Some people abuse their power by working to oppress those under them, some use it to serve those those under their command, some fail and are usurped by those who want to take it. With the creation of power and the use of power come many different results.
I want you to watch this clip from the movie, The Last Castle. This the basic storyline from IMDB: “Robert Redford stars in this action drama as General Irwin, a respected three-star tactician whose career ends in disgrace when he's court-martialed and sent to The Castle, a maximum security military prison. Irwin quickly butts heads with the facility's autocratic warden, Colonel Winter (James Gandolfini), who runs his command with an iron fist, even killing prisoners when he deems it necessary. Irwin rallies his fellow convicts into a rag-tag army and leads them in a revolt against Winter, an action that the warden is ready to repel by violent means.”
Analyze the scene. Look at voice, behavior, body language, actual language, and the like to determine how the power dynamic between these two men works.
Then, I want you to pick a scene from Crime and Punishment that you think illustrates a similiar rendition of power and explain how the film and the novel both establish commentary on power. You must have specific evidence from both pieces to support your answer.
Though it does not happen often, sometimes power in a relationship is found to be in the hands of the individual who is “ranked” below another in terms of social hierarchy. Take for example the relationship between General Irwin and Colonel Winter in the movie The Last Castle. Though Irwin is a prisoner in this castle scene, and Winter is a Colonel who is guarding the area, Irwin holds the power in the relationship. The same situation occurs between Svidrigailov and Dounia in the novel Crime and Punishment. The film and novel both display a situation in which the power is taken from the authority figure and transferred into the hands of someone who belongs to a lower social status; however, this shift can only occur if the person of lower rank utilizes powerful body language and undeniable courage.
ReplyDeleteAbout half way through the video clip of The Last Castle, the power shifts from Winter to Irwin. In the beginning of the video, Colonel Winter clearly holds the power. He wears a clean uniform, stands above Irwin, and speaks deliberately with clear decisiveness. He even forces Irwin to agree with him when he says, “Correct?” He holds a clear advantage, especially seen by Irwin’s dirty appearance, sitting down, and lack of a higher ranked uniform. As Winter continues to speak, he smirks at Irwin, as if he knows the power is in his hands completely. Winter even acts like the issue they discuss is unimportant to him, when he shrugs, “Free speech and all that.” However, a definite change occurs when Irwin speaks up bravely and states, “No, not okay. It’s too late, Colonel” to Winter. Immediately, Winter’s body language and speech is altered. Winters asks, “Too late for what?,” which exhibits to the audience and Irwin that he truly does not understand and is now uneasy. In addition, the smirk leaves the face of Winter and confusion is now strewn across his face, implying he no longer has the power he once had. Irwin uses direct and steady eye contact mixed with the “other men’s” opinions in order to establish dominance. Irwin speaks clearly and even goes as far as to mention Winter’s resignation, which if not already seen, definitely marks the move from power in Winter’s hands to power in Irwin’s. When Winter asks confusedly, “My resignation?,” Irwin even interrupts him, telling him he is a disgrace. The mortified look on Winter’s face shows the fear he truly has. Lastly, when Winter implies he can dominate Irwin with force and “place [him] in the hole for six months,” Irwin acts calmly and remains steady. This solidifies the clear power that Winter’s had is now in the hands of Irwin, though Irwin is of a lower status in this circumstance.
Part 2:
ReplyDeleteDounia is like Irwin in that the power is originally held in the hands of the more “socially dominant” person, but it switches over to Dounia because of her bravery and independence. Svidrigailov says threateningly to Dounia, “‘ The Kapernaymovs are far away -- there are five locked doors between. I am at least twice as strong as you are and I have nothing to fear...no one would believe you’” (6.5.88). Here, Svidrigailov had Dounia locked in a room with nowhere to run, hide, or shout for help. Additionally, Svidrigailov is a wealthy businessman and is a man, so in two aspects of Russian society, he is superior to Dounia. This is undoubtedly a frightening moment in the novel because of the shear power Svidrigailov holds over Dounia. She is described as being “pale as death” and “made haste to barricade herself,” which exaggerates the lack of power in her hands (6.5.85). Though it seems like this mini battle is over and Dounia has lost, she works up the courage and uses her intelligent, independent mind, as she “pulled out of her pocket a revolver [and] cocked it” (6.5.91). Svidrigailov immediately loses power, as he “jumped up” in shock, and smiles, but “gloomily” (6.5.92). This shift in body language initiates a shift in power. Lastly, Dounia sees “that he would sooner die than let her go,” which just continues to add to Svidrigailov's weakness because he is so desperate to find her love (6.5.108). When Svidrigailov realizes Dounia will never love him, he lets her go, revealing he was at her disposal and she really did have the power once she worked up enough strength to show it. The commentary in both the novel and the film are clear. The power will always begin in the hands of the individual with a higher social or socioeconomic status, and more often than not, the power stays there. However, in the case of Dounia and Irwin, through powerful actions and words, independence, and bravery, the power can shift away from the original holder.
This clip from the movie, The Last Castle, portrays the aspect of power and an overarching force. Having never seen the movie before, one would initially predict that Colonel Winter has the power between the two characters shown during the prison scene, especially when the clip starts by him saying, “It was unfortunate, about Aguilar”, yet right after this is said, the power is no longer Winter’s. Winter’s intimidating uniform and stance then becomes overlooked, as he does not make eye contact with General Irwin and makes small, nervous movements. When the camera moves its focus to General Irwin, who is held captive as prisoner, the feeling of power shifts drastically. Irwin appears physically relaxed and carefree, yet remains held together and does not hesitate to show his discontent with Winter, meanwhile Winter seems held underneath his grasp, despite his attempts to show power. Further into the scene, the power once displayed by Winter ultimately becomes Irwin’s, through his bold and unfiltered speech. After Winter says, “Okay then”, Irwin speaks up for himself and says, “No, not okay, it’s too late Colonel.” Winter is taken aback from Irwin’s reply, and shows the vulnerability into falling under Irwin’s power. Although appearing confident and powerful with his first words of the scene, Winter is taken down by the power Irwin portrays in calm-mannered retaliation.
