war; yet, growing alongside of it, was an omnipresent fear and tension about technology and ideologythe summation of the oncoming Cold War. As a young writer in the midst of this mid-twentieth century panic between the Capitalistic U.S. and the Communist USSR regime, Ray Bradbury, like many others, communicated and protested the irrationality of the hidden war through a series of short stories and novels published at the time. Of those, The Martian Chronicles and Fahrenheit 451, published consecutively in 1950 and 1953, respectively, still remain the best received for their adventurous take on the American mass culture hysteria and the irrational policy passed by Congress during the Cold War. An episodic novel, The Martian Chronicles focuses on the American superiority and conformity complex through a series of independent short stories that follow the American conquer of Mars. It often hints at th e purification and destruction of ideas on Earth, aspects that are more fully explored in Fahrenheit 451. Well known for its extensive analogy of government censorship and mindless materialism, Fahrenheit 451 walks through the metamorphosis of a book-burning fireman as he realizes the necessity of the knowledge and thoughts produced from novels and stories. In both worlds, Bradbury emphasizes the process of conformityfirst, purification of public opinion to an ideology via mass appeal and majority pressure, and then, eradication of future differing opinions that might birth under the established purified society. However, Bradbury’s attitude on the process, as reflected by character analysis of the two novels, changes over time, growing grim as the Cold War movements escalated at the time of publication. Ray Douglas Bradbury was born in Waukegan, Illinois on August 22, 1920. Since he was young, Bradbury was known to have a future in liberal arts. As a lifelong devotee to drama literature, and poetry, he claimed that his major influences include Edgar Allan Poe, William Shakespeare, and later contemporaries such as Aldous Huxley. Bradbury often hinted and referenced the style and works of his favorite poets and writers to pay respect to their contribution to literary arts. Besides being a novelist, Bradbury was also a prominent playwright and screenwriter, occupations that were particularly targeted and harassed during the McCarthy Era. because of his experience with the Cold War reactionaries, Bradbury questioned the integrity of freedom of expression in his books. As exemplified by The Martian Chronicles and Fahrenheit 451both about American obsessive control of ideologyBradbury’s personal witness of his time influences and stands as important elements in his novels. As he st ated in an interview in 1980, the Cold War Era was arguably the mind-settling period for Bradbury’s criticism of government, when he â€Å"was warning people[when he] was preventing futures† (Hoskinson). To demonstrate his disapproval about the Cold War policies, Bradbury first embarks on extended symbolism of majority conformity in both of his novels. Through specific characterization, Bradbury presents the rivaling relationship between majority and minority, in which the former dominates the latter and purifies the public with mass appeal and pressure. In the two novels, the government’s justification for these conformity policies is the resulting harmony and happiness among the people; yet, as many critics has deciphered, the metaphors of these books represent the mirroring early Cold War policies that brought about narrow-mindedness in people and in terms, â€Å"Bradbury’s strong distrust of [those]‘majority-held’ views† (Hoskinson). Several of The Martian Chronicles episodes contain clashes between majority and minority that result from the effort to purify ideas; most significant of them all is â€Å"And the Moon Be Still as Bright†, originally published as an independent short story in 1948 (Hoskinson). In the story, Captain Wilder is the leader of the Fourth Expedition crew to Mars and in terms, the central figure of the majority. His identity as the will of the majority is highlighted when he is challenged by an outcast crew member, Spender, who, unlike the other colonizing crew members, wants to protect the lost Martian civilization. Wilder stands by his identity throughout the story whenever he converses with Spender; and later, he wins the battle with Spender, representing the success of the majority. Afterwards, Wilder acknowledges, but more ever, begins to doubt the majority: Who are we, anyway? The majority? Is that the answer? The majority is always holy, is it not? Always, always; just never wrong for one little insignificant tiny moment, is it?how the devil did I get caught in this rotten majority? (Bradbury, Chronicles, 95) In executing his responsibility to purify minority, Wilder himself becomes conflicted with, as Hoskinson puts it, â€Å"the issue of individuality vs. conformity.† By establishing the majority and furthermore, criticizing the majority through its own leader, Bradbury sculpts out the use and faults of majority pressure. Because of the publication chronology, themes of The Martian Chronicles, such as the one above, are often more fully explored in Fahrenheit 451. Whereas the majority-minority conflict is limited to each of Chronicles episodes, the idea of purification is the essence and is found throughout F451. Characters such as the wife of protagonist Guy Montag, Mildred, and Captain Beatty, represent the nature and features of a purified mind of the majority. Mildredwith her head filled with government-issued soap operas on â€Å"parlor walls†(Bradbury, F451, 130), her ears addicted to â€Å"electric ocean of sound† (Bradbury, F451, 10) for ten years, and her attention span lasting no more than a few secondsshe is the poster-woman of the materialistic and ignorant population. She even values the imaginary characters on TV more than her husband. When Montag asks her, â€Å"Will you turn the parlor off?