Is Sorry Ever Enough?

Summary

In a thought-provoking exploration of apologies and their significance, the creator NapoleonVII delves into the complexity of saying "sorry" and the limits of its impact. Using the 2003 movie 'Brother Bear' as a lens, the video examines themes of restorative justice, empathy, and the journey towards personal growth. Apologies are depicted not as magical solutions but as starting points towards understanding and healing. Through engaging storytelling and analysis, the role of perspective in forgiveness and reconciliation is illuminated, stressing that sometimes, saying sorry is just the beginning of a larger journey towards empathy and change.

Highlights

• 'Brother Bear' offers a nuanced look at apologies through its story. 🐻
• The video emphasizes the shift in perspective using cinematic techniques. 🎬
• Apologies are seen as initial steps toward larger reconciliatory processes. 🌱
• The analysis draws connections between the film's narrative and real-world justice systems. ⚖️
• Understanding the importance of recognizing and empathizing with victims is highlighted. 💡

Key Takeaways

• Apologies aren't magical fixes but are essential first steps. 🌟
• 'Brother Bear' uses its narrative to explore complex themes like restorative justice. 🐻
• The transition in aspect ratio in the movie symbolizes a shift in perspective. 🎥
• Understanding and empathy are crucial in resolving conflicts and healing relationships. 💖
• The video discusses how media captures the theme of otherness and restorative justice. 📚

Overview

Apologies are as varied as they are common in our lives. Whether simple or profound, their real power isn't in instantly solving issues but in opening the door for repair and growth. The word 'sorry' serves as the entry point to a journey of understanding, acceptance, and healing.

Drawing from the movie 'Brother Bear', the creator illustrates how a shift in perspective, epitomized by a clever change in aspect ratio, can be transformative. The film's narrative serves as a metaphorical exploration of how individuals must confront their actions and the effects those actions have on others.

The video artfully connects 'Brother Bear's' themes with the real-world concept of restorative justice. It invites viewers to consider how apologies and empathy can play a central role in resolving conflicts and healing relationships, even when they appear insufficient. Through engaging storytelling, it pushes for a deeper understanding of human nature and the potential for personal growth through acknowledgment and empathy.

