Despite the innocent gesture in comparison, some elements of the original imprisonment are noticeable in that of Miranda. Besides inflicting physical injury upon Miranda and binding him with tape and rope, she merely breaks his skin when she fires a warning shot. However, she retains some similarities between the two cases of entrapment. She does not invoke starvation, electrocution, or rape, despite common implications of what justice is. While it can be argued that Paulina does not achieve balance, the film is understood to convey the concept of unjust treatment through positivity. By treating the doctor more humanely then she has been treated, she acquires revenge. Miranda is unjust according to the seemingly prevalent “eye for an eye” philosophy. This theme is pivotally displayed when Paulina, in private with Gerardo, describes the manipulation and savage rape she had faced. This is a recurring theme in the film and (most likely) the production, repeatedly showing and describing unjust punishment. The limited bondage that Paulina invokes and her response to Geraldo’s accusation represents a lesser degree of pain, both physical and mental, than that to which she has been subjected. The speech she refers to is by proxy of her husband, whom she allegedly regards as an able attorney. Miranda is being tortured denotes an ignorance of morality, which she claims is fairer than Miranda’s due to his allotment of speech. Her failure to react to her husband’s diplomatic allegation and her failure to acknowledge that Dr. Gerardo tells Paulina that she can’t torture the doctor even if he is guilty, to which she responds sarcastically, asking her husband if he calls this torture. Being a lawyer, he acts as a buffer between Paulina and Dr. Her husband Gerardo, a prominent lawyer, is a balanced voice of reason in both the play and the movie. Miranda, the man who questioningly held her captive and raped her, inflicting suffering upon him and even threatening to shoot him. The character Paulina attempts to bring a Hammurabian justice to Dr. While the dialogue-based work derives its basis and motives through politically-charged periods in South American history, the characters and their specific situations are highly fictionalized.Īlthough most of the violence is indirectly gleamed within the script, this work is unique in the multiple layers of violence it portrays. One example of this is Death and the Maiden, a play written by Ariel Dorfman and subsequently adapted into a film by Roman Polanski. However, a number of works simply employ a fictionalized perception of historical figures or events, with their implications as inspiration. As this is arguably the inspiration for most mythology, this will not be discussed in this text. Many South American works, such as Night of the Pencils, were inspired by these conflicts and feature protagonists modeled after or portraying historical figures. Historically, much of the violence within the arts has stemmed from unease of a political nature. However, the comparison to direct violence is subjective. It can be argued that glimpsing at these violent acts via memories or flashbacks has a greater impact and allows one to embody the portrayed feelings more accurately due to the nature of the words applied. Either in print or act, some works illustrate direct violence while others simply allude to it. Throughout South American art, violence has been depicted in many forms. Death and the Maiden: Brief Look at Violence in the Film
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