That’s to say, if you’re skipping around and dipping into the thoughts and emotions of many characters, it’s omniscient.
Another aspect of using multiperspectivity is that it enables the author to present his characters in one scene switching one and another.
An example is a scene with two characters facing off, in a tense situation. The point of view shifts evenly between the two of them, and the reader gets to see that one of the characters is in full control of their emotions and their perception of control during the encounter, while the other is mentally falling apart, but manages to keep their outward appearance strong. To illustrate, I think Vince seemed to have an aggressive behavior and have a tendency of violence which is also implied by John while they were talking due to Vince’s way of life and outlook. Then, the conversation …show more content…
between
John and Vince has turned into the question of violence to Amy from the general issues about their job, lives and way of living. At the beginning of the conversation, though John denied the violence, he gave a concession that he said ‘excessive linguistic pressure’ as the means he applied to force Amy into having sex with him. Nonetheless, after Vince’s language of force as ‘bullshit or come on’, John accepted the rape and he said that “I pinned her arms back and stuck my dick in, okay”. Immediately after Jon eventually and crudely shouts, in the first person, “For Christ's fucking sakes, shit happens”. In that point, I realized that, Vince actually did not know what happened at that night, he just used his suggestion or imagination. If the audience only saw the Vince’s point of view, maybe it could not be perceived as real but in that scene we were with John and we accepted the rape he did.
Ironically, exploring multiple viewpoints is important since different perspectives help provide better solutions to issues.
For example, by introducing Amy who is the last one of the three to arrive at the Motor Palace the audience have the chance to learn what happened in real as the final witness to and guarantee of this rape narrative. However, though in the face of Jon’s effusive, near endless, apologies, Amy says she was not raped rather than simply refuse the apology. Amy basically said that it as a speech acts that does not have her as its object or the intention to apologies as its aim. Throwing out of court Jon’s professed sincerity of apology, Amy counters: ‘You didn’t like what you said on the tape John, so you came back and phrased it a little more eloquently.” At that moment, I tried to understand if rape is happened. Then, thanks to usage of multiple view mode, I realized the fact with John that she was in love with him which was another shock for him to learn that after her denial. It was happened because there was Amy’s consent at that
night.
What is more, the real issue the Tape brings up is memory and perception. It is obvious that if John, Vince, and Amy all remember the “party at the end of their senior year graduating from college” differently than each other, then the audience may ask that who is right. As I
indicated in the beginning of the essay, the film never flashes back to the party, and it does not shows the audience the way it happened is actually and hence we did not use the cliché “oh, how none of these characters remember that!”. What happened actually at that night is at this point irrelevant depending upon the each characters point of view. What matters now to John, Vince and Amy is the perception of that night they all have. We have all had regrets about our past, friends we’ve fallen out of touch with, or memories we prefer not to think about and we all think it separately and as our way of thinking. Tape takes that power tells the story each of these three characters point of view.