One example on redemption mentioned in the story is “The Waste Land” poem. The writer illustrates the land as a land left by the inhabitants filled with contaminated slums especially in the urban areas. In the example, the writer describes the situation of the land as the effects of the result of the World War II (Barbour, 1980). The land is isolated with ruined buildings and abandoned monuments. Civilization is not recognized in the land and there seems to be no one to redeem the land from its ruined state (Barbour, 1980). Moreover, the land is an arid region with barrenness and without marks of civilization being attempted to save it. In this film, the character Mad Max is considered as the hero to redeem the land from waste to civilization. In the film his vision greatly concentrates on the damaged society but not the culture. The poem done by the character T.S. Eliot explains the situation of the land (Barbour, 1980). His vision illustrates the dying of the western culture in Europe and the destruction of all of its artifacts and monuments. He believes that these were brought about through the evil and dirty activities practiced in Europe.
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However, redemption is portrayed by expression of hope which the character Miller believes that the new generation which is being brought up will not be corrupt (Barbour, 1980). The clean generation with unpolluted mind is the children who will save the land and bring up a new society. This will produce a future with hope which embraces modernism. For instance, Miller inspires T.S. Eliot to upgrade his pessimistic poem of ‘The Waste land’ into an optimistic poem that influences positive attitudes (Barbour, 1980). Eliot finds a solution from the connection of hope from the past experiences to the present features.
The next example of redemption is depicted in the scene of traditional heroism where Eliot illustrates a theme in his sources. According to Barbour (1980), this is retrieved from one of his sources ‘Campbell study of heroism’ with an example where the film, Percival of the Grail legend, narrates a story of redemption of the Fisher King from the curse cast on him as an individual and his empire. The character here is Percival whose main agenda is to rescue the victim of circumstance who is grief stricken and therefore terms himself as a hero (Barbour, 1980). On the other hand, the modern heroism in the same scenario is portrayed as the opposite. Here, the hero is has a connection with the desolated land who shares the sorrows brought about by the cursed land.
Another example of redemption is illustrated in the movie of Mad Max who used his position as a police officer portraying heroism. Despite Max’s weakness, he was a savior who was greatly concerned with the victims of rape. He also expresses his love for his family and his best friend killed by the gang called the Toecutter’s motorcycle. Though he was described in the movie as “a mute mythological hero for a post-apocalypse society” (Barbour, 1980). Max shows his redemption by making his car as a weapon and therefore organized a way to revenge for the rape victims, police officers in the society as well as his family and best friend. In the revenge Max kills every member of that ruthless gang. In contrast to this example, redemption is illustrated as partial redemption (Barbour, 1980). This is depicted in regard to the decision of Max refusing to kill a retarded enemy called Blaster is a demonstration of his change of attitudes towards life where he killed his enemies in the film “The Road Warrior”.
Another important example of redemption is seen in the scene where Max was saved by the gyro captain from his burning car while pursuing his enemies. The gyro captain appeared from the sky where he was the savior of max and consequently this action created friendship between the gyro captain and Max. However, Max realized that the strong belief he had about himself that he could only rely on himself and that no one else could help him was wrong (Barbour, 1980). This event led Max to stage a heroic expedition which Campbell refers to it as “the Belly of the Whale”, and this meant the mission of the brave warrior is at its lowest point.
Another example of redemption is depicted in the film”Beyond Thunderdome”, where Max is depicted as a reluctant hero is seen assisting in the process of transporting the family of the wasteland children to the safe land. Max is portrayed as a man who has a great affection to the children for instance the feral kid, and therefore shows this by giving the kid a souvenir from the damaged truck (Barbour, 1980). The kid adores Max as his hero but Max tries to avoid him but the undomesticated kid manages to follow him as he escapes to pursue his heroic schemes. The feral kid is said to save and offer protection to Max while he was driving under attacks from the gang known as the Humungus. The kid died from the arrows as a hero, as he was trying to save a mechanic who was on the tanker when the attackers were pursuing them. Redemption here is explained by the writer in a way that max is at his lowest point of heroism where Max the hero is saved by a kid and therefore in this case Max is not self-reliant as he believed.
An outstanding example of redemption is portrayed when Max kills the notorious gang leader of the Mohawkers and the Humungus using a trap (Barbour, 1980). The trap he used was the destruction vehicle to snare the gangs to believe that he was carrying the fuel that was being contested by them. Max saves his entire community by restoring and preserving the civilization that was longed for in the society. Redemption in this case is portrayed as a surrogate which is a give and take policy where the hero receives something in return of the redemption (Barbour, 1980). For instance, as a substitute, Max received a new life of relationship restoration which is significant in his life.
In summary, the whole scenario of redemption has its ups and downs and therefore a hero does not emerge a winner through hardships and the help of other people in the society.