ReplyDeleteSimilarly, in the novel Crime and Punishment by Fyodor Dostoevsky, a rendition of power is shown in the scene of Raskolnikov meeting with Alyona Ivanovna, the old pawnbroker, a matter of minutes before him committing the act of murder upon her. Upon ringing the doorbell multiple times at the conclusion of Chapter 6, Raskolnikov becomes afraid of the timid woman’s reaction to his mysterious visit. As confident as he was with his contraptions to use in killing Alyona, his fears made his power falter a bit. Greeting her, Dostoevsky writes, “‘Good evening, Alyona Ivanovna’ he began, trying to speak easily, but his voice would not obey him, it broke and shook. ‘I have come… I have brought something… but we better come in… to the light…’”, displaying the flickering power Raskolnikov had once retained, yet decreasing due to his nerves (1.7.3). The power is still at a loss, and even becomes Alyona Ivanovna’s as the conversation continues and Dostoevsky writes, “She looked intently, maliciously and mistrustfully. A minute passed; he even fancied something like a sneer in her eyes, as though she had already guessed everything”, expressing the loss of power and the transfer to another source (1.7.7). At this point in the plan, Raskolnikov has lost power and Ivanovna has gained it, in a sense of confidence, using it against him, mainly destroying his strength.
Both of these examples establish commentary on power, being that power can be transferred from one source to another without directly stating so. Colonel Winter and Raskolnikov share the same start, in which they seem to be the source of power, yet it is no longer theirs and becomes their opponents, General Irwin and Alyona Ivanovna’s, the true source of power in these scenes. Without the illustration of loss and gaining of power, power itself would be somewhat difficult to identify, in the sense that personalities can be mistaken for power, which is not the case in either of these examples from The Last Castle and Crime and Punishment.
In the scene from the movie, The Last Castle, the two men General Irwin and Colonel Winter have a hatred for each other and both want to see the other man gone. Winter has a higher rank that Irwin does, however, both have about equal amounts of power in the situation they are in. Irwin has the power of all the inmates and similarly, Winter has the power of the guards doing what he pleases with the inmates. Although Winter seems to have the upper hand in this situation, Irwin has the loyalty and respect of all the inmates which gives him greater power that Winter has, considering that he does not have as many people behind him that respect him. In this scene, both men are trying to get the upper hand by challenging the other through their speech. They are both throwing out threats to each other and both men are trying to get the other to fear them. Through this verbal combat, both men are relaxed and are confident in showing the other up with their response, however, Irwin seems to be the most relaxed and the most confident out of the two of them. The confidence in his speech lets him seem unbothered by Winter’s deadly threats and eventually wins the power struggle between when Winter walks off. The power dynamic between the two men is essentially equal, but with Irwin eventually winning the power game by remaining calm and confident, giving him the upper hand in their situation.
ReplyDeleteSimilarly, in Fyodor Dostoevsky’s novel Crime and Punishment, the main character Raskolnikov encounters this power struggle with the head detective, Porfiry Petrovich. Porfiry is trying to find out who murdered the old pawnbroker and is very sure that Raskolnikov committed the crime. When Porfiry first meets Raskolnikov, he tries to catch Raskolnikov off guard to get him to confess. The book states: “Something peculiar betrayed itself in the very intonation of [Porfiry’s] voice” (3.5.152). The two men keep bantering as they each try to master each others trap. In this situation, Raskolnikov eventually gains the upper hand in this situation by mastering Porfiry’s mind game and not accidentally admitting to the murder. Similarly in the movie clip, both men want each other gone and try to break each other down, but neither give in and eventually Irwin won the small “battle” between them. Both the book and the novel comment on how power is used to manipulate others and to get what someone wants. In the clip, Irwin wants winter to leave and in the book, Raskolnikov does not want Porfiry to find out he murdered the old woman. Both selections show how power can be manipulated to a person’s liking if they know how to use it so they can eventually achieve their end goal.
Part 1:
ReplyDeleteThere is power in silence.
Oftentimes, there is more power in silence than there is in words. In The Last Castle, a film starring Robert Redford and James Gandolfini, this principle holds true. Although Redford’s character General Irwin, a decorated tactician whose career ends in apparent disgrace when he is imprisoned in a facility called “The Castle,” remains silent throughout the majority of a conversation with the tyrant-like warden, Colonel Winter, his dominance remains clear. True power does not manifest itself in uniforms or titles; it is through their very presence and natural aptitude to lead that the rightfully powerful exude strength.
In the film clip, “You’re A Disgrace” from The Last Castle, Redford’s character finds himself seemingly lower than Colonel Winter in every way possible. Irwin is seated as Winter towers over him. Winter’s clean haircut and shiny military uniform contrasts with Irwin’s white t-shirt and haggard appearance. Even Winter’s glasses seem to suggest a type of perceived superior intelligence. Beyond these physical cues for Winter’s dominance, he speaks to Redford in a patronizing tone - he acts as though his offer to allow the prisoners to “confine themselves to a simple hand movement through the hair” is magnanimous, and he offers the men the magnificent generosity of “free speech...and all that.” Overall, Winter seems to be the type of man who feels the need to exert the authority he has been given at every chance possible, regardless of if that authority is deserved. However, despite all of these physical and oratorical differences, it is undeniable that Irwin exhibits a fire and a resilience that Winter simply cannot replicate. Though he is lower in position, though he appears older, though he is the prisoner and Winter is the warden (the quintessential depiction of the powerless vs. the powerful), Irwin feels dominant. His arms are crossed in silent rejection of Winter’s monologue, and his eyes are angry. This manifests itself when Irwin stops Winter, saying, “No. Not okay. It’s too late Colonel.” The smirk on Irwin’s face turns into a succinct declaration of one simple fact - the Colonel is a disgrace to authority itself. In a place where the prisoners are supposed to have disgraced society, the warden himself is the one who should be ashamed. The Colonel’s shifting eyes then become subordinate to Irwin’s icy glare, and in spite of all of the other pieces of evidence that the Colonel wins the fight, the audience is shown that Irwin will ultimately win the war. The Colonel was given power; Irwin possessed it from the beginning due to his innate fire.
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ReplyDeleteThis same type of power dynamic exists between two of Crime and Punishment’s main men - Raskolnikov and Peter Luzhin. These two men, coming from opposite social classes and schools of thought, are bound together by only one common thread - Dunia. As Dunia’s brother, Raskolnikov feels the need to protect his sister from the evil of a man who fantasizes of “saving a wife from beggary” (2.5.83). Luzhin, Dunia’s fiance, essentially tells his soon-to-be wife that she must choose between him or her brother. When Raskolnikov and Luzhin meet for the first time, Dunia’s “main men” display a similar power dynamic to that of Irwin and Winter. Peter, being of a higher social class than the ex-student Raskolnikov, takes much time to talk about his own self. He says, “I have a rather an important case coming up in the Senate, part of my law firm’s affairs” (2.5.24) within the first few minutes of conversation, and his inflated ego is not aided by his appearance. As Raskolnikov describes it, “All his clothes were fresh from the tailor’s and of good quality” and he wore “a charming pair of lilac-colored gloves, real Jouvenet, if only because they were not worn but merely carried in the had for display” (2.5.24). Peter looms over a supine Raskolnikov, and the ill ex-student seems to pale in comparison (literally and figuratively) to his wealthier counterpart. Just as Winter is uniformed, stands over Irwin, and has more perceived superiority than Redford’s character, Luzhin clearly believes himself to have more power than Raskolnikov. However, in the same way that Irwin ends Winter’s confident speech with a few words, Raskolnikov’s threat to “kick [Luzhin] headfirst down the stairs!” (2.5.87) quickly changes Luzhin’s tone to “an offended and provocative air” (2.5.86). Luzhin has been given increased status because of his wealth, but Raskolnikov is more powerful, as he does not need the inflation to make him a dominant force.
