It is through typically visual texts that composers imprint powerful images in the minds of individuals to ultimately shape the meaning behind significant ideas. This powerful interaction is exemplified in both John Misto's highly evocative work, "The Shoe-Horn Sonata," and the film "Paradise Road" directed by Bruce Beresford. It is through how written, spoken and visual text communicates the atrocities of war and the power of friendship and resilience. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Mixed explores women's struggles under the rule of the Japanese empire through the exploitation of distinctive visual devices to offer new insights into these women's experiences. The projected images presented behind Bridie as she tells her story are ironically punctuated by the song “Happy Times” which is juxtaposed with the sounds of “machine gun fire and the screams of women. The layering of aural and visual images of camp conditions alongside Bridie's story confirms that, although the play is fiction, the women's struggles were a reality, bringing the actuality of the war to life by stimulating new understandings. It is through the non-diegetic sound of off-stage soundtracks that empower rescuers to imagine not physically, but mentally the experience and immense pain of these atrocities and the inner strength and resilience needed for POWs to overcome suffering and tragedy. The character's dialogue describes the inhumane way female prisoners of war were treated; “They shoved us into the hold: no food, no water, no space to lie down.” It is through the use of diction and strong verbs that he reveals the general injustice by evoking empathy within the responder. Essentially Misto deglorifies war through vivid descriptions of the protagonists' memories, creating distinctive images that foster empathy in those who respond to the prompt. Likewise, Beresford's film exposes the atrocities of war through the exploitation of distinctive visual devices. When Wing is captured and burned alive as a symbol of retaliation by the Japanese, he ultimately reveals conflicting images of the reality of war. The close-ups on the women's faces as Wing is set on fire and burned to death ignite a sense of terror and disbelief among rescuers from the moment the gasoline is poured on Wing. Rescuers watch in disbelief as the gathered women and children are forced to bear witness to a fellow prisoner and friend in horrified silence. This is strongly contrasted with the extreme close-up of Japanese Captain Tomiashi showing no remorse for his actions, highlighting the Japanese guards' inhumanity and callousness towards the victims. Beresford essentially uses evocative and confronting images to effectively allow rescuers to reconsider their previous conceptions of war. The vocal orchestra is a recurring motif throughout the play of hope and emotional escape in the darkest times of war. The personification of “Fifty Voices Set Us Free” reveals to responders the significance of the chorus in providing women with the inner strength to overcome suffering and tragedy. The "Sonata" serves as an extended metaphor taking on a symbolic meaning, representing friendship as well as the strength and survival of Bridie and Sheila, "we sang our sonata whenever we could, so the camp knew there was still hope ". The camaraderie shared between the two women illustrates power.