Textual form has the ability to differentiate whether or not a text accomplishes an idea the composer is attempting to create. The way in which a composer represents different perspectives throughout texts can have the power to influence and induce their audience to analyse and understand their purpose in a subjective way. Ted Hughe’s famous poems within his anthology ‘Birthday Letters’, Sylvia Plath’s moving poetry relating to Hugh’s, and the contradictory film by Stephen King, ‘The Shawshank Redemption’ are three examples of texts that have conflicting textual form.
Hughe’s articulate and diversely structured poetry regarding Plath and their association encourages the audience to understand the situations within their relationship from his perspective. Hughe’s poem, ‘Sam’ is his version of Plath’s ‘Whiteness I Remember’ reflecting on the memory of a horse riding incident. A variety of techniques are used throughout the poem creating conflicting textual form, including the use of rhetorical questions, ‘Did you have a helmet? How did you cling on? ’Immediately this personalizes the poem as if he is talking to Plath herself.
The tone and emotive language during the poem also intensifies Hughe’s sentiment towards Sylvia. Imagery is used frequently throughout the text, and in conjunction with alliteration, ‘that horribly hard swift river’ reinforces the intensity of the situation and involves the audience by allowing them to visually imagine the scene, dramatising the situation from Hughe’s position. Controversially Plath’s poetry leads her audience to perceive the events and information through her assortment of techniques and conflicting emotions.
A conflict to Hughe’s perspective represented in ‘Sam’ is Plath’s poem, ‘Whiteness I Remember’ conveying her account of the particular situation. Plath’s outlook is very emotional and uses techniques to assist her in portraying the event from her perspective. Metaphor is used in the expression ‘green grass steaming, houses a river of pale fronts’ to suggest a sense of risk or danger assisting Plath to effectively appeal to the emotions and grasps the audience’s attention to imagine the situation.
Different forms of texts have the ability to manipulate audiences including the contradictory film, ‘The Shawshank Redemption’. This film is based on a murder and uncertainty through misleading events which the composer has created to generate conflicting textual form. Through an array of techniques the film has the ability to have power over the audience’s judgement in a subjective approach. Film techniques contribute to the success the film has depicting conflictive perspectives.
The transitional flashback of scenes at the beginning of the film demonstrate the two outlooks of the situation, one presenting the court who believes that Andy Dufresne is guilty of the crime, and the other screening Andy’s version of the situation where he stubbornly proclaims his innocence. Mis-en-scene used during the film conveys a series of conflicting themes, including freedom and imprisonment and respect and insolence. King has created the characters within the film to assist him produce the biased initiative within the text and conflict the audience’s beliefs.
It is not until the end of the film when the key distorted techniques that King incorporates take place, concluding the film, plot and the expedition of the characters that have been shaped to his Kings controlling intentions he is able to create conflicting perspectives. In conclusion it is apparent that a composer’s textual form of any text, whether it may be a film, poem, novel or article is capable of manipulating their audience accordingly.
In studying and analysing both Hughe’s and Plath’s poetry this is even more obvious as the two contradict each other. Although ‘The Shawshank Redemption’ doesn’t relate to the other selected texts directly, all three texts are comparable as they share conflicting perspectives. During the study of these texts the audience can conclude individual perceptions based on the depiction of events, characters and qualities and situations that have been conflicted by the composers, and individually determine the intensions behind the truths.