The clip from the movie, “The Last Castle” displays an unexpected shift of power between General Irwin, a disgraced military tactician and inmate at “The Castle,” and Colonel Winter, the warden at the prison. To the majority of people who view scenarios like this, they would say that Winter has more power than Irwin. The reason for this is simply due to social standing. Winter has the superior role in the scene, which should translate to him having the authority over Irwin. However, what is seen by the end of the scene is Winter realizing that he has no control over Irwin and the uprising. This is due to Irwin’s confident response when he is asked what he could do to stop Winter from shaming him: “Nothing, if that’s the way you want to win.” Irwin smirks after he says this, showing how little he cares about Winter’s threat that only serves as a simple short-term solution to a long-term problem. No matter what Winter does, either letting the revolt strengthen or making an example out of Irwin, he is bound to lose his power. So the main question for this scenario must be posed: how did shift in control happen? The main answer to this is that Winter sets himself up for failure by putting himself in a casual, conversational setting with Irwin. A setting in which he is has lowered himself to an equal playing field and appears as a person that is more human and remorseful to Irwin. This allows Irwin to take advantage of this temporary shift in authority and assert himself as the dominant individual.
ReplyDeleteThis particular reason for the shifting of power in “The Last Castle” is also seen in Dostoyevsky’s “Crime and Punishment.” More specifically, the scenario is played out gradually over time between Svidrigailov and Dunia. Originally, Svidrigailov has the power over Dunia, being her employer. His original power is heightened even more due to the time period. Russia’s peasant class during that time (1860s) was enormous so income was very important. Therefore, Svidrigailov not only controlled her income, but also indirectly controlled her well-being. However, Svidrigailov reveals a more human side to himself, stating his love for Dunia. By doing so he dedicated himself emotionally to her and gave her power he once possessed, such as giving her money when she was no longer his employee. The consequences of this shift were not seen until much later on, where Svidrigailov attempts to rape Dunia as he believed he still had the power to make her love him. However, she rejected him with certainty and Svidrigailov was forced to make a tough decision: “There followed a moment of terrible, dumb struggle in the heart of Svidrigailov. He looked at her with an indescribable gaze. Suddenly, he withdrew his arm, turned quickly to the window and stood facing it. Another moment passed. ‘Here’s the key’” (6.5.111). After finding out that Dunia did not share his love, Svidrigailov was forced to deal with an emotional change in control and decided to let Dunia go, knowing that he no longer had the power to make her love him. This shift of control left Svidrigailov so shaken that he killed himself out of guilt for being unable to be powerful enough for Dunia. Both “The Last Castle” and “Crime and Punishment” showcase how power can shift between two people if the person originally in control reduces themselves to a place of lower authority, as this allows the originally inferior person to overtake power.
Power is never guaranteed. People may earn power or be asked to lead, but this authority is often temporary. In the movie, the Last Castle, the two characters shown in this scene both experience shifts in power. While General Irwin is now imprisoned after losing his three-star tactician position, he is now on the rise once more. While he forms bonds with other prisoners, sharing a mutual hatred and desire to eliminate Colonel Winter, General Irwin finds himself using his unassuming confidence to undermine Colonel Winter’s authority. Throughout the movie clip, Colonel Winter attempts to assert his dominance through using a condescending tone while speaking to General Irwin. He comments, “And if the men want to call you Chief well that’s fine, then, free speech and all that.” In the beginning of this conversation, Colonel Winter attempts to use his power as a way to make General Irwin feel as though he must answer to his superior. Furthermore, the fact that Colonel Winter is standing while General Irwin is sitting shows that Colonel Winter will go to great lengths to prove that he holds more power than all the men in the prison. However, once General Irwin begins to assert his opposition to Colonel Winter, the Colonel becomes visibly and audibly distressed. His movements become slightly less calculated as he begins to have trouble holding eye contact with General Irwin. The anxiousness can also be detected in Colonel Winter’s tone. The matter-of-fact way that General Irwin has of speaking is very threatening to Colonel Winter, despite the fact that the General is seated. General Irwin’s direct statement that, “You are a disgrace, Colonel. A disgrace to the uniform. You should not be allowed to retain your command” illustrates how the Colonel is losing power. Furthermore, the calm tone of General Irwin’s words prove that his gain in power comes from the support of other men in the prison, which is something that Colonel Winter does not possess.
ReplyDeleteIn Fyodor Dostoevsky’s Crime and Punishment, many characters exhibit a desire to outdo one another. For example, Raskolnikov has a general distaste for mostly everyone that he spends time with, especially Luzhin. Dunia and Pulcheria look past the fact that Luzhin proposed to Dunia solely to make himself look good to his peers, “‘How could they suddenly drive away a man who had been so generous up to that point, and also fairly tactful’” (5.1.2). Despite Luzhin’s plot to achieve a better social status, Raskolnikov sees through his insincerity almost instantly. As soon as Raskolnikov read his mother’s letter that explained his sister’s engagement, he was seething with anger. And when Luzhin showed up at Raskolnikov’s apartment, he was filled with even more rage. This scene can be compared to the scene from the Last Castle in that it illustrates a shift in power between two characters. While Luzhin appears to have the upper hand in the situation due to his wealth, Raskolnikov’s determination helps him to assert his dominance. Luzhin is described by saying, “...his appearance could be forgiven in view of the of the occasion, for Peter Petrovich was on the verge of becoming a bridegroom”(2.5.23). Through this, the author exhibits Luzhin’s assumed dominance and also how Raskolnikov’s apparent irritation with Luzhin adds to his ultimate inferiority. Furthermore, the fact that Raskolnikov’s hostility and clear dissatisfaction causes Luzhin to become increasingly more furious proves the fact that Raskolnikov has enough power over the people Luzhin would like to manipulate that it makes the rich man feel as though he is losing a battle. Through both the scene in Crime and Punishment and the Last Castle, the characters display shifts in power through questioning authority. Both Raskolnikov and General Irwin are meant to be submissive to their superiors. However, their casual dissent of both Colonel Winter and Luzhin proves that sometimes, saying less is saying more.
