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Good morning/afternoon, my name is Mark Baker, and today, I’d like to proportion with you my understanding as the couple a composer and responder, not and nothing else of history and memory, but their representation, and the excess of challenges this presents. As demonstrated in my acknowledge work The Fiftieth Gate, in Margaret Atwood’s uncommon The Blind Assassin, and in Michael Gondry’s film Eternal Sunshine of the Spotless Mind, representing recital and memory is a process surround by the inherent bias of the composer’s purpose, the offence of multiple ethical dilemmas, and the ultimately inadequate nature of these two variant yet intrinsically linked ways of intellect the past.
Perhaps the most instantaneous challenge involved in representing history and renown is that of the composer’s innately subjective purpose. Fundamentally shaping the meaning of a body through deliberate choices in form, selectivity, and turn of expression; the writer’s underlying aims summons to contest us to question the reliability of a representation and its relationship with objectivity. In The Fiftieth Gate, the dubious nature of purpose is saliently exemplified end the examination of Hermann Mller’s profession in Gate Nineteen. This declaration is characterized ~ dint of. a strong tone of remorse, thus far it’s juxtaposition against an accumulation of emotive images (“a child left falsehood helplessly”) and other eye-witness accounts positions readers to see such guilt as a product greater amount of of self-preservation than genuine maxim. In one sense, we are shown that Mller’s representation of chronicle and memory is shaped by a aspire after to establish his innocence. However, watchful readers will soon recognize that like a reading of the text is in performance contrived, an intentional product of my have subjective purpose: to generate sympathy for Mller’s victims rather than according to Mller himself.
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