Mod B THE TRUMAN SHOW HSC QUOTES AND ANAYLSIS PDF

Preview

Summary

Mod B THE TRUMAN SHOW HSC Mod B THE TRUMAN SHOW HSC Mod B THE TRUMAN SHOW HSC Mod B THE TRUMAN SHOW HSC...

Description

"One of the primary ways Weir portrays interesting ideas about identity, is through his representation of the interplay between the characters of his film. The supporting cast…" Para 1; The supporting cast of the Truman show contributes to shaping Truman’s identity and consequently subtly revealing the absence and incapacity of their own We are made aware of this phenomenon when

Point 1: Marlon shapes Truman’s identity as he emotionally manipulates Truman attempting to dissuade him from discovering the truth of the Truman Show. Through this, Weir explores identity and forces that operate on it, and that collectively we are most likely to submit to things we trust and are comfortable with. Thus, an emotional Truman put his faith in Marlon, as Marlon constantly evokes the authenticity of their friendship from childhood, reminding Truman that “whatever the answer was we were right together we were wrong together you’re the closest thing I ever had to a brother Truman”. The cut to the close-up shot, that enable us to see the concentration and urgency of the director Christof feeding lines to Marlon behind the scenes, reveals the manipulation exploited by Christophe and Marlon, which is shown for the first time conveying confronting emotions to the audience given the intensity of the events they are discussing. Subsequently, Weir encourages us to understand that our identity is most often shaped by the most ‘convenient’ narrative, which may be influenced by agencies like friends, family or the media who we trust. This is precisely because they are best positioned to present it as casual and coherent, qualities which we are culturally encouraged to affirm through our persistent experience with narrative, a meta-textual proposition further explored and sustained through the depictions of the ‘audience’ who watch The Truman Show. Point 2; Truman’s desire for freedom is constantly supressed by the supporting cast as well as the extras. This shapes his identity, as certain encounters and aspects result in him developing an personality that aspires to continuously question his experience. The importance of his unresolved relationship with his father is evident when Truman believes to have seen his father dressed as a homeless person. The tentative tone of the question “Dad?” communicates the strength of Truman’s affection for his father which is then swiftly cut short by the dramatic fast paced music that begins as the two strangers pick up Kirk and drive him away. Truman’s desperate quest to find out the truth about his life is further heightened when he realises his neighbours repeat the same actions sitting in his car with Meryl he predicts what will happen next as he screams, the juxtaposition of that regularity with the frenzied randomness of his father’s appearance and removal emphasising the problems of each. “they’re on a loop they just go round and round” and his frustration peaks as Meryl refuses to engage in his conversation. Thus, Meryl also supresses his curiosities and Truman’s identity is shaped in a sense that he is frustrated by this response and reveals the lack of communication that Truman endures in his relationship. Whilst Truman to understand these circumstances he is continuously supressed by the people around him as they maintain their obligations as actors of the TTS

