Distinctively ocular explores how we see and or visualise images in a manner that allows us to go cognizant of assorted facets in society. The drama, The Shoe Horn Sonata written by John Misto and the movie cartridge holder Stupid Girls by Pink, usage distinctively ocular elements to make a sense of consciousness about adult females. Misto’s book wages tribute to the Australian female nurses in WWII, uncovering the worlds of war through the strength and resiliency of Bridie and Sheila. Similarly, the word picture of the ‘stupid girls’ in Pink’s movie cartridge holder, highlight the toxic messages of consumerism aimed at immature misss. She ironically does this by working her famous person position through the media. Both composers place the respondent to oppugn the yesteryear and the media, and recognize what adult female have gone and are traveling through.
In The Shoe Horn Sonata, Misto reveals the ignorance portrayed by the British and Australian authorities towards the adult females held confined in old Singapore. The contrast between the jutting images of the “1942 Singapore” and the concomitant of the loyal vocal ‘Rule Britannia’ emphaises the crackbrained attitude of the British authorities, as their belief towards the Nipponese invasion was seen as surreal. This is farther highlighted when the British province “don’t listen to rumour” . As a consequence of the British’s attitude the vivid images of “burning ships” and “women captives of the Japanese…skin and bone and dressed in rags” place the audience to go cognizant of the selfish positions by the British. Similarly to this, the Australian government’s advice to “keep smiling” ironically implies their nescient position towards the adult females.
This is contrasted with the jutting images of “Prime Minister John Curtain…quite distressed” and “emaciated male captives of war, starving” demoing his concern for the deceasing male POWs. This shows an being of sexism in which Misto places us to go cognizant of this issue, raised during wartime. Misto uses ignorance of the British authorities to demo the strength of these adult females who from the get downing have small support from a supposedly ‘great’ state. Their ignorance becomes another battle these adult females have to get the better of in their journey to freedom. Showing what these adult females were up against, Misto demonstrates the significance of this event in history.
By sing times of adversity, the strength amongst persons continues to turn. Misto presents this through the motive of the shoe horn which becomes non merely a survival tool but a accelerator for the growing of the relationship between Bridie and Sheila. In scene three the shoe horn is physically shown when Bridie and Sheila retell of their endurance in the ocean, in which Bridie used it as a buoyant for Sheila. This is accompanied by the sound consequence of moving ridges which allows the audience to visualise the scene and empathise with the battle they endured. At the play’s stoping, the limelight of the shoe horn is the concluding object seen by the audience, foregrounding the significance of this object, stand foring all memories of the POW camp The ‘Blue Danube Waltz’ accompanies the shoe horn, which symbolises a sense of freedom as it becomes “the music of joy and victory and survival” .
When Sheila uncovers her inhumed past “So I went to the Japs” the shoe horn is revealed as a touchable object, foregrounding her fearful memories of when she sacrificed her virginity to the Japanese. This depicts non merely the atrocious worlds of war but besides the strength of Bridie and Sheila’s relationship as Sheila states “I couldn’t Lashkar-e-Taiba you die and leave me, I wouldn’t have survived” . The shoe horn was besides used as a metronome for the sonata which showed a sense of integrity and strength amongst the adult females, who fought to last “fifty voices set us free” . Misto places the audience to place the agony and trouble these adult females had experienced, therefore become cognizant of the rough worlds of war. However it is through their strength within themselves and as a group that allows them to last.
Conversely to this, Pink uses symbolism to demo the influence of consumerism on the young person and the messages portrayed by the media. In the first scene Pink’s pick of age is used with the small miss stand foring artlessness keeping a Barbie doll meaning consumerism, emphasizes the influence that has already impacted on immature misss. The apposition of the angel and the Satan symbolizes the picks that immature misss face in order to populate a normal life style. In the bowling scene, the stopping point up of the inflatable chests shows the absurdness of the shooting and underscore the focal point on ‘body’ instead than head. This suggests that the media is converting immature misss to move, act and be a certain manner. Consumerism is unsafe as it can take to more serious effects e.g. eating upsets and oversexualisation. Tap places the audience to non merely place this issue but to take action so to forestall this go oning further to the younger coevals.
Like Pink, Misto shows how the ignorance of the British has led to a deathly effect of the adult females being held confined as POWs. The unconvential line of “if merely they had” suggests that if the British had believed the invasion was happening, so they would hold saved more lives. Unlike Misto, Pink uses sarcasm to pull strings the famous person life style to which immature misss look up to. In the binge-eating syndrome scene, when Pink states “I wholly had more than three 100 Calories today, that was so non sexy” followed by the stopping point up of the toothbrush symbolizes the expected manner to free weight, hence organic structure image is seen as a precedence for immature females. By cutting between the sex tape and auto lavation scenes it conveys the oversexualisation of the popular civilization in modern-day society, to which Pink states “she’s dancing in the picture following to fifty cent” .
This suggests that through the actions of female function theoretical accounts, immature misss are influenced to move like a “stupid girl” in order to populate up to society’s outlooks. Therefore Pink places the audience to go cognizant of the false images that these famous persons portray. Like Pink, Misto conveys the battle that these adult females endure in order to last, through the symbolism of the caramel stand foring their lone luxury of nutrient, which Misto places us to sympathize with their battle. This inevitably shows the strength of the adult females captives but besides the strength of adult females who fight to raise consciousness about issues in the modern-day society.
Both texts provide a elaborate analysis on the battle of adult females in the past and in today’s society, positioning the respondent to place with their hurting and agony. Through the usage of distinctively ocular elements, Misto emphasizes the strength of these adult females who fought to last whilst sing the atrocious worlds of war as POWS. Similarly, Pink’s usage of distinctively ocular elements portrays the toxic and false messages the media impose on immature females in order to populate a ‘celebrity lifestyle’ . However both the composers enable the audience to sympathize with these adult females during wartime but to besides take action towards the issue of consumerism amongst female adolescents.