Comparative Cultural Context

The society of a time indubitably dictates the personality that its inhabitants are
expected to conform to; their behaviour, their morality even their appearance.
The three texts I have studied Children of Men (COM), Translations (T) and The
Road (R) each portrays a different facet of this idea, showing the effects of this
influence on the characters existing within these diverse cultures.
The COM depicts a world that has plummeted into economic ruin and societal
turmoil - a culture on the brink of extinction, where the desperation pervading
the world where women stopped being able to have babies is the driving force
behind Theos and Kees mission. For them, it is the last chance to survive, and
often it is the recklessness spurred on by this desperation that keeps them alive.
This world is similar to the world presented to us in R, except R is further along
the path of economic ruin where all remnants of society have fallen apart.
The cultural context of the Father and son forces them to lose some traits of
humanity is central to their survival within their dystopia. The nightmare that is
their reality leaves them no choice but to conform to the Barren.Silent.Godless.
world, at least to an extent, if they have any hope of surviving. Translations,
though set in a very different setting to the two previous texts, is similar to R and
COM in the sense that the people in these cultures have no control over their
lives.
Translations, while devoid of the anonymity created by the seeming irrelevance
of existence in The Road, or the desperation to extend the lifespan of humanity
in (COM), provides a privileged insight into a culture soon to be oppressed by a
foreign governing body. Translations introduces us to a community that poor but
yet content in the simple lifestyle. Cultures of society can be judged on the
community by which they are represented. All three texts have solid interesting
and telling communities.
The fugees, refugees living in Britain in COM, are terribly treated by the
community. We see them locked in cages in many scenes of the film and their
rights appear non-existent. This illustrates a violent culture that imposes its will
through fear and intimidation. This is similar to the culture in R but not nearly as
gruesome.
The countryside in R is plagued by a plight of cannibals, an even more disturbing
image than the terrible treatment of fugees. Society and social norms have
completely broken down after an unknown natural disaster and now humanity
struggles to survive, so much so that many have resorted to cannibalism. This is
a culture where morals are tested and the lines between right and wrong have
been greatly obscured in the battle for survival. It is a culture where only the
strong survive, those that are willing to do whatever it takes.
We find a very different community in translations where family and a sense of
community and heritage are central. Hugh, the hedge school teacher, is
reluctant to teach his class English showing his loyalty to the classical languages
of Greek and Latin. Hugh attempts to preserve the identity and traditions of the
land that are soon to be interrupted by the British forces. The native Irish

speakers will be forced to accept English rule. This is a culture whose freedom
and identity is threatened by foreign oppression.
As Ive said, family is central to some communities. It is a great source of
comfort, especially in cultures of fear, violence and horror. We see family growing
stronger in COM and R while it is torn apart in Translations. Theo and Kee grow
close during the course of the film as they battle to find safety. Theo risks
everything to save Kee. He makes the ultimate sacrifice in ensuring her safety
and assumes a role of a father figure. A similar sacrifice is made in R.
The father and boy have battled on to survive in their violent and terrifying
environment. The father fights until his last breath to protect the boy. This is a
very touching scene when the father dies as we see the intimate relationship
they had. Whilst the boy is torn from his father by death, his soon establishes a
new sense of family that offers us hope for his survival in the last scene. This
contrasted by the culture in Translations that has torn apart two brothers, a
family.
When Yolland goes missing in Translations, Manus decides to flee from the town
deserting his family leaving them at the mercy of the British. He had abandoned
Eoin and his father in times of great hardship. It is times like this, under pressure
from the societies in which we live that women can offer much needed comfort.
Women have stabilising presences in society and often provide console in a
chaotic culture. Maire fulfils this role in Translations, seeking to soothe and
comfort Eoin when the town destruction seems imminent. This is similar to the
role the nurse plays in COM.
Miriam, the nurse and watchdog to Kee in COM, takes on the mother role in
protecting Kee. She too, as a woman, offers comfort to Kee on their perilous
journey. The roles played by Maire and Miriam show that cultures can benefit
from a womans inclination. This is contrasted by the role the mother plays in R.
She can no longer bare to live in a world where violence and torture lurks behind
every corner. She chooses to abandon her family in a time when she is most
needed leaving the father in the culturally unusual position of a lone parent.
This relationship between father and son as Ive said is similar to Theo and Kee
but Theo uses alcohol as a crutch to help deal with the chaos of his world. This
might highlight mens tendency to run away from their problems. Hugh in
Translations is in a similar situation where most of his days are spent blind
drunk off puitin.
The unusual circumstances of these characters in their cultures thought me that
family is undoubtedly the most important part of any culture. In order to survive
in any culture it is important to have people on which one can depend. This
feeling of family is summed up in the final scene of COM. Theo gives up his life
for Kee but in the process has saved her and her baby, offering new hope,
showing that family will always live on.

