John Berger’s Terms: Perfected Pinnacle of Control Context

Write about John Berger’s Terms and Perfected Pinnacle of Control Context in this paper. Therefore, for this topic, you have to examine the parallel themes and/or ideas that run across both works. Pay careful attention, for example, to Berger’s terminology.

John Berger’s Terms: Perfected Pinnacle of Control Context

The Assignment: Arguably the central tenet in John Berger’s “Ways of Seeing” is that history—as represented in works of art—can be manipulated and controlled. The understanding of Berger’s thesis takes on added significance when the ramifications of that manipulation and control are addressed: “A people or class which is cut off from its own past is far less free to choose and to act as a people or class that has been able to situate itself in history.”

John Berger’s Terms: Perfected Pinnacle of Control Context

Secondly, the purpose for which they do. Andy Wachowki’s The Matrix curiously, too, offers its own conjecture regarding control over the masses. In describing the perfected pinnacle of control over society, Agent Smith, the chief antagonist, says relishingly: “Billions of people just living out their lives . . . oblivious.” When the levers of power are invisible to the populace, as represented in the film, we do not even recognize the struggle, nor the “truth” in the Red Pill as opposed to the Blue.

John Berger’s Terms: Perfected Pinnacle of Control Context

Finally, for this topic, you are asked to examine the parallel themes and/or ideas that run across both works. Pay careful attention, for example, to Berger’s terminology. Also, (Art Historian, Reproduction, Mystification, Classes and Hierarchies). And seek out their counterparts in the film as represent in the characters. (Neo, Morpheus, Agent Smith, Cypher, etc.) or, even, “the matrix” itself. Hence, You need not discuss all of these, however. Think quality, not quantity. And you need not dwell in summary either, in your body paragraphs. Assume your reader knows the works well.

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