† she refuses and replies, â€Å"That’s my family† (Bradbury, F451, 46). McGiveron points out that this kind of mindless behavior â€Å"is the result of the public’s active desire to avoid controversyin favor of easy gratification and, eventually, intellectual conformity.† Though he argues that the public majority is the cause of this purification, government policy certainly plays a part in spreading and maximizing conformity to mass appeals, thereby erasing controversy and solidifying harmony. Captain Beatty of the Fire Department understands this well. As an unusual intellectual who actually agrees with the government, Beatty, too, â€Å"just like[s] solid entertainment† (Bradbury, F451, 61); but he also emphasizes the need for a uniform public. â€Å"We must all be alike. Not everyone born free and equal, like the Constitution says, but everyone made equal† (Bradbury, F451, 55). However, by defining Beatty as the antagonist of the story (who is later burned to death by Montag), Bradbury shows his disapproval to Beatty’s ideas of conformity. In fact, the opposing intellectual character and the aid to Guy Montag, Faber, identifies Captain Beatty as â€Å"the most dangerous enemy to truth and freedom, the unmoving cattle of the majority† (Bradbury, F451, 104). Similar to Wilder, the majority representative in Chronicles, Beatty is antagonized because of his symbolic identity; however, it is important to note that Wilder of the early Bradbury publication is self-antagonized, and Beatty, from Bradbury’s later work, is deemed as enemy by another character, while he himself still believes in the absolute will of the majority. The intensification of the symbolic character’s belief in majority-held views through the publication years parallels the growth of McCarthy Movement (roughly 1950-1956) and U.S. government and public push for advance weaponry (caused by USSR becoming a nuclear power in 1949). This parallelism of literature to reality not only legitimizes the pret ense of Bradbury’s Cold War criticism, but also shows the evolution of Bradbury’s disillusion with government conformity policyfrom believing that it could change, to completely downcasting it as antagonistic to the people’s freedom. After the act purifying ideals and destroying any current opposition in society, Bradbury continues onto the next step of government policy to obtain peace—eliminating any future possibilities of different opinions so that the uniform ideology sustains. Bradbury already shows the eradication of opportunities to learn new ideas through the prominent book burning events in both of his novels, but he also demonstrate how government reacts to newly spurred ideas post-purification by introducing rebellious characters in his worlds. Furthermore, these rebels of different novels, though similar in their characterization, have different ending to their interactions with the governmental censorship. Standehl of The Martian Chronicles is targeted by government oppression for celebrating Edgar Allen Poe, but he is able to defeat censorship officials and continue his free expression; however, in the later publication of Fahrenheit 451, Clarisse, a delinquent who questions social ideology and structure, is killed for her behavior. The fact that Bradbury’s characterization of the end to these outlaws depresses over time indicates his growing pessimistic view on the consequence of free individual expression in the real American society of his time. In chapter â€Å"Usher II† of The Martian Chronicles, Bradbury already describes Earth as a conformed and closely censored world. Eminent and high-ranking people of society and government condemn books, fantasies and imagination; ordinary citizens are all â€Å"Clean-Minded† and believe â€Å"the Burning [of books] was a good thing† (Bradbury, Chronicles, 165). A censoring organization called the â€Å"Moral Climates† is established and is, at the time of the story, responsible to have the newly colonized Mars â€Å"as neat and tidy as Earth† (Bradbury, Chronicles, 166). In the midst of conformity, Standehl builds a horror house, â€Å"Usher II†, on Mars to celebrate Edgar Allen Poe, who described a house of the same name in one of his horror stories. This act, obviously against the societal establishment of prohibiting supernatural and imaginary books, leads to Standehl’s arrest by Garrett, an Investigator of the Moral Climates. Howev er, Standehl is not censored like most of the outlaws in Bradbury’s storieshe in fact tricks Garrett, and later, kills him along with all of the other â€Å"‘majority guests’ [to the House of Usher] with different approaches to murders seen in Poe’s stories† (Hoskinson). The fact that Standehl is able to not only maintain his freedom of expression in the form of exercising Poe’s fantasies, but also succeed in â€Å"paying back†¦the antiseptic government for its literary terrors and conflagration† (Bradbury, Chronicles, 170), demonstrates, what Hoskinson called, an individual’s unusual â€Å"sinister triumph over the majority.