THE BOY IN

STRIPED
PAJAMAS
A Film Analysis

Prepared by
Dayne Ann G. Dacutan
READING VISUAL ARTS
 The story narrates Bruno's point of view who, as young as 8 years old, is
aware that his father is among Berlin's most powerful individuals, however he
is oblivious of his father's profession beyond the knowledge that he is a soldier
and that the so-called "the Fury" who referred as the group's commander, has
high ambitions for him. The relocation of Bruno's family to a concentrated area
which he assumes is named "Out-With", a house bordered by a fence that
extends as far as Bruno can see, further deepens to Bruno's bewilderment.
Bruno, who is alone and curious about the people on the other side of the
fence, makes friends with Shmuel, a young jew of his equal age.

This study analyzes whether persuasive language is applied in Mark

Herman's movie "The Boy in the Striped Pajamas," which is about a highly
unlikely friendship between a privileged German boy and a Jewish boy in an
internment camp. A more careful analysis of the film's relevance has been
driven by the controversy that surrounded it, mainly the unusual and
unpopular standpoint of a German family's experiences during World War II.
While Herman offers a distinctive perspective, I contend that the movie goes
beyond simply showing a family and genuinely provides an explanation and a
subject to indict for the World War II atrocities.
 The context, which is the screenplay of this film—is exploited to
symbolize and or transmit a major idea, message, or concept greatly establish
the foundation of the rhetorical research findings used to analyze the movie.
The significance of the contrast between god and devil terms; whereas god
definition being associated with high cultural acceptance, while devil terms
being associated with extreme cultural abhorrence, that is somehow used
throughout the movie further suggests that, even if Herman was not fully
aware of the rhetorical force behind his masterpiece, the movie still suggests
the idea that Germans should not be held responsible for the Holocaust's
atrocities and should not be perceived as the enemy in particular.

Instead, I highly argue and demonstrate that the enemy is the German
people's fear of exploration. The fact that "The Boy in the Striped Pajamas"
was among the first films of its sort in establishing a framework for further
rhetorical analysis and discourse on the German people and the fear of
exposure that drove them powerless during World War II is even more
significant.

Overall, the film is highly recommendable. The soundtracks is as

classic as the World War II's suits. Althought, I imagined the ending to be,
Bruno helping Shmuel escape the detention camp, still the plot is as touching
as it already is, and as for me it is perfectly done.
 Plagiarism Scan Report
Report Generated on: Jan 30,2023

Total Words: 400

0% 100% Total Characters: 2426

Plagiarized Sentences: 0

Plagiarised Unique Unique Sentences: 14 (100%)

Content Checked for Plagiarism

The story narrates Bruno's point of view who, as young as 8 years old, is aware that his father is among

Berlin's most powerful individuals, however he is oblivious of his father's profession beyond the

knowledge that he is a soldier and that the so-called "the Fury" who referred as the group's commander,

has high ambitions for him. The relocation of Bruno's family to a concentrated area which he assumes is

named "Out-With", a house bordered by a fence that extends as far as Bruno can see, further deepens to

Bruno's bewilderment. Bruno, who is alone and curious about the people on the other side of the fence,
makes friends with Shmuel, a young jew of his equal age.

This study analyzes whether persuasive language is applied in Mark Herman's movie "The Boy in the

Striped Pajamas," which is about a highly unlikely friendship between a privileged German boy and a

Jewish boy in an internment camp. A more careful analysis of the  lm's relevance has been driven by the
controversy that surrounded it, mainly the unusual and unpopular standpoint of a German family's
experiences during World War II. While Herman offers a distinctive perspective, I contend that the movie
goes beyond simply showing a family and genuinely provides an explanation and a subject to indict for
the World War II atrocities.

The context, which is the screenplay of this  lm—is exploited to symbolize and or transmit a major idea,

message, or concept greatly establish the foundation of the rhetorical research  ndings used to analyze

the movie. The signi cance of the contrast between god and devil terms; whereas god de nition being
associated with high cultural acceptance, while devil terms being associated with extreme cultural
abhorrence, that is somehow used throughout the movie further suggests that, even if Herman was not
fully aware of the rhetorical force behind his masterpiece, the movie still suggests the idea that Germans

should not be held responsible for the Holocaust's atrocities and should not be perceived as the enemy
in particular.

Instead, I highly argue and demonstrate that the enemy is the German people's fear of exploration. The

fact that "The Boy in the Striped Pajamas" was among the  rst  lms of its sort in establishing a
framework for further rhetorical analysis and discourse on the German people and the fear of exposure
that drove them powerless during World War II is even more signi cant.

No Plagiarism Found

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