PART 1
ReplyDeletePower, in the simplest of terms, is very hard to define because it can vary from person to person. The means of acquiring power depends on a person’s character and the people with whom they chose to have power over. However, with all accumulations of power, there is a sense of force over the group of people that are deemed inferior. The power-holding individual desires to control those that are seemingly less influential than them. These types of situations are often extremely common. In books, movies and TV series, there are always characters that profess their authority over another group of people, whether they are protagonists are antagonists. Either way, the power they accumulate is a mighty tool that can be used in a variety of ways. But as these characters soon learn, it is just as easy to lose power as it is to gain power.
The idea of power is strongly demonstrated in a clip from the movie “The Last Castle”. In this clip, Colonel Winter, who should have authority over his inmate, General Irwin, is trying to demonstrate his indefinite power. At the beginning of this clip, Colonel Winter tries his best to display this power. Towering over General Irwin, Colonel Winter provides him and his friends an ultimatum. Colonel Winter promises them better food and more TV time in return for their cooperation. Although these actions establish a sense of authority in Colonel Winter, you can tell by his demeanor that he is more threatened by the power of General Irwin. Colonel Winter is very unsteady when giving his ultimatum, not being able to stand still and not looking General Irwin in the eyes. This then leads into a complete transition of power within the scene. Refusing to accept Colonel Winter’s power over him and the inmates, General Irwin refutes his ultimatum. Stating that “It’s too late, Colonel” General Irwin wants Colonel Winter to know that he has already accumulated power, and he is not willing to give it up. The other inmates in the prison chose General Irwin; they provided him with the power to lead, and it is therefore his duty to not let them down. General Irwin’s power is much more convincing than Colonel Winter’s. His voice is very strong, and he never once takes his eyes off of Colonel Winter. However, Colonel Winter does not very willingly accept General Irwin’s power either. At the end of the scene, their powers are matched. They both realize that it is not possible for them to cooperate if the other has the slightest bit of power. Because neither one of them are willing to give up the power they were given or gained, conflict is inevitable. The scene ends with General Irwin establishing his power over Colonel Winter once again, stating “If that’s the way you want to win”. This example clearly expresses the outcome of a conflict of power. Although people can accumulate power in different ways, it is impossible for two people to have the same amount of power.
PART 2
ReplyDeletePower is strongly represented in the novel Crime and Punishment by Fyodor Dostoyevsky, in the character Peter Petrovich Luzhin. Being a very controlling and egotistical character, Luzhin is constantly trying to be the alpha in every situation he is in. One example of this can be seen in his relationship with Dunia. Rather than marrying Dunia, or any other women, because of love, Luzhin will only marry women who admire him and see him as the powerful figure that has saved them from suffering. The novel states that Luzhin would only marry a woman who “...suffered much, and was completely humbled before him, one who would all her life look on him as her savior, worship him, admire him and only him” (4.4.3). Luzhin does not only use this on women but also other men. At the beginning of the novel when Luzhin first meets Raskolnikov, he tries to establish dominance over him. Luzhin believes he has power over Raskolnikov because of his wealth and privilege. However, because Raskolnikov is such a deceitful character, he quickly matches Luzhin’s power and does not allow Luzhin to put him in an inferior position. As the novel progresses, readers also begin to see other characters suppress Luzhin’s power. In my favorite scene in the novel, Dunia and Pulcheria finally come to the realization that Luzhin is a fraud, and refuse to accept his power over them. The argument arises after Dunia has had enough of Luzhin’s horrible treatment of her brother. Dunia and her mother decide that Luzhin doesn't have the power to control them, and they start attacking his character. Pulcheria defends Dunia’s decision in inviting Raskolnikov, stating “Dunia has told you the reason she disregarded your desire, she had the best intentions. You even write as though you were giving me orders. Should we consider every desire of yours an order? Let me tell you on the contrary that you ought to show particular sensitivity and consideration for us now…”(4.2.89). From this moment on, Pulcheria, Dunia and Raskolnikov no longer respect or accept Luzhin’s power. Since Luzhin is such a controlling character, he can not surround himself with people who do not admire him, which is why he soon cuts off relations with the entire family. Just like in the movie clip from “The Last Castle,” there is often transitions of power within Crime and Punishment. As both of these sources show, it is very hard for two people to share complete power in a certain situation.
In the scene from The Last Castle, both men have power in which they display to one another. Colonel Winter, as an obvious person of power, uses the power he carries through rank and the warden of the prison to intimidate inmates. He attempts to intimidate General Irwin and asks “What’s to stop me from placing you in the hole?” as a form of punishment in response to Irwin saying that he is a “disgrace to the uniform” and should no longer be the warden. In the form of body language, he bends over top General Irwin, who is seated, to highlight the idea that Colonel Winter is above General Irwin in terms of authority in the prison. The body language that comes from General Irwin is less obvious, but when he starts to speak of the attitude of the rest of the men in the prison, he sits up and uncrosses his arms, setting a serious and authoritative tone. Also, the position they are both in should parallel their power, Irwin is sitting while Winter is standing, but this is also not the case. General Irwin says, “It’s too late Colonel… for your offer” which is not something a subordinate would generally say to a person of authority. Irwin has the power of the rest of the men in the prison, all of whom calls him “chief”. He has power in numbers against the same enemy so to speak, while Winter only has power with the title of warden. The one who should have the most power based on his position and rank falls short and the one who should be under the control of the former, has the power overall.
ReplyDeleteThis switch in authority and position of roles of who should have more power in a situation, is similar to the scene in Dostoevsky’s Crime and Punishment, between Svidrigailov and Dunia. Dunia goes to the apartment of Svidrigailov to talk and somehow he has Dunia locked in a room with him and “five locked rooms between” (Dostoevsky 469) them and anyone outside. Once Dunia realizes the situation she is in, she “rushed to the furthest corner, where she hurriedly barricaded herself with a little table” (469) demonstrating the position that should parallel the distribution of power in the situation, Dunia being at the mercy of Svidrigailov. Svidrigailov even says “I am at least twice as strong as you are and I have nothing to fear” (469) to demonstrate that he should have the power in this situation. Being the male, higher status, and much stronger than she, Svidrigailov should be in control. However, just like the scene from The Last Castle, the other individual surprisingly ends up with the most power. Dostoevsky writes, “Suddenly she pulled out of her pocket a revolver, cocked it and laid it in her hand on the table” (470) to show the power shift. Although the power is not totally in Dunia’s control because Svidrigailov knows her brother’s secret, Svidrigailov is in love with Dunia which gives her even more power over him. Ultimately, Dunia, the unsuspecting person with power, has control over the situation although it did not seem that way, just as the prisoner, General Irwin, had the control of the situation and more power over Colonel Winter.
