The by the Palestinian who is trying hard

The Employment of Language of
Silence at The Time That Remains.

 The many silence clips in The
Time That Remains contribute giving the viewer the ability to look deeply at
the dimensions of the scene, whereas silence attracts the audience
to focus on the actor’s facial expressions and his movements. Thus, he can dive
deep into the scene to recognize what the filmmaker says about himself or about
others. Besides, there is a glorious desire to listen to the other, not by the ear but by the whole body and with complete attention. In The Time That Remains
Elia Suleiman has employed the silence language to reflect the painful reality the Palestinian lives, and to leave a
mark to think about later. The absence of sounds does not diminish or
obstruct the idea of the film because the image and the authentic feeling,
which success when the filmmaker who has lived the authentic experience he is
the actor,  like Elia in The Time That remains, can increase the importance of the film in the sense and subject. ” One image is worth
ten thousand words,” says the Chinese proverb. The language of silence
hides in its deep and symbolizes the meaning of darkness and confusion that
Palestinians live. That is what Elia has tried to expose to the audience
through his film The Time That Remains. Employment of silence as an alternative
language has served Elia to reveal the violence that
Palestinians (as Elia) suffer because of the heinous practices of occupation ,
to explain the alienation and absurdity experienced by the Palestinian who is
trying hard to communicate with the others and aims to achieve something to his county , and to prove that language of
silence is a real communication as words regardless of its effects. 

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 Elia Suleiman has employed
the language of silence and stay silent throughout the film because he wanted
to express to the Palestinian and the international audience the violence of the Zionist occupation that the Palestinian face. Since he
was a child he did not speak a single word , Even when the teacher rebuked him
when he said ” America is an imperialist ” he remained silent, this
explaining that violence has not only been perpetrated by killing and arrest,
but also by education in schools which are controlled by the occupation to instill fear in
children since childhood . The practiced violence against Elia as a Palestinian has been translated into silence, even in
situations that require shouting and crying, as
happened when police arrested his father in front of him, he did not react in a
normal way like any child does. Not because he has nothing to say but because
staying silent will make the audience think that there is something
wrong. As Patrice J . Proulx references “Warner-Vieyra’s textual inscriptions of silence and violence evince this ” concern with women’s silence ” and, through
their figurations of muted bodies and voices, engage her in the ongoing
struggle to articulate women’s stories” (707 ). This quote which is associated with women’s silence due to
violence corresponds to Elia’s silence due to the occupation. When women are subjected to violence, they stay silent.
Women’s silence in positions that require expression and objection is
an evidence that they are wounded. Thus, Elia’s choice to stay
silent in his film
is the best way to express the violence he is living. 

In addition, Elia’s employment of
silence in The Time That Remains states the case of alienation and absurdity
that he has lived. His silence told us that he suffers from alienation, he is
in his land and among his family, but it is difficult for him to communicate
with the others, he stays silent, cannot speak and feels alone, and lives in a
land he does not own. The reason for alienation is the occupation and the
obstacles it establishes, which makes the Palestinian is alien in his country
through checkpoints and the wall that blocks  them from moving freely in their land.
Nevertheless, These barriers according to Elia have been changed from physical barriers to psychological barriers. The
alienation that he is living makes him cannot speak and stays silent even with
his family. That’s clear even after he passed the wall, he remained silent.
This indicates that his alienation has become a psychological problem that he
can not solve or control. Through silence, he told the audience that he is alienated, and the Palestinians are alienated in their land. Therefore, if he used words and spoke
normally it will be difficult for him to convey the idea of alienation, and the
viewer will not feel that Elia is alienated. Brightman contends that silence
is a symbolic work about alienation because it breaks down into a series of
discernible metaphors due to its defect  (5 ). In supporting of Brightman
of Elia’s choice to employ silence to convey the idea of
being alienated, Stein declared in one of his articles about the absurd drama
that : 

The playwright, by introducing
silence, deliberately violates the theatrical canon. Total silence would be
death to drama. But the silent character (who is, in part, a symbol of death )
becomes the play’s dramatic focus. He is the anti-hero against whom all other
characters pit their strength. Silence operates on many levels in these plays.
The authors are concerned with portraying the alienation of individuals, the breakdown of communication
and the disintegration of language itself. Underlying
the gaps in conversation and the meaningless repetition is the universal,
metaphysical silence, the inexplicable abyss (424 ). 