† More ever, in characterizing Standehl with such success, Bradbury shows hope in reforming his own government from its eradication policies of anti-communism. Yet, it is important to note that â€Å"Usher II† is originally published in 1950, when the â€Å"Second Red Scare† led by Joseph McCarthy was only solidifying its ground. By 1953, the year Fahrenheit 451 was published, the Anti-Communist crusade had reached its pinnacle with its arrests, allegations, and general harassments. In this later book, Bradbury gives a much graver portrayal of the outcome for outspoken outlaws. In Fahrenheit 451, Bradbury again constructs a world in which conformity is essential and opinions are criminal. Schools, starting earlier and earlier to muster complete brainwash of children’s minds, require their students to embrace and praise materialism and ignorance. As the new generation born completely surrounded with intense indoctrination, the seventeen year old Clarisse McClellan is a surprising outcast who still believes in questions and wonder. She criticizes that her classmates â€Å"name a lot of cars or swimming pools mostly and say how swell†¦but they all say the same things and nobody says anything different from anyone else† (Bradbury, F 451, 28). Instead of following that socially accepted behavior, Clarisse chooses to ask the why in protest and in tribute to the part of innate humanity that pursues individuality. Yet, even though her behavioral protest to the social doctrine is similar to Standehl’s rebellion against the established conde mnation of fantasy and books, she does not have the same glorious fate as Standehl. As Captain Beatty, the representative of the majority and the firm believer in the established structure of conformity, later explainsâ€Å"She was a time bomb. She didn’t want to know how a thing was done, but whyThe poor girl’s better off dead† (Bradbury, F 451, 58). And she is. The fatal end of Clarisse, most likely fabricated by Beatty and his majority bunch, â€Å"shows how intolerance for opposing ideas helps lead to the stifling of individual expression and hence of thought† (McGiveron). Yet this process contradicts the outcome of Standehl, as he is in the end victorious in the combat of individuality v. conformity. One may suspect this polarizing contrast of Clarisse’s fate from Standehl’s in confronting pre-established government regulation to be an error in Bradbury’s philosophy, but given the historical context, this in fact may be due to th e change of his philosophy. Chronicles is a collection of short stories Bradbury published in the years 1944-1950; since then, many issues that Bradbury addresses in Chronicles had changed, or escalated. When Fahrenheit 451 was published in 1953, the McCarthy movement was at its height when all opposing opinions seem to lead to accusations and outcasting. And not only was it a time for the Red Scare, it was also when people were just generally so focused on the absolute Americanism that they either oppressed or ignored any contradiction to their ideology. Such a change in social and political absolutism must have shifted Bradbury’s view on government tolerance to freedom of expression, from hopeful to grim. Many critics claim that The Martian Chronicles and Fahrenheit 451 contain prophetic interpretation of the future. Yet, while the imagination that Bradbury shows within his stories indicates that he has the capacity to predict the future, the act of doing so requires an active willingness to see the unknown. Bradbury’s attitude in his books suggests a more depressing and passive incentive. Through his increasingly bleak portrayal of characters that manifests the different sides of government’s combat to conformity, Bradbury expresses his evolving disillusionment with the future of freedom of expression and government tolerance of it. The fact that Bradbury does not focus on the practicality of his worlds, such as Mars having sustainable air for people to live on and children learning about materialistic trivia for school, rules out his incentive to prophesize. Instead, Bradbury intends to evoke the similar grim emotion in his readers so that they can understand and take caution in their response to conformity. As he declared in his 1980 interview and his discussion with the Los Angeles Times thirty years later, â€Å"I’m not a futurist. People ask me to predict the future, while all I want to do is prevent it.† Works Cited Bradbury, Ray. Fahrenheit 451. New York: Simon and Schuster, 2012. Print. Bradbury, Ray. The Martian Chronicles. New York: Harper Perennial, 2011. Print. George, Lynell. Ray Bradbury Dies at 91; Author Lifted Fantasy to Literary Heights. Los Angeles Times. Los Angeles Times, 06 June 2012. Web. 16 May 2013. McGiveron, Rafeeq O. What Carried the Trick? Mass Exploitation and the Decline of Thought in Ray Bradburys Fahrenheit 451. Extrapolation 37.3 (Fall 1996): 245-256. Rpt. in Contemporary Literary Criticism. Ed. Jeffrey W. Hunter. Vol. 235. Detroit: Gale, 2007. Literature Resource Center. Web. December 2012. Hoskinson, Kevin. The Martian Chronicles and Fahrenheit 451: Ray Bradburys Cold War Novels. Extrapolation 36.4 (Winter 1995): 345-359. Rpt. in Contemporary Literary Criticism. Ed. Jeffrey W. Hunter. Vol. 235. Detroit: Gale, 2007. Literature Resource Center. Web. January 2013. Ray Douglas Bradbury. 2013. The Biography Channel website. December 2012. http://www.biography.com/people/ray-bradbury-9223240.