Although in each case there is an expected party in which the power should fall to, often times, the unsuspected individual holds more power. Power does not lay with the individual who holds a higher title or more authority, but the one who has more influence over the other person. Irwin has the influence of being idolized by all the other prisoners who were also against Winter and Dunia had the influence of being the woman Svidrigailov loved. Both of the unsuspecting parties also held threats, backlash from the prisoners and a gun, but those were not what ultimately gave them the power. Being a person who could influence others against his position and being the woman that someone loved, is what gave them power. Just as the threats Winter and Svidrigailov used did not work, reciprocating threats would not work either.
In the film, “The Last Castle,” a power struggle is exhibited and is shown to be lost from one character to another. This shift of power is between James Gandolfini’s character of Colonel Winter and Robert Redford’s character General Irwin. Although Winter is the man in charge of the prison, he is shown that he is losing power when he has his conversation with Irwin in the clip from the movie. When Irwin says, “It’s too late Colonel. For your offer. The men don’t want to salute. They don’t want to use rank. They don’t want better food. They don’t want more TV. They just want your resignation. So do I.” This exhibits how Irwin is demonstrating a loss of power for the Colonel, and transferring of it to Irwin, who is the respected man at, “The Castle.” This upsets Winter, who likes to be the man in charge, which can be told by the way he is standing up and Irwin is sitting down, as well as by saying how he is in command. He reinforces this idea of him being in power when he asks Irwin, “what’s to stop me from just placing you in the hole, for say six months?” To this, Irwin responds, “Nothing. If that is the way you want to win.” This shows how Winter’s power is not something that he has anymore, is now something that must be won. This loss of power can be seen in other forms of media as well, such as literature.
ReplyDeleteA form of literature that exhibits one’s loss of power is Fyodor Dostoyevsky’s, “Crime and Punishment.” A situation that exhibits this is near the end of the novel, when Svidrigailov meets with Dunia. In this exchange, Svidrigailov quickly points out how he believes he has the power over this situation when he says, “if you don’t agree to come to my place, I refuse to discuss the matter any further and will go away immediately. But I’d like you to remember that an extremely curious secret of your beloved brother is entirely in my hands.” (Dostoyevsky 6.5.26) This continues when he locks Dunia in his room, and refuses to let her out. This then leads to Dunia to draw a pistol, with which Svidrigailov replies, “‘Aha! So that’s how it is !’ he exclaimed, surprised, yet smiling maliciously.” (Dostoyevsky 6.5.71) This shows how there has been a shift in power, similar to that in, “The Castle,” except this time, it is transferred between Svidrigailov and Dunia. This continues a little bit later, even after he is grazed with a bullet and Dunia throws away the gun, when they have this conversation, “‘ Let me go.’ Dunia said imploringly. Svidrigailov shuddered. She spoke in a tone different from the one she had used before. “You don’t love me?’ he asked softly. Dunia shook her head in the negative. ‘And...you could...never…?’ he whispered in despair ‘Never!’ Dunia whispered.” (Dostoyevsky 6.5. 92-97) Svidrigailov realizes he has lost his power in the situation due to Dunia’s rejection of him, and realizes then there is nothing he can do to hold her and make her love him, and let’s her go, losing the power he thought he once had. This is like when Winter from, “The Last Castle,” realizes he doesn’t have as much power and respect as he thought from his prisoners, and instead, belongs to General Irwin. Power is something that is always shifted from one side to another, and often goes from the wrong hands, and into reasonable hands, but of course, must always be brought back again, and so forth.
Power is defined differently to different people, but it is easier to point out someone in power than to give power a singular definition. For example, the two men in “The Last Castle” each hold power, but they do so in many different formats. General Irwin is a prisoner at The Castle, and even though he has lost his status and rank, he has not forgotten what it means to be a leader. The warden has obviously gained his respect by getting people to follow his command by any means necessary, and he is undoubtfully surprised when Irwin is not intimated by this threat. Right from the start, we see the warden in a vulnerable position trying to establish power. The warden seems to be in the General’s cell, which seems to be a sign of respect and a truce. The warden cannot stand still, while the General sits with his arms crossed waiting for what he has to say. The warden has realized that the general is not like most prisoners, so he decides to allow them to have their salutes as a sign of good faith in order to keep the stability. This is important to the warden because he finds his power in stability. The General does not say a word until the warden is about to leave in which he rejects the warden’s offer. He says, “It’s too late, Colonel.” This marks a shift as the general demands for the warden’s resignation, so he threatens to throw Irwin in the hole for six months. This is the Colonel’s method to keep stability, but it seems that the General has seen this too many times before because he does not miss a beat saying “if that’s the way you want to win.” This scene shows that while the Colonel has the badge of power, the General has the power of the people. The victor of this ongoing power dynamic is the result of their battle: stability or instability.
ReplyDeleteThere is a similar power dynamic between Raskolnikov and Luzhin in “Crime and Punishment” by Fyodor Dostoevsky. Luzhin uses his rank and social class to get what he wants, but Raskolnikov will not allow him to have his sister Dunya. When Luzhin enters, he begins to introduce himself, but Raskolnikov cuts him off saying that he knows he is the fiancee. This created a shift much like the one in “The Last Castle” because Luzhin was not expecting that type of response. Dostoevsky explains, “There was no doubt about Pyotr Petrovitch’s being offended this time, but he said nothing. He made a violent effort to understand what it all meant. There was a moment’s silence” (2.5.23). Raskolnikov, much like the General, dominates the silence by looking Luzhin up and down to see that his appearance was “too distinctly appropriate” (2.5.24). Luzhin attempts to show off more by saying that he has an “important legal affair in the Senate” (2.5.25). Luzhin seems to be more and more intimidated as he begins to ramble more and more, but Raskolnikov finds a way to cut him off by saying that the room he got for his mother and sister is “filthy” (2.5.27) and that he is “in a hurry, no doubt, to exhibit your acquirements” (2.5.32). Raskolnikov dismisses this as power and will not let Luzhin marry his sister. Luzhin finds his power in his fame, but Raskolnikov finds it in his control of others. Their views on power may be different, but it is obvious that they both have it.
Power is distributed differently between everyone. This is demonstrated in the clip by looking at the body language of the guard versus the body language of the inmate. You can see the guard acting superior with the squint in his eyes just like when Raskolnikov is taking to Luzhin in the book Crime and Punishment in chapter two. His demeanor and the way he looks at him shows that he has an overly confident personality. People get frustrated when they see this sort of power because it forces them to be in an uncomfortable position that makes them humble.
