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Trumanov šou i Platonova pecina
ono sto ja zelim da dodam, Hrist kao simbol Sopstva, a organizator šoua jeChrist off, nešto što zaklanja svetlost, nešto što je 'isključilo' Hrista
poželjni citati i već gotovi tekstovi, pa da skupim sve na jednom mestu, možda na kraju i u pdf formatu da prevedem sve
Trumanov šou i Platonova pecina
Seeing The Truman Show, one can not escape the temptation of comparison with the allegory of the cave as it is both a narrative and interpretation. With the allegory (as part of The Republic), Plato has given the western mind, and to a large extent the “global thinking mind” a text that examines humanity’s ignorance of truth. The Truman Show is a manifestation of the allegory. Truman’s world is the cave, and our hero Truman (true + man) is the individual who escapes the limitations of the cave. Ironically, the actors in Truman’s artificial world and audiences who follow the show with religiosity are the ignorant masses. Truman is the only one who follows his bliss and answers the call to his archetypal existence. In the climactic scene, Truman, with his boat called Santa Maria, an obvious allusion to Christopher Columbus’s boat and his voyage of discovery, and despite the fear of water, decides to sail to freedom.
The movie is compelling us (those of us who are using our active imagination) to ask a question that Plato offered up in the allegory, that is, are we held captive, viewing mere shadows of particular shapes that are themselves “fake” posing as “reality?” Our hero decides to seek the “real” reality outside the cave. Today in the year 2005, seven years later, one look at the programming permeated in American television, the “second god” for mainstream masses, makes The Truman Show a very strong cautionary tale of the future. All of the so-called reality-based shows that fill the airwaves are attempts at creating a cave, or rather expanding the existing one to keep us ignorant, and perpetuate it for the next generations of men.
We do not see what happens after Truman leaves the cave. To be sure, the comparison stops there. In the allegory when the freed man leaves the cave, he is confronted with the brilliant sun, a metaphor for an archetype, that of goodness. For Plato goodness is the origin of everything that exists, archetype of goodness is one that all of humanity holds as central importance in one form or another. Plato’s hero adjusts to the sun, becomes enlightened and returns to the cave, only to deduct that masses must be ruled by few “learned” elite. The film however, suggests a different deduction. When Truman asks Christof (whose voice comes from up above, like voice of god) “was nothing real?” Christof responds, “you… you are real.” The movie is sending a message to us. That is, we are real, even if our world is manipulated around us by pseudo-democratic governments, CNN, Disney, sitcoms, Microsoft, Apple, professional sports, reality TV, MTV, soulless science, rigid religion, and so on. We can break free.
At the end of the film where Truman and Christof are engaged in a fateful dialogue, Truman responds to Christof’s godlike controlling comments, “you never had a camera in my head.” Truman is a modern day Prometheus, a champion of men against the gods. When he decides to leave Seaheaven Island and exits through the final door, the audiences who have followed him for years, cheer for their Prometheus, for his courage, and defiance. He is a true man.
The Archetypes
In Jungian thinking, archetypes are structural elements of the human psyche. Archetypes are systems of readiness for action, and at the same time images and emotions.” (CW 10, par. 53) Cinema works like a mirror of archetypes and metaphors that are representative of archetypes. The Truman Show presents us with archetypes on two levels, personal and collective. We live in a consumer culture that suppresses the soul and in its expansion (a logical mode for survival of capitalism) creates complexes for members of the culture, us. The Truman Show uses the audio-visual techniques available to project the emptiness of such artificial archetype, and through our hero shows a possibility of a way out.
The archetype of mother goddess that exists in every culture is manifested in different roles, one obvious one being “the mother.” Truman’s real mother is not part of the diegesis, and his “fake mother” is a second tier actor who does not fool Truman for long. Truman is in search of his personal complex and an archetypal image of a woman in his psyche, that is to say, his anima. He finds his anima in Sylvia (an allusion to American poet Sylvia Plath) and not his TV wife, Meryl (an allusion to actress Meryl Streep), who only wears a persona and is not figured as his anima. When Sylvia is taken away by the shadow forces (people in charge of the show) he is left with a lasting powerful image of Sylvia, her eyes. Hegel famously wrote, “eyes are the outer manifestation of soul.” Truman develops an obsession in finding her eyes, that is the images that match Sylvia’s eyes in various magazines. Truman’s only contact with a “real” person gives impetus for a “real” love in Truman’s life.
