Great morning/afternoon, i am Mark Baker, and today, I'd like to share with you my personal understanding while both a composer and responder, not only of history and memory, but their representation, and the plethora of challenges this presents. While demonstrated in my own job The Fiftieth Gate, in Margaret Atwood's novel The Blind Truand, and in Jordan Gondry's film Eternal The sun of the Clean Mind, which represents history and storage is a method beset by the inherent tendency of the composer's purpose, the provocation of multiple moral dilemmas, plus the ultimately insufficient nature of such two divergent yet intrinsically linked ways of understanding the previous.
Perhaps the many immediate problem involved in which represents history and memory is that of the composer's innately subjective purpose. Fundamentally framing the meaning of a text through deliberate choices in form, selectivity, and style; the writer's underlying aims challenge all of us to problem the reliability of a representation and its marriage with objectivity. In The Fiftieth Gate, the problematic character of goal is saliently exemplified through the examination of Hermann Müller's accounts in Door Nineteen. This declaration is characterized by a solid tone of remorse, however it's juxtaposition against an accumulation of emotive images (" a child remaining lying helplessly”) and other eye-witness accounts positions readers to perceive this sort of guilt as a product associated with self-preservation than genuine belief. In one feeling, we are shown that Müller's representation of history and recollection is shaped by a aspire to establish his innocence. However , attentive readers will soon recognize that such a reading with the text is in fact contrived, an intentional merchandise of my subjective goal: to generate sympathy for Müller's victims rather than for Müller himself.