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ReplyDeleteThe scene from The Last Castle shows Colonel Winter flaunting power he thinks he has over General Irwin before Irwin turns the table on him. Colonel Winter’s power in the scene is established by his rank and position as well as his tone and body language. Winter is standing over Irwin looking down on him both physically and literally, his tone is condescending and amused as he fakes bureaucratic helplessness at Irwin’s situation. Throughout most of the scene, Irwin is stoic having a closed-off expression and body language (crossing his arms). He seems mostly unaffected by Winter’s taunting until Winter goes to leave. Irwin leans forward finally engaging Winter and challenging his perceived power and authority by calling him “... a disgrace to the uniform”, a comment when paired with General Irwin’s past throws Colonel Winter off balance. Winter tries to re-establish his control of the situation, leaning in and meeting General Irwin at eye-level in order to challenge him but is quickly thrown back by Irwin’s own amusement and response to his threats. Even after Winter’s threatens to abuse his power in the prison in order to make him suffer Irwin continues to challenge him. Irwin acknowledges the power Winter does have while also undermining him saying “If that’s the way you want to win”. This comment cuts through Winter’s amused demeanor once again and leaves his posture rigid and uncomfortable. General Irwin’s challenge of his authority had thrown him off and leveled out what should have been an obvious maldistribution of power in his favor.
In Crime and Punishment, the character Pyotr Petrovitch Luzhin shows a similarly arrogant attitude when attempting to marry Dunya. Luzhin saw Dunya as a prize. A meek and submissive wife who would “... regard him as her salvation, stand in awe of him, obey him, and wonder at him and him alone” (Dostoevsky 4.3.3). This image of Dunya Luzhin had created is shattered when she eventually rejects his proposal and calls him out on his vision of her saying “‘Judging by that remark, it may be supposed that you were indeed counting on our helplessness.’” (Dostoevsky 4.2.93). Luzhin had believed that Dunya would be so infatuated with him for his ‘rescuing’ her from poverty that she would allow her character as well as the character of her family to be slandered by Luzhin and that she would ultimately choose him over them. In the end, both Dunya and Pulcheria Alexandrovna stood up to him leaving Luzhin dumbfounded and humiliated: “He had stood on his mettle to the last limit, without supposing even the possibility that the two poor and defenseless women could get out from under his power. Vanity had contributed much to this conviction” (Dostoevsky 4.3.1).
Within the two-minute snippet from the movie, The Last Castle, the two characters General Irwin and Colonel Winter have exhibited an intense hatred for each other… they want the other out. Though they have very distinct opposing ranks, General and Colonel, they have power equivalent to each other. They are also equivalent to their peers with similar ranks, however, their emotions, actions, and relationships set apart from the other prisoners and generals. Since Winter is a colonel, it is a general conception that he would have more power. The fact that he is standing above Irwin only adds to it. However, Irwin develops an exponential amount of power throughout the scene. He starts being drilled by Winter and then he begins to shame Winter. He exclaims, “We all want you out, every one of us.” This develops he hatred for him as well as placing him at a more powerful level than Winter since his emotions began to crumble. Not only the words enveloped within his speech but the confidence that is driven through his voice place Irwin above Winter, in the aspect of power. Through all aspects of the situation, Irwin develops his words and actions which further place him above Winter in the struggle for power.
ReplyDeleteWithin the novel, “Crime and Punishment,” by Fyodor Dostoevsky, in the chase away from punishment, Raskolnikov is confronted with a power struggle. He is confronted by the detective, Porfiry Petrovich, with the main goal to have him admit to being the murderer of the pawnbroker. This is explicitly stated with, “Something peculiar betrayed itself in the very intonation of his voice” (3.5.149). The culprit and detective continue to rip each other to shreds through each statement that exits their mouth. However, Raskolnikov knows what Porfiy is attempting to do, “‘He knew I was the culprit, I was the killer. The only evidence he had though was psychological, nothing physical’” (3.5.157). By being able to understand the knowledge and anything against Porfiy, Raskolnikov can begin to take control of the situation. He can not provide Porfiy with the knowledge that he is seeking to make his case, without it Raskolnikov can remain the only individual to finish the case. The power had been transferred from Porfiry to Raskolnikov just by the understanding of what one sought. The power is no longer int eh hands of Porfiry but rather Raskolnikov. Which is present at the end where he is the one that admitted to the murders rather than being “caught.” Power can be obtained by knowledge, emotion, and confidence and place an individual above another.
In the instance of the "Last Castle", one men of former higher power is put in a situation where he is now under someone else's power. However, can either one be seen holding more power over the other? No. The imprisioned man can be seen with the verbal power in this situation, slyly manipulating the Warden to take no action when the Warden's power lies in his ability to take action. A real Western Front in a jail it seems which allows both men's hatred for each other to be seen especially in the smugness of their body language: each one believes to have the other hand.
ReplyDeleteIn Crime and Punishment, rage can be seen towards many different characters and especially when Rasky takes dislike towards Svid on a regular outing, "Svidragilov! What do you want here? Raskolnikov shouted, clenching his fists and laughing,spluttering with rage" (Dostoevsky 1.4.14). This situation models that of the men in the jail with Rasky seeming to have the verbal power while Svid is the wild card who could have a whole aspect of power over Rasky but leaving Power as the only common denominator.
In The Last Castle, General Irwin and Colonel Winters show different types of power. The most noticeable is the power shown by General Irwin through his body language and word choice. He acts as if he is not bothered by the threats of Colonel Winters by crossing his arms over his chest. He also responds to Winters by telling him that the other prisoners want him to resign. Throughout the whole scene, Irwin acts very smug to attempt to assert his dominance over Winters.
ReplyDeleteIn "Crime and Punishment", Porfiry Petrovich uses a similar tactic in an effort to get Raskolnikov to confess to the murders. He acts in a way that would make himself seem more powerful than Raskolnikov. He uses phrases such as "'I've decided openness is better between us'" (6.2.9) to get a confession. Irwin and Petrovich show power in similar ways to achieve a goal.