Silence in this sense in The Time
That Remains is experienced as a powerful buffer between
Elia and his society. Silence may create a buffer zone from the usual busyness
with which we are surrounded, we can at any moment choose to be silent for awhile and thus create a space for ourselves in which we can
practice purposeful alienation. Moreover, his silence plays a crucial role to
show his absurdity, the viewer can see in The Time That Remains that Elia is an
absurd person, he has nothing to accomplish, with no goal in his life, does
not resist, and does not seek to achieve or complete any work. He just
stays silent and observes what the others do. This seems clear through the last
scene in the film when he set on the seat in the hospital watching and
listening to what people do and say. “Her repetition of the phrase emphasizes the absurdity of the situation: she has
nothing to say to the audience, whose attention she demands” (Ferguson, 41
). As the repetition emphasizes absurdity Elia repeated his silence and
insisted to stay silent.

 Regardless of what Elia meant
by using the language of silence, he should prove that silence could be a
language in the film. ” Silence could make sense after all: it’s been communicated. The polar personae of the
two women, locked in a baleful embrace, cancel each other out dramatically ”
(Brightman, 9 ). Brightman here proves that not just words can make sense, also
silence can. Someone may speak hundreds of word trying to make someone else
know what he intends, but he might fail, however, through moments of silence
with feeling and expressions the other can get what he meant.  Elia wanted
to make the audience understand what he wants,
what he feels, and what he says. He did not find these words which can be enough to express his
thoughts and feelings, therefore, he used the silence. There is no stronger
evidence than the great Charlie Chaplin’s successes since the cinema began,
which was a silent cinema, nevertheless, the ideas and lessons that Charlie
Chaplin wanted to deliver were realized. Despite that silence has sense,
sometimes the actor might fail to embody it, then its embodiment, in this case,
will lead to some clear effects like emptiness, boredom, and lack of
transcendental. Silence is a mutual language between all human beings, the
language of silence can overcome all languages because silence comes out of the
sense, it does not require interpreting, perhaps this
was one of Elia’s motives for employing the language of silence. In one
language, which is the silence language, he managed to convey its feelings to the audience of different nationalities and different languages. He did not
abide by a certain speech-language, like English or Arabic because he did not
want the interpreter to translate the sense of what Elia wanted to say, but
Elia wanted his sense to make so. Ankerich declares what one of the
stars of the silent film says about his experience of silent films :

 Tovar appeared at Fox in small roles in The Veiled Woman and Joy
Street with Lois Moran. ” I liked Lois a lot. She thought it was cute that
I couldn’t speak English. I was trying so hard. I had an interpreter who told
me what I was supposed to do. Since it was silent
films, they told me to say whatever I felt like,. So
I did . ” silent films were wonderful because you did not have to worry
about your dialogue and could say anything (221 ). 

Elia expresses what he feels without a need for words because what
the Palestinians feel due to occupation, Words cannot describe. The concepts of
violence, alienation, and absurdity are wide, and each concept needs a single
character to act their property in the film. In consideration, that Silence is
a mutual property between these concepts, Elia concern it to convey his idea
about these concepts in The Time That Remains.

 

 

 

Works Cited.

 Ankerich, Micheal G. “The Sound of Silence”. McFarland, 1998.

 Brightman, Carol. “The Word, The Image, and The”Silence”.”
Film Quarterly, vol.17, no. 4, 

               1964, pp
3-11.

        

Ferguson, Helen. “Silence and
Shrieks: Language in Three Films by Kira Muratova.” The    

    Slavonic and East European Review, vol.83, no. 1,
2005, pp. 38-70.

 

Proulx, Patrice J. “Inscriptions of
Silence and Violence in the Antillean Text: Reading Warner-

       Vieyra’sJuletane and “Sidonie” ” American Association of
Teachers of French, Vol. 70, 

              No. 5 (Apr.
1997), pp. 698-709. http://www.jstor.org/stable/398423

              Accessed:
20-12-2017 10:37 UTC 

 

Stein, K. F. “Metaphysical Silence in Absurd Drama.”
Modern Drama, vol. 13 no. 4, 1970, pp.          

423-431. Project MUSE, doi:10.1353/mdr.1970.0023.

 

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