which only further encourages him fulfill his ego on a quest to discover the truth exhibiting to the audience his identity which is ambitious. However Point 3 the supporting cast, in particular Hannah Gill, an actress who plays Truman’s wife also reveals one’s individual inability and incapacity to commit to an identity that is” counterfeit. “Thus, she similarly, ironically much like Truman, rebels against the false identity that she is professionally obliges to sustain.  weir uses Fishbowl lenses to symbolise entrapment both for Truman, as these lenses gradually disappear as he discovers his identity and for Meryl as the, zooming in on her product placement “I bought this new hot coco” delivering a live informercial. This contrasts to Truman’s identity as his frame is stationary as if to convey the fabricated emotions of Meryl but also what is required of her in a sense that she is obliged to endorse products. This understanding of Meryl is amplified by her symbolic representation of A robotic, 'perfect' and submissive woman, an archetype which is both her character, but also ironically captures the absence of autonomy in her professional, ‘real’ life, as it is subjected to external control. Whilst she Initially claims in the opening scenes of TTS that “the Truman show is a lifestyle, it’s a noble life, Its a truly blessed life.” Adversely, her dramatic outburst of ‘How can anyone Expect me to carry on under these conditions? It’s not professional!’ suggest that falsehood and inauthenticity aren’t necessarily sufficient. Her constructed Identity lacks integrity and reveals that truth and authenticity inherently rebel against or transcend artificial and manufactured behaviours. Para 2 the nature of exterior forces constructs our identities specifically director Christof who has unique aspects which portrays his characterisation. Also, the use of cinematography by Weir, which seeks to represent Truman to others in certain ways, which both shape how he is understood and accepted presents his emotions and crafts his fears accordingly. Point 1:Weirs careful nomenclature to characterise Truman's name as a piece of ironic cruelty, “Tru man” is the only authentic person on the show and yet his life is a complete construction and the audience view and consume him for their entertainment. Similarly, Christof's name is also a piece of irony that contains a veiled religious allegory considering Christof is god-like in his powers over the show and Truman's life especially When Christof implies to “Cue the sun." it suggests that Christof has "divine" qualities by the fact that he can make the sun come up like a god. Connotation is that Christof is the master of his 'universe'. This shows that Christof is able to control every aspect of Truman's life. Adversely, Weir allows us to consider the concept that he is “Christ off” in a sense that his actions are immoral, and his behaviour is unethical leaving the audience to debate whether he is omniscient and all powerful over Truman. Comprehensively, Christof true identity is exposed in the climax when simeon proclaims “God sake, Christof, the whole world is watching. We can't let him die in front of a live audience!" as the audience

see Christof turn from a benevolent character to a malevolent figure revealing the faults in his own identity as proclaims. Here, we see the sinister side of Christof in full force as he would rather kill Truman then stop making money, we see he only values and identifies Truman as a commodity. Point 2; "the representation of a person can shape how others perceive their identity, principally explored through the use of cinematography by Weir, which seeks to represent Truman to others in certain ways, which both shapes how he is understood and accepted, and also reciprocally alter the ways they behave and respond to Truman, which in so doing sustains another level of manipulation upon Truman's self." . The use of Hidden cameras often mounted within streetlights cars or inside buttons display Truman in a variety of different ways. The proliferation of these cameras seems to compel the idea that what is captured is what is actually happening in that world to the viewing audience, but Christof carefully controls which of those cameras is broadcasted. For example, Christof uses Long shots to make Truman appear less significant, for example when Truman is walking toward the staircase, it’s almost as if he is helpless which to some degree strips Truman of his importance of his character. By contrast, The Establishing shot shows the setting of Sea heaven which Truman inhabits, and the use of bright lighting adds a false sense of perfection which is presented to the audience to connote a happy atmosphere. Ironically, this conflicts to Truman’s true identity as he is not satisfied and is constantly dull within the place he lives and within himself. The viewers are only provided with the ‘dominant perspective’ that Christof prefers which in a sense also allows him to have control of the viewers. Thus, we must acknowledge that, whilst what is presented is what is happening, it is also highly crafted, controlled and groomed. However, when he can’t find a ‘favourable’ camera when Truman escapes, he can no longer control Truman’s narrative or impose his own film techniques he ceases transmission. Thus, reinforcing how our identities and senses of self are created ‘like narratives’ and similarly, that the human condition is very narrative-like. Point 3; Christof further shapes the plot as he artificially manipulates Truman to fear the ocean to prevent Truman from wanting to travel which limits his freedom. The tragic scene where his father falsely dies at sea suggests the profound and unconquerable fear of water is revealed through an analepsis Suggesting Truman’s inability to escape the memory. However, we must remember that what we view is a 'highlight' package of Christof's making, the presence of fisheye lenses and their characteristic vignetting strongly positioning us within the TV show's ontology, an awareness which must leave us doubting the authenticity of our experience. Ultimately Christof instils a fear in Truman that is falsely apart of his identity. Suggesting how our experiences profoundly construct our relationships with ourselves, our worlds and our peers.

