The essential purpose of any text is to teach one about the ontological (self) and sociological (world). Arthur Miller, in his 1953 play The Crucible, explores the political and social consequences of the argumentative ‘Cold War’ period in American history when the common fear of communism arose. John Pilger’s political documentary Breaking the Silence: Truth and Lies in the War on Terror (2003) provides a critique on the American government’s manipulation of power dynamics to instigate fear within society through the media’s portrayal of terrorism. Jonathan Demme in his 1993 film ‘Philadelphia’ presents the impact political acts can have on societal groups, in this case, homosexuals. All composers manage to teach us about the ontological and sociological through exposing the flaws of their societies. The issues exposed in these texts include society’s demand for obedience and conformity, as well as the discrimination and repression of different societal groups. Both texts manage to represent the demand for political engagement through the issues exposed surrounding the social and political contexts.
Texts present us with depictions of societies and individuals whose lives are affected by the pursuit of political engagement. Throughout the Crucible, Arthur Miller uses the Salem witch trials of the 1690s as an analogy to represent a conflict of two parties in the cold war, USA and USSR. The Salem Witch Trials are a major historical example of injustices as a result of society’s demand for conformity, and Miller compares this to his experience of injustice in the cold war. Miller himself, was a victim of McCarthyism in that he was accused of communism in the 1950s, and through the crucible, he represents his political perspectives of his society. Miller used the form of a play, to allow audiences to visualise the corrupt political world in which we live. Miller’s characterisation of Reverend Parris as religious authority draws upon irony and animalistic imagery as he values his position of power and reputation over moral and legal justice – ‘they will howl me out of Salem for such corruption in my house’. Through the use of metaphor in ‘[Elizabeth Proctor] is a bitter woman, a lying, cold, snivelling woman…she is blackening my name’, Miller reveals Abigail’s true motives in seeking liberty from John Proctor, as he repeatedly rejects her affections. Abigail is a central character in which Miller uses to portray the impact of political corruption. Her resentment of Goody Proctor and the accusations that result, contextually reflect Senator McCarthy’s blacklisting, by which media melodrama increased public insecurities and paranoia, pressuring members of society to conform to government dictatorship. Miller, essentially, represents political engagement as a surrendering of moral and legal justice to fulfil personal agendas.
Society’s demand for conformity and its detrimental consequences is mirrored in Pilger’s documentary, as he represents the American government as manipulative, and their actions unlawful. Disturbing montages of Kabul showing the destroyed buildings and infrastructure, as well as active US bombs which remain in public areas, demonstrate the destructive nature of the American pursuit of dictatorship and power. The moral degradation of the American government is demonstrated in Pilger’s statement ‘those in power speak endlessly of their conquests and of endless war’. Pilger concludes, ‘the alternative is the conquest of us, of our minds, our humanity and our self-respect. If we remain silent, victory over us is assured’ – to demonstrate the widespread impacts of the demand for conformity, though asserting that individuals must recognise the dangers of authoritative political power through the use of collective pronouns. Pilger ultimately demonstrates the detrimental nature of people with political power through a representation of the American government and military power as power-hungry and manipulative, as the media incites fear amongst society. Similarly, in Johnathan Demme’s Philadelphia, the portrayal of society’s homophobic nature allows for a truthful representation of the political desire for dominance. Demme uses foreshadowing, “No Justice, No Peace” on an elevator door, to present to the viewers in the start of the film that there will be a major political conflict in the near future. Demme’s characterisation of Charles Wheeler as the CEO high profile law firm portrays to the audience, the notion of authority. “Andy brought AIDS into our offices, into our men’s room… to our goddam family picnics.” Through the use of dialogue, Demme creates an assertive, powerful character, whom is reflective of Reverend Parris. Throughout the film, there are many rallies and protests in which signs are held up, “AIDS cures homosexuality” and “Adam and Eve, not Adam and Steve”, as a result of one person’s reluctance to conform and abide by society’s values. Both composers have a dramatic purpose to unveil the true motivations behind political regimes and their impacts on both individuals and societies.
Representations through texts expose the extent to which societies and individuals can suffer the consequences of political engagement. Miller effectively exposes the discrimination and repression of societal groups in his context through the crucible. The genre of the play is considered to be a tragedy, which allows the audience to sympathise with innocent characters which such as John Proctor and Rebecca Nurse. Aristotle’s defines a tragedy as a text in which the central character is a tragic hero, John Proctor, who has a flaw, which eventually leads to his or her death. Miller manipulates language devices to develop characters, such as John Proctor, that embed values reflecting his political perspectives of society. Miller, through Proctor, also demonstrates that no discrimination or repression can overcome the purity and power of the individual conscience. The stage direction and symbolism of his, “His breast heaving, his eyes staring, Proctor tears the paper and crumples it, and he is weeping in fury, but erect” perfectly points out Proctor’s resistance to conform to a society of discrimination, regardless of the consequences.
The pursuit of authority and its detrimental consequences is mirrored in Pilger’s documentary, whereby the governments’ decline of human rights allows for a truthful representation of America’s desire for worldwide supremacy and arbitrary power. A graphic montage depicting American soldiers committing acts of massacre upon Iraqi civilians, contrasts with the optimistic voiceover of President George Bush’s promise to ‘bring the Iraqi people food, medicine, supplies and freedom.’ The subtle use of irony demonstrates the differences between American justification for ‘war’ and the reality of events that occurred in Afghanistan and Washington, showcasing the lack of morality in the execution of such political regimes. Pilger’s commentary asks rhetorical questions – ‘What are the real aims of his war, and who are the most threatening terrorists?’ – to reveal the true motivations of the American government, to gain global dominance and control of valuable oil resources in the Middle East. Much like Miller, Pilger’s dramatic purpose is to unveil the true motivations behind political regimes and their impacts on both individuals and societies. Demme’s ‘Philadelphia’, is considered to be a tragedy in that the central character, Andy Beckett, has a tragic flaw which leads to his death. Demme uses the diegetic sound of a musical aria to dramatize the scene as Andrew Beckett openly expresses how he feels about the injustices and discrimination he is faced with. “Can you hear the heartache in her voice, can you feel it … and in come the strings and it changes everything, it feels with hope… I bring sorrow to those who love me.” Demme’s use of light and dark in this scene, along with a powerful Aria by Maria Callas, allows the audience to sympathise with Beckett’s experience. “As a kid you’re taught that queers are funny… Queers are a danger to little kids… that sums up the general thinking.” Demme’s use of dialogue throughout the film presents to the audience the notion of homophobia and discrimination, and also represents Demme’s perspective on a homophobic society. Much like Miller, Demme presents to the audience that it is the whole society that is affected by the acts of political leaders, in a sense that the ending of the film shows a dying Andy Beckett who is pleased by the impact he had on the world in accepting homosexuals.
As composers are influenced by their social and political contexts, the representation of the relationship between people and politics is essentially subjective. Arthur Miller’s theatrical analogy, John Pilger’s political documentary and Johnathan Demme’s film demonstrate the power of political and social injustices in motivating individuals to pursue their own agendas, causing a political revolution. The nature of meaning is constantly influenced by the composers’ intentions in exploring the conflicting relationship between people and politics.