For example, Michael conflicts with the rest of the family while discussing his relationship with Sarah after Diane’s passing.
Polley creates a distinction between universal truths - which are accepted by all as fact, and subjective truths which can vary on individual interpretations. One definition characterises it as the burden of confirming with fact or reality, and with this in mind it becomes easier to appreciate and analyse the intricacies of Stories We Tell. Before exploring Polley’s depiction of the truth, it’s important that we fully understand what the truth is. The idea of the truth, and what comprises it is a constant question being answered through the documentary. NB: I have used ‘Sarah’ when discussing Sarah Polley as a character, and ‘Polley’ when describing her as the director. The film is comprised of interviews with Diane’s loved ones, home movies from the Polley family, extra-diegetic newspaper clippings, recreated Super 8 footage and excerpts from other productions - all of which contribute to Sarah’s inquisition into the notion of truth, and demonstration that how a story is told can shape how it is received. While she endeavours to understand who her mother Diane was and finally learn the identity of her biological father, Director Polley also poses a number of questions to viewers surrounding the nature of the truth and the importance of stories in our lives. Stories We Tell centres around director Sarah Polley attempting to piece together her family history. This emphasises how he didn’t understand wastage or frugality even from a very young age, unlike Vladek. Art reflects on this whilst talking to Mala about when he would not finish everything his mother served, he would “argue til I ran to my room crying”. As a child of Jewish refugees, Art has not had the same first-hand horrific experiences as his parents and in many instances struggles to relate to Vladek’s stubborn and resourceful tendencies. Intergenerational GapĪrt constantly ponders how he is supposed to “make any sense out of Auschwitz’ if he “can’t even make any sense out of relationship with father”. Spiegelman also gives insight to readers of a memory of his mother where she asks if he still loves her, he responds with a dismissive ‘sure’ which is a painful reminder of this disregard. He believes he is partly responsible for her death, due to him neglecting their relationship. Art feels that people think it is his fault as he says that “They think it’s MY fault!” and in one panel, Art is depicted behind bars and that “ has committed the perfect crime“ to illustrate that he feels a sense of guilt in that he never really was the perfect son. It is not only Anja’s guilt that is depicted, but also Art himself who feels partly responsible.
0 kommentar(er)
