Conflicting Perspectives in Literature and Film Essays

Conflicting Perspectives in Literature and Film Essays Conflicting Perspectives in Literature and Film Essay Conflicting Perspectives in Literature and Film Essay Essay Topic: The Sound and the Fury Perspectives are subjective judgements on events, situations, and personalities that are informed by an amalgamation of an individual’s personal biases, motivations, and understandings. Conflict is therefore inevitable, following the relative nature of perspectives. As texts are inexorably linked to the perspectives of composers, they can be explored as representations of such idiosyncratic judgements. However, the composer’s ability to manipulate textual elements, respective of their medium, allows them to represent certain events, situations, or personalities selectively and thereby exploit the assumed veracity of any perspective. The malleable nature of perspectives and representations in texts can be explored through Ted Hughes’s 1984 poetic anthology Birthday Letters, Michael Moore’s 2004 documentary Fahrenheit 9/11, and Bernhard Schlink’s 1995 parable The Reader. Conflict arises from the inevitably biased representations within texts which composers can use to advocate a particular perspective. In ‘The Minotaur’, the lexical chain surrounding â€Å"smashed†, â€Å"hammer†, and â€Å"demented† create an atmosphere of violence which characterises Plath’s volatility, continuing the allusion of her â€Å"fury† as a â€Å"high velocity bullet† in ‘The Shot.’ Hughes evokes pathos through the sentimentality attached to his mother’s symbolic â€Å"heirloom sideboard†, effectively presenting himself as a victim of Plath’s volatility to oppose opinions of his detrimental effect on what he describes as the â€Å"goblin† that is Plath’s mentality; â€Å"So what had I given him?† His iniquitous portrayal of Plath is emphasised by the bathos as she was â€Å"demented by my being/twenty minutes late for baby-minding.† The subtle omission of her voice denies conflicting perspectives to oppose his despicable representation of her and allows him to continue it through the assonance of the ‘e’ sound in â€Å"left your mother a de