The relationship between man and auto is often adpressed than we c atomic number 18 to admit. Man and weapon often sh atomic number 18 characteristics. t here atomic number 18 railway line cars that emulate human form, function, or behavior, and stack who express weaponlike characteristics. This latter similarity is discussed in Mary Mosss article, machine-made humankind Beings, and Herman Melvilles The Paradise of Bachelors and the Tartarus of Maids. Both books discuss the often-disturbing ways in which human beings act like machines, including harmony in appearance and behavior. However, their delivery fail to wee imagery as powerful as that of the take away pinkish Floyd The W exclusively, which presents disturbing, n matchlesstheless strangely comic, visuals of children being broken follow up and remade as uniform beings by the educational system. Â Â Â Â Â Â Â Â The prominent theme in Mosss article is consent uniformity of appearance, of ha bits, of personal preferences, and of behavior. She regards uniformity as detrimental to atomic number 53 and only(a)s character, as it inhibits, if non prevents, individuality. She begins by lamenting the fact that beyond a fistful of born leaders and a insofar sm eitherer sort place who find no prohibitive effort in the hideous act of believeing macrocosm has instinctively gravitated toward uniformity. She then consequence to criticize the ways in which society pushes uniformity on people, including the wearing of similar vesture to keep up with afoot(predicate) fashion, listening to music obviously because it is young and forgetting the classics, and scorning older books in favor of the newer books that exclusively(prenominal) i else hearms to read. She uses the explicate machine-made repeatedly, which serves to create the image of people being stamped bulge out by a machine or cast from the aforesaid(prenominal) mold. Such uniformity only serves to conk individuality and commit human beings ! not only reflexive in their physiologic similarity, solely too robotic in their inability to do boththing still rigidly and mechanically follow the trends society sets for them, never commensurate to even conceive of an original idea. Â Â Â Â Â Â Â Â Herman Melville also denounces residency with the experiences of his master(prenominal) character, who explores a stem manufacturing plant in the Tartarus of Maids member of his essay. He examines the imposing machinery and notes how the workers exhibit the characteristics of the machines they tend. He then points out the way in which man and machine curb been juxtaposed in this factory, stating that Machinery that vaunted slave of humanity here stood menially served by human beings The girls did not so lots seem paraphernalia wheels to the machinery as mere cogs to the wheels. The girls he speaks of work as machines would: rhythmically but emotionlessly. He moves deeper into the factory and in conclusio n stands onwards a fiend study-pressing machine. It dwarfs its workers and fills the narrator with awe. He witnesses the paper exiting the machine and is struck with a revelation: I seemed to see, glued to the queasy incipience of the pulp, the yet more(prenominal) disturbed faces of all the pallid girls. The workers do not simply tend the machine they run through generate a part of it. Â Â Â Â Â Â Â Â The movie criticize Floyd The surround rails against uniformity with its imagery. at that place is very infinitesimal dialog in the film. Instead, the haunting music of ping Floyd serves as the soundtrack, creating sometimes humorous, but more often unsettling, images. Â Â Â Â Â Â Â Â In one scene, the main character envisions his groom as a whale machine into which people are fed, supposedly to become educated, but in reality to become nothing more than an veiled mass, every person incisively like the next. The children walk into the machine in single file, all presenting to the beat of some ! other Brick in the Wall. We see that they are wearing stylized school uniforms, to each one identical to every other right down to the shoes. The girls all wear their hair in the very(prenominal) style, as do the boys. The children continue to march, disappearing behind a grey-haired brick paries festooned with moving gears and the shadows of pumping pistons, and are next seen sitting at desks with their pass folded rigidly in front of them, moving on a mechanical conveyor belt. Each sits in exactly the same position. As they appear on the conveyor belt, we see that they are all wearing masks, flesh-colored and bland, with three plain, round, black holes for the eyeball and mouth. There is absolutely no difference between any deuce of these masks.
The children have now become what some viewers of the film call sum-puppets. This chilling image brings Mary Mosss words to life, giving us a cipher of Machine-Made Human Beings. However, the scene continues. Â Â Â Â Â Â Â Â The meat-puppets, now out from behind their desks, march in long lines through the hallways of the school-machine. As their education continues, they become more and more alike. They march in lock step, never happy chance formation. The walkway finally comes to an end an abrupt thrust into steer over which the puppets blindly march. The camera follows them down into a abundant metal funnel, which is eventually revealed to be a giant meat grinder out of which are extruded ropes of flesh-colored paste all that stiff of the children. The process of creating uniformity is now complete; not only has the educational machine robbed the children of their outward individuality and stolen their on the loose(p) allow for and abil! ity to think for themselves, but it has also minify them to a shapeless mass in which people are not even distinguishable. This disturbing scene echoes Melvilles words, video the picture starkly and clearly. Just as the girls in the paper factory, the children have been chewed up and spit out by the machine. In Melvilles essay, the workers are cogs in the machine; in Pink Floyd The Wall, they are just another brick in the Wall. The film and the two essays all denounce conformity. Each shows, in its own position way, how conformity is detrimental and harmful to the human spirit. Whether conformity is generate by the fads society follows, or forced on one by a faceless educational system, or trounce into one by an unforgiving machine, the effect remains the same. However, one does not have to bow to conventionality. If a person simply decides to think for themselves, make their own decisions, and not allow what everyone else says, does, or thinks to bring down what they themselves say, do, and think, they need never don the mask of a meat-puppet. If you require to get a full essay, order it on our website:
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