As described in Parts 1, 2 and 3 of this series, from
tree of Life from
Surrounding the dialectic between Nature, represented by Jack's father, and Grace, represented by his mother.
When using Hegel's dialectics to build your script, it's important to remember that your role is not just the idea they represent. They are also human beings, with complexities, contradictions and competitive motives that have nothing to do with your dialectical structure.
In from
Dalesboski from
Dude may represent the hippie's argument, but he is also a character who likes Belarusians and bowlers, and spends most of his time pursuing one of them.
In from
There will be bloodshed there, from
Daniel may represent capitalism, but he is also a person who is eager to connect with his family and a person he can trust. Even Dasvadar loved his son and secretly wanted to overthrow the emperor and rule the galaxy with him.
Personality and dialectics
You can think of the idea that your character represents as a North Star - not the structural role that your character plays in your dialectical structure - to navigate when you build their choices.
If you stare at the sky all the time, you spend most of your time in the trees. However, if you pay close attention to the character's instinctive path and let yourself remember that Polaris guides you when you need it, this dialectical idea will help you find the most meaningful structure possible for your character. journey of.
Grace and nature
What makes the function of father and mother so perfect from
tree of Life from
In addition to representing the dialectical opposition between Grace and nature, they love children more than anything else in the world and want to protect them from suffering.
The problem is that they oppose the idea of how to do this - and in a good Hegel way, their views are not applicable to the universe.
Natural argument
Father believes that the essence of the world is violent and destructive. He is right. That's why he wants his sons to be tough, so that others won't go around them, so they can express themselves as artists and control their own destiny without having to compromise on him.
We have seen this type of role in the movie before. from
Billy Elliot from
, from
Return from
with from
prophet from
- In fact, he even has a typical name: a terrible father.
But Brad Pitt's role is more than just a prototype or a knowledge paper. This is why he cares about him and protects him from clichés. Unlike the terrible fathers we have seen in the past, Brad Pitt's role wants to calm down their children's artistic performance, they just want to cultivate it. He loves his children and embraces his children. He is loyal to his wife and makes sacrifices for his family. His powerful nature is the navigation of the North Star. But this is not the only reason for his existence.
The problem with the father's argument is that it does not completely protect him, his family or his children. His natural course not only did not win his love for his son, but also destroyed his family and Jack's beauty, let his sons oppose him, tear his marriage, and let the brothers fight against the brothers.
Despite his perseverance, he was unable to protect his patents from the courts, nor was he protected from losing his job or protecting his children from suffering. His enthusiasm for failure is only manifested in more violence against his favorite people.
The opposite of grace
When dialectically opposing the father's beliefs, the mother naturally thinks that the world is beautiful. She is also right. That's why she wants to play happily with her sons and love everyone. This is why she injects joy and happiness into her life and her true love for each other.
But her Grace does not absolutely protect anyone. Because she can't stand her husband or protect her child from his violence. Just as the young Jack accused her in an angry moment, she let her husband spread all over her - and spread all over them. Her love cannot protect her child from suffering or death. For that failure, not to get love from Jack, it only makes her angry.
Stay tuned for the last article in this series, where I will discuss how dialectical structures create drums for Malick's fragmented narrative and how to apply these lessons to your own script structure.
Orignal From: Tree of Life Part 4: How to bring life into your script structure
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