Download (12MB) - University of Salford Institutional Repository
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captivating them through the spellbinding narration of Siddhartha's life, hi this respect, this chapter's view is that the narrative choice of leaving undetermined the issue of reincarnation represents the film's ideological basis of promoting recognition of the universal values per se inherent in Buddhist principles, as it places an emphasis on them rather than on the religion's central belief in reincarnation. This interpretation is supported by the fact that the character eliciting the strongest forms of viewer attachment within the film's real world narration is not Jesse, despite his sustained screen presence, but Dean, to whom the narrative gives the role of embodying Western perspectives with regard to Buddhism. A viewer's 'perception of narrative action' occurs 'through identification with subject positions instantiated by characters' (Smith M., 1995: 78) and in Little Buddha, Dean's character plainly expresses a developing knowledge and respect for Buddhist traditions, concern for the oppression caused by the Chinese government in Tibet, and scepticism concerning the principle of reincarnation; consequently, these cognitive and intellectual traits merge into a "person schema' that viewers can easily recognize (Smith M., 1995: 82). Besides this, close alignment with Dean is created by giving viewers access to the character s feelings in the aftermath of his colleague's suicide and to his anxiety over possible bankruptcy; consequently, viewers broadly empathize with the character's diminishing self confidence. The turning point is Lama Norbu's serene comment of 'Why should you?' at Dean's declaration of disbelief in reincarnation, because while it distances the Western culture shared by the character and by most of the film's viewers from any commitment to believe, it elicits an interest in knowing more about Buddhist principles to make an informed evaluation of their worth. Dean's encounter with Buddhist culture is experienced primarily through Jesse's innocent gaze, since his curiosity about a different existential dimension becomes contagious, hi this context, the story of Siddhartha's life, which derives its momentum from the reading 262
of a children's book, takes on a precise meaning in terms of the way it represents Bertolucci's attempt to induce viewers to adopt the same docile attitude towards the marvellous that typifies childhood. In the film's structure, therefore, Jesse represents a second 'engaging character' with the task of embodying the metaphorical door through which viewers enter the film's imaginative segment, and then the medium through which they might cross the boundary between reality and imagination when the mise-en-scene slowly merges the two narrative segments by having the children from the film's present day narrative continuum (their position mirroring the viewer's position) become physically involved in Siddhartha's astonishing tale. Consequently, the disappearing demarcation line between the two narratives ensures that the sense of wonder and spiritual awareness elicited by Siddhartha's narrative eventually pervades the film's contemporary realism. The use of archetypes to engender intellectual inferences; Buddhism, Greek mythology and Christianity Unlike the whimsical fantasy imagery that appears in mainstream, commercial cinema, Little Buddha makes use of archetypal imagery designed to stir viewers' most intimate (though forgotten) desires and needs. An archetype, in fact, involves a deeper emotional experience through its fundamental, intercultural links to primordial images expressing human wonder about life and its phenomena. Little Buddha draws on three primary patterns: the child symbolizing a new beginning that is open to all possibilities; the hero/saviour symbolizing potential changes in world orders; and the supernatural symbolizing the divine or special nature of the hero - indicated in the film by trees spontaneously bending towards Siddhartha's mother to shelter her during the baby's birth and by a cobra that grows to giant proportions and rears its head to protect Siddhartha from the rain. The use of archetypes with their resonances might explain the mise-en-scene^ effectiveness in cueing visual amazement as well as intellectual involvement. This is also due 263
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- Page 243 and 244: Gaut, B. (1999) 'Identification and
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- Page 259 and 260: is conveyed by Port's bleak awarene
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captivating them through the spellbinding narration <strong>of</strong> Siddhartha's life, hi this respect, this<br />
chapter's view is that the narrative choice <strong>of</strong> leaving undetermined the issue <strong>of</strong> reincarnation<br />
represents the film's ideological basis <strong>of</strong> promoting recognition <strong>of</strong> the universal values per se<br />
inherent in Buddhist principles, as it places an emphasis on them rather than on the religion's<br />
central belief in reincarnation. This interpretation is supported by the fact that the character<br />
eliciting the strongest forms <strong>of</strong> viewer attachment within the film's real world narration is not<br />
Jesse, despite his sustained screen presence, but Dean, to whom the narrative gives the role <strong>of</strong><br />
embodying Western perspectives with regard to Buddhism. A viewer's 'perception <strong>of</strong><br />
narrative action' occurs 'through identification with subject positions instantiated by<br />
characters' (Smith M., 1995: 78) and in Little Buddha, Dean's character plainly expresses a<br />
developing knowledge and respect for Buddhist traditions, concern for the oppression caused<br />
by the Chinese government in Tibet, and scepticism concerning the principle <strong>of</strong><br />
reincarnation; consequently, these cognitive and intellectual traits merge into a "person<br />
schema' that viewers can easily recognize (Smith M., 1995: 82). Besides this, close<br />
alignment with Dean is created by giving viewers access to the character s feelings in the<br />
aftermath <strong>of</strong> his colleague's suicide and to his anxiety over possible bankruptcy;<br />
consequently, viewers broadly empathize with the character's diminishing self confidence.<br />
The turning point is Lama Norbu's serene comment <strong>of</strong> 'Why should you?' at Dean's<br />
declaration <strong>of</strong> disbelief in reincarnation, because while it distances the Western culture shared<br />
by the character and by most <strong>of</strong> the film's viewers from any commitment to believe, it elicits<br />
an interest in knowing more about Buddhist principles to make an informed evaluation <strong>of</strong><br />
their worth.<br />
Dean's encounter with Buddhist culture is experienced primarily through Jesse's<br />
innocent gaze, since his curiosity about a different existential dimension becomes contagious,<br />
hi this context, the story <strong>of</strong> Siddhartha's life, which derives its momentum from the reading<br />
262