The And Native American Populations - 931 Words

From a European stand point, altering the lives of the Native Americans was a perfectly justifiable action. They were uncivilized, and thus must be welcoming of their attempts to convert them to a more advanced manner of living. At the same time, however, they must have notions of owning land, of claiming sections of the Earth as their own, of trade and association of certain objects with high value. This, however, was a paradoxical viewpoint. The main problem that resulted from the intermixing of European and Native American populations was a misunderstanding of what each culture maintained as important within their lives. To the natives, mourning wars, gods who were part of the Earth itself, sacrifices, and any other number of various traditions were natural to who they were. The Europeans, in contrast, valued war as a means of gaining territory, not people; they often were monotheistic, with odd customs all their own, such as self-torture or confession. The differences between the two cultures could have been overcome, perhaps, if there had been some attempt to understand one another’s values. However, as evidenced, Europeans did not attempt to understand without an ultimate aspiration to change. One of the defining aspects that shaped Native American life after exposure to the Europeans was the disease they brought along with them. In The Jesuit Relations, as well as in other readings, the fathers explained this illness as a sort of cleansing designed by God. TheyShow MoreRelatedThe Death Of The Native American Population1470 Words   |  6 PagesSuicide in the Native American Population of the Northeastern United States While the Native American population encounters many health disparities; of growing concern, is the rates of suicide among these communities. 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This population decline ended a long period of demographic stability (Fallon et. al.). Research is currently being performed to quantify the consequences of European contact with Native Americans. A study

Control Room by Jehane Noujaim - 851 Words

Media Propaganda The film, Control Room by Jehane Noujaim, is a very tragic film that occurred between the Middle East and the United States. Control Room seems to assert the possibility that though we my see many pictures and videos of an event, we may nevertheless not be getting a complete picture. In my opinion, I believe that pictures can lie because photos can be manipulated, media picks and chose what to show, and use false hopes and lies to cheer on their country. The war between Middle East and the United States brought many tears and destroyed many people’s lives. The media captured details and pictures from destroyed homes to many people dying. In the film, it showed an example of a house after it had been bombed. The lady was crying fiercely states, â€Å"Are were happy now! Look I have nowhere to live. Are you happy, are you happy!† She had nowhere to stay with her kids. Shots of bombs raining down on Baghdad and tanks driving through the desert had beco me familiar TV show for Iraq War. AlJazeera showed footages of the U.S. walking around with military and breaking house doors down to get in. Yegekyan 2 The film showed examples to US torturing people to get on the ground and to obey their every rule. Kids were killed and so were majority of the people. The bombing also caused lot of deaths. People were anxious and scared because they never knew when the bomb was going to explode. The results showed after the bombing was touching. Kids and adults were allShow MoreRelated An Investigation into the Portrayal or Truth Within the Documentary Genre1896 Words   |  8 Pagesbreaks down the journalistic process to discover its roots, and perhaps quite alarmingly, its lack of. What have often been described as trusted establishments, dating back countless generations or even centuries are exposed as mass instruments of control. The book could be described as an investigation, as journalist Nick Davies interviews various other journalists and documentarians, asking them hard hitting questions about their craft and its downfalls, in an effort to uncover what he describesRead MoreTh e Importance Of A Shared Identity Between Sovereign And The People Essay1757 Words   |  8 Pages the context of religious globalization against neoliberal schools of thought. On another side of the socio-political spectrum, Al Jazeera, a leading Arab news channel, also provides a polemical view of war. As director Jehane Noujaim explains in his documentary â€Å"The Control Room†, Al Jazeera appeals to the anti-American sentiment among their Arab viewers by displaying casualties from American airstrikes predominantly. The media publications of radical groups, such as the Taliban and Islamic State

