The symbol comes through Billy helping Guy to see. Guy internalizes traditions of the west as a way of objectifying and distancing the virtue of knowledge when he says, "I gave her to you, and now I'm taking her back (Gibson 16)". By defining self in the opposition context, Guy develops a primary demeanor and attitude of disagreement. The guy makes it clear from the start that there is no way he will involve himself in ensuing affairs. However, Billy takes the initiative of going parallel in a connective and paradoxical manner in exploring the function of vision. Billy associates vision with empathy, commitment, and contact. Billy replaces communion in likeness Guy’s opposition via difference. In his view, Billy wants the verb ‘to see’ remain synonymous with ‘feeling’ as a verb. This is different from other parts of the world as “Algonquian Indian languages do not have tenses (not that they cannot express time if they wish), but rather have "animate" and "inanimate" verb forms, so they automatically think in terms of whether things around them have a life essence or not.” Billy makes effort to visualize the real Djakarta that covers thousands of people living in poor conditions because of humble backgrounds. Therefore, they die from multiple diseases and starvation. Conclusively, the film in celebration of the medium as a movie highlights pessimistic statements concerning possible opportunities. Weir, the director, encounters inherent features met by the visual image when it tries entering the human conscience.
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The essay "The Year of Living Dangerously - Vision can be a model for knowledge" focuses on the film The Year of Living Dangerously by Peter Weir. The film is gripping, ambitious, and stylish as the director puts in an effort to it a thriller, develop the romance, and trace political happenings…
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