“[A] film's ‘accuracy’s is that it relays the voices and the perspectives—we emphasize the plural—of the community or communities in question. While image evokes the issue of mimetic realism, ‘voice’ evokes a realism of delegation and interlocution, a situated utterance of ‘speaking form’ and ‘speaking to.’”.
Ella Shohat and Robert Stam in “Stereotype, Realism, and the Struggle over Representation” provide discourses into how not only the marginalized groups have come to their state of powerlessness, but, also, how the institutions perpetuate and audiences receive the information. They state, “That films are only representations does not prevent them from having real effects in the world; racist films can be mobilize the Ku Klux Klan, or prepare the ground for retrograde social policy. Recognizing the inevitability and the inescapability of representation does not mean, as Stuart Hall puts it, that ‘nothing is at stake’”. In essence, a film’s quality of representation can move individuals to ascertain ideas of positive or negative thoughts. In “The Orchestration of Discourse” section, Shohat and Stam find that multivocality plays an integral part in constructing the positive image and “accuracy” for films. This paper will explore how different voices in The Treasure of the Sierra Madre functions as a mirror of the real world and reaches the “mimetic accuracy”.
The Treasure of the Sierra Madre is set in the remote Sierra Madre Mountain in the Mexico border. Although Spanish is the dominant language of that specific location, English is still the primary language spoken throughout the film, which reinforces a notion of whiteness is a still a kind of dominant power. Other than the trio and Cody, the minor characters in the film they either do not have any voices, for instance women. Throughout the course of the film, the feminist voice is absent, they are voiceless. This reflects the social hierarchy of the old days when women do not obtain ‘voice’ in the society. However, it could consider as a false representation of women in the modern world. When Mexicans are given a voice, their lines are conveyed through Spanish, which distinguishes their identity from the white gold miners. Spanish is used throughout the course of the film, but insignificantly, therefore Spanish is considered as the alternative and marginal language/ voice of Treasure.
Shoat and Stam reveal the “film’s ‘accuracy’ is that it relays the voices and the perspectives”. There is a scene in the film when four Mexicans arrive at the location where the trio is going to spend the night. Before the voice and shots of the four Mexicans are given, the camera...