Buhos free essay sample

Buhos – a documentary about climate change produced and presented by Senator Loren Legarda at the Cinema 3 of SM Mall of Asia September 13, 2010 was cited as a significant contribution in educating the entire nation on the devastating impact of climate change and global warming to our country. It had to take Ondoy, Pepeng and Basyang for us to realize that climate change is not just a scientific and environmental issue, but an all encompassing threat to our basic human rights – food, potable water, shelter, decent livelihood and life itself, the Chair of the Senate Committee on Climate Change told the theatre full guests from the diplomatic corps, academe, student leaders, environmentalists, NGOs and local government officials. Legarda who grew up in flood prone Malabon, made the worsening flood situation central to the theme of her new documentary on climate change, entitled Buhos (Downpour). The senator collaborated with acclaimed Filipino filmmaker and 2009 Cannes best director Brillante Mendoza, who lent artistic credence to produce a visually interesting, informative, and most importantly, moving documentary. We will write a custom essay sample on Buhos or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Buhos successfully demystifies global warming by bringing it down to the level of day-to-day living, offering easy to understand scientific explanations of greenhouse gases and climate change, as well as realistic ways of addressing this clear and present danger, in the context of Filipino living. As chairperson of the Senate Standing and Oversight Committees on Climate Change, Senator Legarda principally authored and sponsored landmark environmental laws—the Climate Change Act of 2009, the Environmental Awareness Education Act, the Ecological Solid Waste Management Act and the Clean Air Act, among others. Legarda, a UNEP laureate for environment and United Nations champion for disaster risk reduction and climate change adaptation for Asia and the Pacific, has been the voice of climate-vulnerable nations like the Philippines and has called for climate justice for developing countries in various international fora. Beyond her call of duty, Legarda runs a nationwide awareness and education campaign on climate change. She produced the docu-drama Ulan sa Tag-araw, childrens animation movie Ligtas Likas, and a United Nations documentary Now is the Time. Legarda implements an extensive tree planting program through Luntiang Pilipinas and mobilizes humanitarian aid to disaster-affected and poverty-stricken communities through Lingkod Loren. Last year, she reached out to thousands of families left homeless by typhoons Ondoy and Pepeng through her missions. Buhos was launched with the support of SM Cinema and will have additional special screenings in select theatres, schools and universities in the coming months.

The Secret in Their Eyes

History usually forces itself into the present in Juan Jose Campanella’s film â€Å"The Secret in Their Eyes†. Set in 2009, the film is an attempted memorization of the violent 1970s Argentina, an era in which the country was fast sinking into military rulership. The director offers flashbacks into Argentina’s dark days, days when violence murder, rape and false general injustices ruled.Advertising We will write a custom essay sample on The Secret in Their Eyes specifically for you for only $16.05 $11/page Learn More Through memory, the director presents a period in which it was impossible to be an innocent person in this country as the innocent were falsely accused, tortured and even murdered for crimes they never committed, all these for the whims of those in power. Even though the movie is set in 1970s it is barely about events that happened then. However, through memory Campanella is able to portray an almost exact image of what happened in 1970s Argentina. Memory is a tool through which Campanella attempts to reveal the dark days in Argentina’s political past. The movie is set in the 1970s Argentina a period in which the country was fast sliding into military rule, despite there having been a democratically elected president in Mr. Perà ³n[1]. Through memory, the film becomes a political narrative of the terrible violence, murder rape and other forms of injustices associated with military rule. â€Å"The Secret in Their Eyes† is particularly important as it is among the fewest forms of art, including existing literature that peeks into the Argentina’s dark past. Within this movie the horrors and mysteries of the military rule are captured effectively in the unsolved murder of â€Å"the woman.