SARA’S SUBJECTIVE JOURNEY TO INSANITY – The TV programme
We have seen how the dialogue coming out of the TV set is not used merely as background chit-chat which is there for a bit of atmos. It has the role of almost a character in itself, taking an active part in the shaping of Sara’s values and preluding the events about to take place.
Being an active element, it has a development arc of its own, too. It gradually grows into an extension of Sara’s interior monologue. By the time Sara has hit rock bottom, the chit-chat is no longer feeding into her brain. It is in and only in her brain, forming part of her delusional fantasy. We the audience are not aware of this in the beginning. Like Sara, we think it is real, judging by the way we see and hear it (let’s not forget that we are being placed in Sara’s subjective point of view, so we experience things the way she does). Aronofsky has very cunningly manipulated us the audience into thinking it is real, but we will see next how he abruptly pulls us out of her subjective point of view to unveil that the opposite was true.
Part 1 Requiem For A Dream: Sara’s Subjective Journey To Insanity 1
Part 2 Requiem For A Dream: Sara’s Subjective Journey To Insanity 2
Part 3 Requiem For A Dream: Sara’s Subjective Journey To Insanity 3
Part 4 Requiem For A Dream: Sara’s Subjective Journey To Insanity 4
Part 5 Requiem For A Dream: Sara’s Subjective Journey To Insanity 5
Part 6 Requiem For A Dream: Sara’s Subjective Journey To Insanity 6
Part 7 Requiem For A Dream: Sara’s Subjective Journey To Insanity 7
Part 8 Requiem For A Dream: Sara’s Subjective Journey To Insanity 8