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ReplyDeleteThe power dynamic between General Irwin and Colonel Winter in the movie The Last Castle is very unique and intriguing one. Despite never having seen the movie, the scene begins with Winter looking away from Irwin as he tries to figure out what to say. Notice how Winter is standing while Irwin is sitting, meaning that Winter has to literally talk down to and look down on Irwin while talking to him. This mood is reflected in Winter’s voice as he first talks to Irwin. It is uncomfortably and unnaturally friendly, topped with a stale and forced politeness. His tone and words suggest that he does not really believe anything that he is saying but is rather just trying to preserve his own power. That much is evident in how anxious he seems to be done with this conversation, how he sighs, how belittling his words. He, in his all-knowing power and righteousness, has decided to listen to the demands of the peasants he rules and let them salute. However, notice how Irwin does not stand up in order to be on the same level as Irwin, notice how he is not imitated by Winter even though he’s in prison clothes and Winter is in a military uniform, notice how he refuses to talk until the colonel has finished his charade. He plays cool because he can see through the charade. He sees that Winter’s power is built upon this perceived control he has. Irwin decides to sit back and completely obliterate it. The colonel thinks that he is finally done but then Irwin decides to directly address him. The confusion on the colonel’s face says it all; clearly, he is not used to dealing with inmates that have a spine. Irwin cuts out all the crap and gets straight to the point, doing the exact opposite of Winter’s method. Winter, taken aback by this frankness and rudeness, finds the situation to be absurd, almost laughing at the notion that this plebeian could ever overthrow his rule. He tries to mock him, but Irwin cuts him off. He says in plain simple terms what he thinks, saying that Winter should leave now. Winter finally tries to Irwin in his place by sternly reminding him that what is he going to do if he decides to put him in “The Hole”, yet Irwin is now firmly in control. Irwin responds that he can do nothing, yet adds in an ambiguous last word that makes it seem like he is in charge. Winter cannot respond to this. Irwin has proven himself to be powerful, even though he is of a lower class, a prisoner. It demonstrates how rank and position do not immediately show the level of power that somebody has.
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ReplyDeleteA similar power dynamic can be seen in “Crime and Punishment” by Fyodor Dostoevsky. At the reception following Marmeladov’s funeral, Sonia goes to meet Luzhin, who gives her some money in order to help pay for everything. However, he sneaks a hundred roubles into her pocket. Then, he comes to the reception and frames Sonia of stealing said hundred roubles. He comes into the reception preaching a holier-than-thou doctrine, saying “To my surprise one hundred note had disappeared [...] You will admit that recollecting your embarrassment, your eagerness to get away and the fact that you kept your hands for some time on the table, and taking into consideration your social position and the habits associated with itm I was, so to say, with horror and positively against my will, compelled to entertain a suspicion - a cruel, but justifiable suspicion!” (5.3.9) “Thankfully” for Sonia, he has decided to be “merciful”, saying “I am most ready, most ready to show compassion, if poverty, so to speak, drove Sofya Semyonovna to it, but why did you refuse to confess, mademoiselle? [...] [H]ow could you have lowered yourself to such an action? Gentlemen, [...] I am ready to overlook it even now in spite of the personal insult lavished upon me! And may this disgrace be a lesson to you in the future, [...] and I will carry the matter no further” (5.3.37). Quite clearly, Luzhin is trying to make it seem like he is some righteous benefactor that has been wronged in order to gain power at the expense of Raskolnikov and Sonia. It almost works, except the idealistic flatmate of Luzhin, Lebeziatnikov, rushes in. He is a socialist, a mere peasant, nothing when compared socially to the rich Luzhin. Yet this nobody completely destroys the foundation that Luzhin has built his case upon, declaring with fury that “I saw it, [...] and though it is against my principles, I am ready at this very minute to take any oath you like before the court, for I saw how you slipped it in her pocket” (5.3.52). He explains the situation, and Raskolnikov come sin to fill in the missing pieces of information, creating a solid, indisputable accusation. The crowd begins to turn against Luzhin, who retreats, trying in vain to maintain what little of his broken pride remains.
In both pieces, a supposed sub-class individual, a “degenerate” so to say, completely flips the table on the expected power dynamic. They prove their superiority to the upper class individual, showing that it is not so much position but rather personality and values that determines who controls power.
The power dynamic between Colonel Winter and General Irwin is the opposite of what their positions in the film may suggest. While Colonel Winter technically has much more power than General Irwin, Irwin is able to rally the prisoners against Winter and is able to get some of what he wants from Winter. Initially, Winter does not face his entire body towards Irwin or look at him, which makes it seem like Winter is nervous around Irwin. At this point he is admitting "defeat" to Irwin, that he can't stop the inmates from doing salutes or from calling Irwin "Chief". On the other hand, Irwin looks directly at Winter both when he is being spoken to and when he speaks to him halfway through the clip. When Irwin challenges Winter to resign, Winter immediately resorts to showing an"official" show of power, putting Irwin in "The Hole" for six months. This does not phase Irwin who continues to make eye contact with Winter. Irwin holds much more power in this scene than Winter does, despite him being a prisoner under Winter's control. He faces Winter with confidence and doesn't back down even though he has no way to officially control Winter.
ReplyDeleteIn Crime and Punishment, the power dynamic between Raskolnikov and Porfiry is similar when Raskolnikov meeting Porfiry and Porfiry is certain that Raskolnikov committed the murders, but Raskolnikov has not yet confessed. The power dynamic is similar because Porfiry could not encourage Raskolnikov to confess and could theoretically keep him in custody then because he is such a strong suspect. In both situations the person who technically has more power is allowing the person who has less power to be in control of the situation. What is different however, is that Colonel Winter does not want to give up any of his power to Irwin, while Porfiry is encouraging Raskolnikov to confess instead of trying to force him to or arresting him in this scene, considering that what Raskolnikov says is fairly incriminating. Porfiry says, ""I don't want you to look upon me as a monster, as I have a genuine liking for you, you may believe me or not" (6.2.41). He wants Raskolnikov to confess so he can get a lighter sentence, but Raskolnikov says that he doesn't want to. Part of the commentary on power in both the film and the novel is that power is fluid and is not solely based on position. In The Last Castle, Irwin holds more power than Winter despite the fact that Winter has rank over him in the prison. In Crime and Punishment, Porfiry gives over some of his control to Raskolnikov, despite Porfiry being a police official and Raskolnikov being a poor criminal.
The word power refers to the influence one person has over another. Whether it be through fear or other means, the power that somebody has over another can direct their ultimate behavior. In this scene from The Last Castle, General Irwin seems to have a lot power over Colonel Winter. One would think that Winter, having the position that he does, would have more power over Irwin, but it is in fact the other way around. Winter is fearful of Irwin and that is clear in the video clip. Toward the beginning of the scene, Winter almost refuses to look at Irwin, failing to make eye contact whenever possible. It shows the fear he has of recent events and the fear of what Irwin can do to him. This gives Irwin the power he needs to switch the roles and seem like the one in charge. Irwin also crosses his arms while Winter is addressing him, which seems to have the opposite effect. Instead of showing fear, he is able to show a lack of it. This simple piece of body language furthers the power that Irwin has in this situation as he does not seem phased by the colonel’s words. Later in the conversation, Irwin repeats the word “disgrace” to refer to Winter. The ability to call a superior out like this only comes from the power which one holds and the lack of fear that they have in doing so. At the end, the colonel even threatens Irwin with six months in the hole, a remark to which Irwin does not seem phased. This solidifies his inability to be pushed around and the power that he truly holds over Winter.