Para 3 ; Weir can be seen to both encourage the audience to reflect on how our identities have been transformed as well directly seek to influence us. In the Truman show, Sylvia is seen as a symbol of love and genuine attraction especially in Truman’s secret attempts to create an accurate portrait of her face from pictures ripped from magazines, an act figuratively representing a patchwork of human identity which is a pastiche of many influences. The recurring jump cuts to Sylvia’s existence is seen to emphasise the falsified nature of the Truman show as Truman escapes partly to reconcile with her. More interestingly, whilst this aspect of the text sustains the ‘truth’ of basic human needs and natural emotions to overcome inauthenticity, Weir, similarly to Christof, can be seen to also utilise these functions to establish false narratives to encourage us to conclude that virtue and honesty must necessarily invite success. Howbeit, in reality this is problematic, since good deeds, hard work and genuine intentions are often not sufficient to achieve ‘fairy-tale’ outcomes. A hero does not always succeed, or find their true love, and Weir’s default to what is ultimately a romanticised Hollywood outcome problematises the ultimate integrity of the text’s thematic attempts.  Indeed, like Truman we are an object and subject of the media, which simultaneously exploits us for our desires, and but is exploited by us as a mode of genuine information about our world. This relationship between subject and object is clear in our awareness of the modern age of data-tracking and targeted advertising. Thus, One must consider When Truman steps out into the 'real' world that it demonstrates his emotional turbulence as represented by a doorway into pitch black darkness potentially alluding to the idea that Truman is entering into the allegorical unknown or even the dystopic reality of our world. We are made aware of this phenomenon when we consider the extent to which our reality is actually that different to Truman’s since our every move is tracked, quantified and to some extent shaped by the developing response of the media with which we engage and whose motives are nebulous and often potentially counter our own. Christofs identity  The mise-en-scene, clearly lifted from mid-century television shows makes the allusions to ‘It’s a Wonderful Life’ and ‘Leave it to Beaver’ unmistakable and we can clearly see that Christof’s vision has been informed by television itself. Seahaven is not a real place but a constructed vision and as a consequence Truman’s life is also a manufactured experience despite Christof’s assertions that “there is nothing fake about Truman himself”.  Suggests Christof’s awareness of the world, his own identity, is the product of his television upbringing. Ironically, he is the product of the Hollywood machine, as much as he now drives it upon Truman. His awareness of the world “as it should be” is as much a yearning for a false narrative of life, one that’s perfect and ‘middle-small-town-American’, and is as false as anything Truman experiences, as driven and informed by Hollywood culture-making and greed, and as conservative and limiting on minorities as anything from the stereotypical cliches of TV.  weirs nomenclature (Comprehensively, Christof true identity is exposed in the climax when simeon proclaims “God sake, Christof, the whole world is watching. We can't let him die in front of a live audience!" as the audience see

Christof turn from a benevolent character to a malevolent figure revealing the faults in his own identity as proclaims. Here, we see the sinister side of Christof in full force as he would rather kill Truman then stop making money, we see he only values and identifies Truman as a commodity.) 1. A DAY IN THE LIFE J-cuts - brings us across the ontological levels, contrasts the authenticity of truman's identity and the constructedness of the actors (ironic, because they are both themselves but also their characters)persistent close ups, allow us to see the character and to orient ourselves with their identities"it’s a noble life" that diction of noble - that everyone else's experience trumps Truman's, perhaps suggests that what they're doing is 'loving'; they're nurturing truman"his world is in some senses counterfiet, but there's nothing fake about Truman himself""it isn't always shakespeare" indeed, what is the value of The Truman show? Day 10, 909 The light falling is absurdist - Truman's complication. Suddenly the world no longer makes sense, inviting his quest to make sense of it and ultimately uncover its falsehoods.-->It's accompanied for us by a falling sound - a fake, cartoon whistling, like a wylee coyote cartoon. It's clearly fake and invites to question what is our level of ontologyPerfect mis-en sceneThe shots of Truman and the ads, when bailed up by the twins.-->'Authentic' narrative of employment, which compels Truman's behaviour. When he complies is this true or fake? Sym bol: Wat er

This is the symbol for Truman's fear and triumph. Made to fear water by father drowning, he is kept on the island by this fear. He sails to freedom (Santa Maria), and walks on water. SYMBOL

Motif: Stripes

Quote: T "And in case I don't see ya', good afternoon, good evening and goodnight !"

