By Steve Mayer
Controversy has lengthy reigned over the relative strengths of the bishop and knight. Mayer makes use of functional examples to demonstrate positions which favour one minor piece over the opposite and offers a major research of the long-debated subject.
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Additional info for Bishop V. Knight
He is a first-generation immigrant who came to the United States and prospered, and the making of the chair symbolizes his hopes and dreams of sharing in the enhanced civilizational value of Crusoe’s chair. However, the fact that he makes the chair and sits on it every day outside his internment camp dwelling underscores the fact that the enhanced value of Crusoe’s chair does not extend to the Japanese immigrant. The supra-valuation of Crusoe’s chair is restricted to the white male Robinson Crusoe and the American ambassador in The Barbarian and the Geisha.
Music from other jalsas that we as viewers cannot identify because we have not been present at those concerts, overlays the soundtrack. The camera pans to the mirror, then pans around the room. It pulls back to show a Bishwambhar overwhelmed with memories, crouching on the floor of the music room like a supplicant. The music fades, and in the silence we hear a dog’s wail. The camera is now positioned behind Bishwambhar, we see him struggling to his feet. The camera cuts to the mirror and we see Bishwambhar in the mirror, staggering closer towards it.
The energy of the former requires the listless apathy of the latter. Ray essays an alternative proposition of value in The Music Room. He transforms the island-space of enterprise into the cultural space of Bishwambhar’s music room. The enterprising activity of making a table and chair is implicitly contrasted to the indigenous elite’s intellectual and cultural labour. Persuasion is at the centre of Ray’s counter enterprise. In bringing together Defoe’s text and Ray’s films, my intention is not to stage a simple opposition between manual and intellectual labour.
Bishop V. Knight by Steve Mayer