ReplyDeleteA similar situation arises in Crime and Punishment when Raskolnikov is confronted by Porfiry Petrovich about the murder. Petrovich seems to possess a power over Raskolnikov as he tries to almost get a confession out of him. Petrovich is on the morally right side of the argument just like Irwin, strengthening his fearlessness. This is seen when Petrovich says “we know all who had pledges, and you are the only one who hasn’t come forward” (3.5.44). This tiny remark makes Raskolnikov pale and angry, showing the fear that he has for this situation. This fear gives Porfiry Petrovich just the power he needs to suspect and begin to accuse Raskolnikov. Later on in the conversation, Petrovich asks Raskolnikov if he saw any painters when he visited the pawnbroker in an attempt to catch him in a bold faced lie. This trap shows the place of power Petrovich holds in the conversation as he almost drags it out of Raskolnikov. Raskolnikov’s nervousness through this encounter shows his lack of power, while Petrovich’s confidence shows a presence of it. Power will give someone the advantage when they are at odds and in this situation, Porfiry Petrovich has the power.
Power is a vague construct forced into society by humans. Power is believed to show strength and justice, but feeds into corruption. Often times power is abused when it is a tool to keep order in a system most notably in the government. The concept of abusive power stunts is seen in both the movie, The Last Castle and the novel, Crime and Punishment written by Fyodor Dostoevsky when characters interact. The complex relationship between Irwin and Winter from the movie mirrors that of Sonya and Raskolnikov.
ReplyDeleteIn the short clip where Irwin and Winter interact there is one significant moment where the power shifts between the two characters. Power is measured in dominance between characters. When dominance is threatened tensions arise and opposing sides take their stance although the battle is not won as soon as someone is submissive. In the first part of the scene Winter makes it very clear he has authority in the situation when talking about the other inmates, “...if the inmates can confine themselves to a simple hand movement through the hair I would be fine with that.” The purposeful mention of “I” establishes Winter makes the rules they do not go through Irwin. His response is affirmative silence to which Winter takes as his acceptance to his law although then the power shifts. Irwin ultimately wins against the battle of power without threats a common tactic used by Winter when he replies, “They want your resignation and so do I. You’re a disgrace to the uniform. You should not be allowed to retain your command.” He wins by proving there is no respect for his authority. Power is not given to the person in charge it is given to an individual who has a population to follow their lead, who is willing to be commanded. If they are deemed unworthy soon enough they will be knocked down and lose their power over others.
In Crime and Punishment the main character Raskolnikov would be seen as Winter in the scene where he confesses he killed those two ladies and Sonya is Irwin. The scene starts with Sonya reading the story of Lazarus to Raskolnikov as he demands her to read it to him. Sonia is seen to be timid and as she reads with emotion the inner thoughts of Raskolnikov begin to shift. Without being aware Sonya holds a power over him which draws him to want to confess that he commited the murders. All of a sudden he exclaims, “‘‘I know and will tell … you, only you. I have chosen you out. I’m not coming to you to ask forgiveness, but simply to tell you.” (4.4.1..). Her religious background and natural draw Raskolnikov has towards her causes him to take back his power and submit to doing the right thing. The parallels between the movie and the novel is that power comes unexpectedly and for those who will to do the right thing. In the movie power is taken away from Winter because he is wrong in his cruel ways and in the novel Raskolnikov’s power of his personal justice scale is taken away when Sonya’s beliefs cause him to want to do what is morally good.
Anthony Saxton
ReplyDeletePower, by definition, is something that can be possessed and then further enforced upon those who have none. But power, much like many other concepts, is very broad. This is mainly due to the way power can switch. This occurs everywhere; in politics, it’s a rebellion; in the streets, it’s called the “changing of the guards”. It can also be seen in this clip from The Last Castle, a movie based entirely around this idea of a power switch. Power is enforced by the warden, Colonel Winter, who abuses this ability and his prisoners at The Castle, one of which being Redford, from the scene. As is the case of many people with power, Winter doesn’t want to let it go. Power is an engaging concept, if you have it, those who you have it over can never take it from you. Or, at least, that’s how it seems. When power is questioned, those who have it become vulnerable with fear, making it easy for those without power to rise. The first step in any switch is the mental step, the way you speak to your opposing parts. In the scene, Winter attempts to console Redford in the beginning in a condescending way. He stands over him, talking slowly and calmly, using simple terms and phrases. This is a common representation of power. The switch of power comes when Winter attempts to dismiss the conversation, to which he is denied that privilege, and Redford begins to speak up. Redford speaks to Winter with a confidence, one that he had not much expected out of a prisoner. This is Redford’s power, to speak with purpose when opposed. When Winter begins to argue with him, Redford speaks louder, another common move in this shift of power, signifying he has the word now, proving it in his aggravated tone and word choice. No matter what the Colonel says in response, Redford is quick to talk back, even when the Colonel threatens him. Redford uses this as an anchor to shift the power back to him. The Colonel’s facial expressions change throughout, from a smug confidence to the face of a bitter defeat in the argument. The power switch is completed, and Redford has the last words.
A similar switch occurs in the novel Crime and Punishment by Fyodor Dostoevsky, between law official Porfiry Petrovich and Rodion Raskolnikov. In a meeting between Razumihin, Raskolnikov, and Petrovich, Razumihin allows his temper to get the best of him, while Raskolnikov attempts to remain calm, even in the face of a lawmen who seemingly is onto him. Raskolnikov begins nervously, as he is asked to “‘give the information to the police’”(3.5.19) by Petrovich. Raskolnikov is quiet and scared, responding to this person of power by saying, “‘I am not quite in funds’”, as he “tried his utmost to feign embarrassment”(3.5.20). Porfiry then begins to focus on Raskolnikov, despite the efforts of Razumihin to divert his attention from his friend. He begins to question him on his possessions, which he has viewed with a strict lense, to which Raskolnikov responds “‘how observant you are’” as he “smiled awkwardly”(3.5.40), which is the start of Raskolnikov showing his snarky and arrogant side, which he uses to fuel his later confidence. When asked if he is ill, he responds by saying he is “‘quite well’”(3.5.46), rudely and angrily, changing his tone. This is much like Redford’s refusal to dismiss the conversation between him and Winter, which is the beginning of the switch. Raskolnikov is then questioned, theoretically, if he had committed the crimes, to which he responded, “‘If I did, I certainly should not tell you’” with “defiant and haughty contempt”(3.5.102), beginning to come more out of his nervous and shy shell that had been built by his fear of the power Porfiry has, much like Redford overcomes the power of the Colonel. The shift is most evident at the end of their meeting, Petrovich saying he had “‘muddled it’”(3.5.117), referring to his inability to force answers from Raskolnikov.