† Campanella uses the murder of the woman in a symbolic way. First, the investigation of the murder goes from one obstacle to another, mostly through a jaundiced judicial system, that is ak in to military justice, where crime is committed and covered to protect those in power. Through Benjamin the investigator, Campanella employs the use of memory as the woman, who Benjamin encountered years back, is now part of his (Benjamin’s) imagination[2]. Through memory, the audience is able to peek into Benjamin’s past fantasies and the Argentina’s dark past. As such this film becomes a point of clarification about Argentina’s infamous past[3]. There are other events in the film that offers a glimpse into some of the characters past. One of the themes of this film is conceit, a sense of the vanity of personal pleasures and justifications especially seen in Benjamin’s intentions. Benjamin has a romantic relationship with Irene, a conceitous woman. However, this relationship is founded on many obscurities and soon dissipates and fades fast into the back of his memory.Advertising Looking for essay on art and design? Let's see if we can help y ou! Get your first paper with 15% OFF Learn More This affair takes the audience into Benjamin memory and into his past to a time when he encountered the dead woman in her home, her naked body decoratively arranged. This lead Benjamin to fall in love with her image, an image he is not able to remove from his memory. As such Campanella uses Benjamin’s memory to take the audience back into 1970s Argentina’s. Memory this exhumes some basic truths about the past[4] The ending of the story is an attempt to make the film have a happy ending and offer literary relief. This is captured by the discovery that Mr Colotto, the husband of the murdered women had actually captured the woman murderer and kept him in his house for 25 years. This discovery depicts two things about Argentina’s in famous 1970s. One that military rule is founded on instant justice. Mr Colotto’s kidnapping of the murderer is seen as sense of instant justice. Secondly, it also mirrors t he lack of justice during this period of Argentina’s past[5] The fact that the Argentina’s government cold not investigates the murder effectively portrays an unjust military rule. But it is the act of keeping the murderer captive by Mr Colotto that Campanella’s use of memory comes to the fore. By keeping the murderer captive for such along time, Mr. Colotto is imprisoned in his past. This portrays Mr Colotto as unable to get over his wife’s murder and as such his wife, and her murder, still lives in his memory. To protect his prisoner, Mr Colotto has to literary camp in his house, not able to leave for long periods. This is also a depiction that he has been unable to get out of his past. Furthermore, Mr Colotto actions are not a portrayal of his sadistic tendencies but how the Argentine government failed to provide justice. Through Mr Colotto’s memory, Argentina’s dark past is revealed. Thus memory becomes a tool, through which the past is made relevant[6] The film uses instances of flashback to reveal what happened in Argentina in the 1970s. As such most of what â€Å"The Secret in Their Eyes† depicts about that period in Argentina’s history is borrowed from memory. In this film, the influence of memory is captured through certain important events, characters as well as their imagination. Because these historical events are narrated from memory, they indicate passage of time and as such underline the social political transition that this country has undergone. Bibliography Cixous, Hà ©là ¨ne. Rootprints: Memory and Life Writing. New York: Routledge, 1997.Advertising We will write a custom essay sample on The Secret in Their Eyes specifically for you for only $16.05 $11/page Learn More King, John. Magical reels: a history of cinema in Latin America. London: Verso, 2000. Losada, Matt; â€Å"The Secret in Their Eyes: Historical Memory, Production Models, and the Foreign Fil m Oscar†, Cineaste, XXXVI, (1) 2010. Footnotes King, John. Magical reels: a history of cinema in Latin America. (London: Verso, 2000) 39 Matt Losada.â€Å"The Secret in Their Eyes: Historical Memory, Production Models, and the Foreign Film Oscar,† Cineaste, Vol. XXXVI, No. 1, 2010 King, John. Magical reels: a history of cinema in Latin America. (London: Verso, 2000) 39 Hà ©là ¨ne Cixous, Rootprints: Memory and Life Writing. (New York: Routledge. 1997) 120 King, John. Magical reels: a history of cinema in Latin America. (London: Verso, 2000) 39 Hà ©là ¨ne Cixous, Rootprints: Memory and Life Writing. (New York: Routledge. 1997) 124 This essay on The Secret in Their Eyes was written and submitted by user Kathleen Watts to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. 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