This line is used three times - the first to show how Truman is trapped in "utopia" and how commercial his life is. The second is when he says the beginning and the neighbour finishes it, proves his life is monotonous and repeatitive. The third is to show that Truman has broken free and is mocking Christof's domination. DIALOGUE This shows his "perfect" suburban life. This line is repeated 3 times in the film. At the beginning of the film Truman says this to his neighbours to be friendly. The second time he says it when he is beginning to be suspicious of his life. At the end of the film he repeats the line again before he leaves the show to mock Christof and the life that has been built for him

Stripes represent Truman's metaphorical prison. The motifis used frequently e.g. blinds at the dock, stripes on clothing. Te connotation is that Truman is trapped in Seahaven. When he escapes he is wearing solid colours free of stripes. COSTUME.

Truman's story is one of self-actualisation, of asserting one's humanity purely on one's own.When Christof speaks to Truman just before he leaves Seahaven for the unknown world outside, Truman's second question is the age-old one, asked by most people at some time in their lives: "Who am I?" Christof's answer is the answer of a media mogul: "You are the star." And so – in the language of philosophy – the existential question of who he is and what he is doing in this world is replaced by the ontological issue of whether to accept the given identity of a star in an obviously contrived milieu, or whether to assert his individuality and free will by choosing to live in freedom.-->Truman is shown questioning the world he lives in and trying to determine just where he fits in – the journey of discovery most thinking people make as they grow up. The flashbacks and the present time action show Truman trying to assert his individuality, being knocked back and lied to:

  

 

When he climbs the rocks: Why? What's over there? / KIRK: Nothing. It's dangerous, that's all. You've got to know your limitations, Truman. In school: I'd like to be an explorer. Like the great Magellan. / TEACHER: Oh, you're too late. There's really nothing left to explore. Meryl – a baby should be an adventure enough. You want to be an explorer... This'll pass. We all think like this now and again. Let's get you out of these wet clothes, huh? And into bed. [She uses sex to try to distract him from the pursuit of his real self.] His mother uses guilt against him: But I never blamed you, Truman. And I don't blame you now. Marlon mocks his suspicions: That's a lot of world for one man, Truman. You sure that's not wishful thinking?

His battle is a metaphor for the way people need to conquer their fears to achieve their goals, the sea a metaphor for any of the obstacles in their way.

2009 The Truman Show is shaped by the sense of self of its significant characters. Select ONE significant character in the film and explore the impact of their sense of self. 2010 How does the opening scenes from The Truman Show introduce us to the important ideas of identity in Weir's film? In your response, make detailed reference to your prescribed text. 2011 Discuss how Weir's perspective on identity is conveyed in The Truman Show. In your response, make detailed reference to your prescribed text. 2013 The Truman Show presents the reader with a powerful exploration of the impact of personal choices on identity. How does Weir achieve this in his film? In your response, make detailed reference to your prescribed text. 2015 How does Peter Weir’s The Truman Show portray interesting ideas about identity? In your response, make detailed reference to your prescribed text. 2016 Explain how The Truman Show invites us into a different world and broadens our understanding of personal and social identity. In your response, make detailed reference to your prescribed text. 2017 It is not only the subject matter but also the narrative point of view that makes Weir's film unsettling. Discuss this statement making detailed reference to your prescribed text's exploration of identity as a thematic concept. 2018 The complexity of human relationships is central to the formation of personal and social identity in The Truman Show. To what extent do you agree with this statement?...