T s o a t i d t p t i i a e t c t; t b, t m e t a. T t t I h s C o M (C), T (T) a T R (R)

e p a d f o t i, s t e o t i o t c e w t d c.
T C d a w t h p i e r a s t - a c o t b o e, w t d p t w w w s b a t h b i t d f b Ts a
Ks m. F t, i i t l c t s, a o i i t r s o b t d t k t a. T w i s t t w p t u i R, e R i f a t p o e
r w a r o s h f a.
T c c o t F a s f t t l s t o h i c t t s w t d. T n t i t r l t n c b t c t t B.S.G. w, a l t a
e, i t h a h o s. T, t s i a v d s t t t p t, i s t R a C i t s t t p i t c h n c o t l.
T, w d o t a c b t s i o e i T R, o t d t e t l o h i (C), p a p i i a c s t b o b a f g b. T i u
t a c t p b y c i t s l. C o s c b j o t c b w t a r. A t t h s i a t c.
T f, r l i B i C, a t t b t c. W s t l i c i m s o t f a t r a n-e. T i a v c t i i w t f a i. T i
s t t c i R b n n a g.
T c i R i p b a p o c, a e m d i t t t t o f. S a s n h c b d a a u n d a n h s t s, s m s
t m h r t c. T i a c w m a t a t l b r a w h b g o i t b f s. I i a c w o t s s, t t a w t d w
i t.
W f a v d c i t w f a a s o c a h a c. H, t h s t, i r t t h c E s h l t t c l o G a L. H a t p
t i a t o t l t a s t b i b t B f. T n I s w b f t a E r. T i a c w f a i i t b f o.
A Iv s, f i c t s c. I i a g s o c, e i c o f, v a h. W s f g s i C a R w i i t a i T. T a K g c
d t c o t f a t b t f s. T r e t s K. H m t u s i e h s a a a r o a f f. A s s i m i R.
T f a b h b o t s i t v a t e. T f f u h l b t p t b. T i a v t s w t f d a w s t i r t h. W t b i
t f h f b d, h s e a n s o f t o u h f h s i t l s. T c b t c i T t h t a t b, a f.
W Y g m i T, M d t f f t t d h f l t a t m o t B. H h a E a h f i t o g h. I i t l t, u p f t s i
w w l t w c o m n c. W h s p i s a o p c i a c c. M f t r i T, s t s a c E w t t d s i. T i s t
t r t n p i C.
M, t n a w t K i C, t o t m r i p K. S t, a a w, o c t K o t p j. T r p b M a M s t c c b f a
ws i. T i c b t r t m p i R. S c n l b t l i a w w v a t l b e c. S c t a h f i a t w s i m n l
t f i t c u p o a l p.
T r b f a s a Iv s i s t T a K b T u a a a c t h d w t c o h w. T m h ms t t r a f t p. H i
T i i a s s w m o h d a s b d o p.

T u c o t c i t c t m t f i u t m i p o a c. I o t s i a c i i i t h p o w o c d. T f o f i s u i t
f s o C. T g u h l f K b i t p h s h a h b, o n h, s t f w a l o.