The Truman Show reminds us that anima mundi is a notion to be embraced. Elite groups who dominate others to satisfy their power complexes muddy everywhere on the planet anima mundi. But if we are true men (and women), whether in the spirit of Plato or Schelling, we are to find our call within the anima mundi. Moreover, the movie reminds us of our shadow. Towards the end where Truman’s defiance has reached its pinnacle, Christof’s shadow dominates and he orders a “maximum intensity” storm to stop Truman from escaping. When challenged by the Network boss, “you can’t kill him live in front of a live audience.” Christof replies, “why not, he was born in front of a live audience.” The man who has worn a godlike persona is willing to play god, Vis-à-vis his shadow.
The movie is compelling us (those of us who are using our active imagination) to ask a question that Plato offered up in the allegory, that is, are we held captive, viewing mere shadows of particular shapes that are themselves “fake” posing as “reality?” Our hero decides to seek the “real” reality outside the cave. Today in the year 2005, seven years later, one look at the programming permeated in American television, the “second god” for mainstream masses, makes The Truman Show a very strong cautionary tale of the future. All of the so-called reality-based shows that fill the airwaves are attempts at creating a cave, or rather expanding the existing one to keep us ignorant, and perpetuate it for the next generations of men.
We do not see what happens after Truman leaves the cave. To be sure, the comparison stops there. In the allegory when the freed man leaves the cave, he is confronted with the brilliant sun, a metaphor for an archetype, that of goodness. For Plato goodness is the origin of everything that exists, archetype of goodness is one that all of humanity holds as central importance in one form or another. Plato’s hero adjusts to the sun, becomes enlightened and returns to the cave, only to deduct that masses must be ruled by few “learned” elite. The film however, suggests a different deduction. When Truman asks Christof (whose voice comes from up above, like voice of god) “was nothing real?” Christof responds, “you… you are real.” The movie is sending a message to us. That is, we are real, even if our world is manipulated around us by pseudo-democratic governments, CNN, Disney, sitcoms, Microsoft, Apple, professional sports, reality TV, MTV, soulless science, rigid religion, and so on. We can break free.
At the end of the film where Truman and Christof are engaged in a fateful dialogue, Truman responds to Christof’s godlike controlling comments, “you never had a camera in my head.” Truman is a modern day Prometheus, a champion of men against the gods. When he decides to leave Seaheaven Island and exits through the final door, the audiences who have followed him for years, cheer for their Prometheus, for his courage, and defiance. He is a true man.
The Archetypes
In Jungian thinking, archetypes are structural elements of the human psyche. Archetypes are systems of readiness for action, and at the same time images and emotions.” (CW 10, par. 53) Cinema works like a mirror of archetypes and metaphors that are representative of archetypes. The Truman Show presents us with archetypes on two levels, personal and collective. We live in a consumer culture that suppresses the soul and in its expansion (a logical mode for survival of capitalism) creates complexes for members of the culture, us. The Truman Show uses the audio-visual techniques available to project the emptiness of such artificial archetype, and through our hero shows a possibility of a way out.
The archetype of mother goddess that exists in every culture is manifested in different roles, one obvious one being “the mother.” Truman’s real mother is not part of the diegesis, and his “fake mother” is a second tier actor who does not fool Truman for long. Truman is in search of his personal complex and an archetypal image of a woman in his psyche, that is to say, his anima. He finds his anima in Sylvia (an allusion to American poet Sylvia Plath) and not his TV wife, Meryl (an allusion to actress Meryl Streep), who only wears a persona and is not figured as his anima. When Sylvia is taken away by the shadow forces (people in charge of the show) he is left with a lasting powerful image of Sylvia, her eyes. Hegel famously wrote, “eyes are the outer manifestation of soul.” Truman develops an obsession in finding her eyes, that is the images that match Sylvia’s eyes in various magazines. Truman’s only contact with a “real” person gives impetus for a “real” love in Truman’s life.
The Truman Show reminds us that anima mundi is a notion to be embraced. Elite groups who dominate others to satisfy their power complexes muddy everywhere on the planet anima mundi. But if we are true men (and women), whether in the spirit of Plato or Schelling, we are to find our call within the anima mundi. Moreover, the movie reminds us of our shadow. Towards the end where Truman’s defiance has reached its pinnacle, Christof’s shadow dominates and he orders a “maximum intensity” storm to stop Truman from escaping. When challenged by the Network boss, “you can’t kill him live in front of a live audience.” Christof replies, “why not, he was born in front of a live audience.” The man who has worn a godlike persona is willing to play god, Vis-à-vis his shadow.
ono sto ja zelim da dodam, Hrist kao simbol Sopstva, a organizator šoua jeChrist off, nešto što zaklanja svetlost, nešto što je 'isključilo' Hrista