There are no huge ups and downs in the plot, but each and every small contradiction is attractive enough. From the perspective of the director's concept from the subtle lens, this is definitely an excellent play! In my eyes, the core of the plot is still the generation and suppression of hatred, which directly reflects the outbreak of World War I. On the one hand, under serious class rule and patriarchy, conflicts are resolved with inherent relationships such as priests and barons, while on the other hand, conflicts are resolved with children's simple but somewhat limited sense of justice. The latter is suppressing hatred with hatred, an idea that, like the outbreak in Sarajevo, may have come from a passion. In this system everything is rigid, because the visible failure of the former makes us expect the latter, because measures generated from within to reconcile contradictions only make the existing layers clearer, so we The latter remain sympathetic. But the tragedy is that we have no way to escape the shackles of the former. The choices of different people (naivety, punishment, escape) can conceivably intensify the problem, and even make the originally solid but peaceful village a microcosm of war. In the end, everyone sat neatly under the church, but the priest forgot his promise to the bird of liberty for his own lust and berated the naked accusation. People go back to their lives willingly, obeying priests and order.
The political economy regulation: the case of the British Factory Act and unproductive workers and state repression and the comments by Makoto Itch (2021) are related articles I read recently that made me understand the gender perspective of political economy and the comments are influenced by them Great inspiration.
View more about The White Ribbon reviews