Chapters

• 00:00 - 00:30: Introduction to Apologies and Their Complexity The chapter explores the concept of apologies and how they are not all created equal. It highlights how the commonly used phrase 'I'm sorry' can have different meanings and levels of sincerity depending on the context. 'Sorry' can be used for routine situations like accidental bumps, can be used sarcastically, or can be insincere when forced by others, such as parents making children apologize.
• 00:30 - 01:00: The Limits and Power of 'Sorry' The chapter explores the nuanced power of the word 'sorry.' While it acknowledges that apologies aren't magical solutions that instantly resolve issues, it emphasizes their importance as a means to move past problems and begin anew. The term 'sorry' is not always effective, nor does it resolve everything, but its significance lies in its ability to offer a fresh start, acknowledging that some situations require more than just an apology.
• 01:00 - 01:30: Role of Apology in Recovery and Self-Acceptance This chapter explores the critical role apologies play in recovery, whether it be in personal relationships, social standing, or self-acceptance. It references Bernie Toppen's notion of wanting to save something that is essentially lost, highlighting the emotional struggle involved. The chapter argues that apologies, despite seeming simple, involve complex emotions and vary in sincerity which influences their effectiveness.
• 01:30 - 02:00: Exploring Restorative Justice Through a 2003 Movie The chapter explores restorative justice through the lens of a 2003 movie. It emphasizes the significance of communication as a social tool between individuals or parties to address issues. The chapter underlines the importance of making the first leap through apology and responsibility, even when consequences were unforeseen. This approach is highlighted as having a restorative quality, rebalancing the world and serving as an introduction to how the film tackles these concepts.
• 02:00 - 02:30: Introduction to 'Brother Bear' Movie The chapter "Introduction to 'Brother Bear' Movie" starts by highlighting the concept of justice, specifically the idea of restorative justice which focuses on repairing harm caused by a crime rather than seeking retribution. It reflects on the themes and journey the content will cover while introducing the movie 'Brother Bear'. The host prepares the audience for the exploration by indicating that they are on the move within the narrative, signaling a journey of discovery about new places and faces, as presented in the movie.
• 02:30 - 03:30: Movie Synopsis: Setting and Characters The chapter titled 'Movie Synopsis: Setting and Characters' introduces the setting and characters of the movie 'Brother Bear.' This film, set in post-Ice Age Alaska, follows the journey of the main character Kenai. Kenai is described as a brash and self-serving teenager. The chapter reflects on the trend of early 2000s movies being set in the Ice Age, noting its peculiarity despite being a minor occurrence. Released in 2003, 'Brother Bear' is noted as the directorial debut of Disney animators Aaron Blae and Robert Walker.
• 03:30 - 04:30: Kenai's Journey and Themes in 'Brother Bear' In the chapter 'Kenai's Journey and Themes in Brother Bear', the story revolves around a young man named Kenai who is on the brink of a coming-of-age ceremony. Accompanied by his brothers Sitka and Denahi, they prepare for Kenai's totem ceremony in their village. During this ritualistic celebration, Kenai is bestowed with the totem of the bear, a symbol guided by love. Surprisingly, Kenai is displeased with this totem, revealing a deeper theme about the perception of masculinity. This part of the movie highlights a subtle critique of fragile masculinity, especially intriguing in a film aimed primarily at young audiences.
• 04:30 - 05:30: Aspect Ratio Change and Visual Storytelling In the chapter titled 'Aspect Ratio Change and Visual Storytelling', the narrative unfolds with Kenai, during a ceremony, realizing that a bear has stolen the fish because he did not secure it properly. Driven by frustration and anger, he pursues the bear, leading to a tense confrontation. His brothers try to save him, but this results in Sitka sacrificing himself by breaking an ice cap, falling with the bear, who survives, while Sitka doesn't. This critical sequence of events highlights the dramatic shift in aspect ratio to enhance the visual storytelling.
• 05:30 - 06:30: Developing Empathy and Understanding In this chapter titled 'Developing Empathy and Understanding', the movie delves into themes of guilt, consequences, and empathy. The story unfolds with Kenai approaching Denahi after Sitka's funeral, expressing his intent to seek revenge on a bear. This scene highlights Denahi's perspective on the incident as he articulates that it's wrong to blame the bear for what happened, acknowledging the tragedy but emphasizing that revenge fixes nothing. Despite Denahi's attempts to convey this understanding, Kenai decides to pursue the bear. Denahi, in an effort to prevent Kenai from making a grave mistake, follows him. This chapter sets the stage for exploring deeper emotional and moral themes as characters grapple with their emotions and decisions in the wake of loss.
• 06:30 - 07:30: Kenai and Koda - Growth Through Perspective Kenai and Koda - Growth Through Perspective: In this chapter, the story begins with dramatic and visually stunning sequences where Kenai kills a bear, believing it would heal him from his loss. However, instead of finding peace, Kenai is punished by the spirits for his actions and is transformed into a bear himself. This transformation marks the beginning of his journey, symbolizing a punishment and a lesson in perspective. The chapter sets the stage for exploring key themes, motifs, and narrative tools used in the movie to convey deeper messages beyond the plot.
• 07:30 - 08:30: Restorative Justice and Apology In this chapter, the video discusses the momentous scene in a movie where a significant change happens, marked by the shift in the aspect ratio. This occurs at the precise moment when the character Kenai loses consciousness and is transformed into his new bear form while fleeing his brother. Initially, the film is presented in a standard widescreen aspect ratio of 1.75, which is quite common. However, when Kenai transforms, the aspect ratio changes to a more anthropomorphic one of 2.35, indicating a shift in perspective for the audience as well. This transformation is a pivotal moment in the film.
• 08:30 - 09:30: Film’s Unique Approach to Storytelling The chapter delves into a fascinating detail about how films use unique storytelling methods by manipulating visual experiences. Specifically, it discusses a technique used in theaters in 2003, where curtains were used to create a dramatic shift in aspect ratio as part of the film's narrative. This effect is compromised in streaming formats, where the black bars appear on the screen, making it feel like an error. Originally, this was a deliberate artistic choice to enhance the audience's immersion and align their experience with the character's journey.
• 09:30 - 10:30: Acknowledging Fault Without a Traditional Villain In a move that challenges traditional storytelling tropes, the plot unfolds without a clear-cut antagonist. Instead, the chapter delves into the nuanced theme of acknowledging fault within oneself rather than externalizing blame onto a villain. The narrative emphasizes perspective as a central theme, conveyed through shifts in animation style—from hyperrealistic landscapes to a softer, more cartoonish representation. This visual transition symbolizes a deeper change in understanding for both the protagonists and the audience, setting the stage for the story’s climax where personal growth and acceptance supersede simplistic notions of villainy.
• 10:30 - 11:30: Subtext of Cyclical Violence The chapter 'Subtext of Cyclical Violence' explores the theme of understanding and empathizing with the perceived 'other' or monster within oneself. The protagonist struggles with the fear and hatred he harbors towards a bear, which he comes to recognize as a reflection of his own internal monsters. This newfound perspective plays a crucial role in developing empathy and understanding his actions that necessitate atonement. The narrative delves into the notion of punishment and poetic justice, as the protagonist experiences a form of retribution by transforming into a bear after killing one. However, the lesson intended by the governing Spirits in this world isn't immediately clear. This ambiguity invites readers to explore deeper themes of justice, empathy, and self-reflection.
• 11:30 - 12:30: Cultural Context and Humanizing the Other The chapter "Cultural Context and Humanizing the Other" emphasizes that atonement and rectifying one's actions is not a straightforward process. Understanding the broader perspective and context is essential as symbolized by the idea of 'A New Perspective' and new visuals, which are just the initial steps. The journey involves deeper comprehension of the reasons behind actions. In the narrative, Kenai wakes up as a bear and is determined to return to his human form. However, he knows he must discover a place where 'the light touches the Earth' to achieve this, though the path to this understanding is not clear to him.
• 12:30 - 13:30: Critique of Selfish Worldviews In this chapter titled 'Critique of Selfish Worldviews,' the narrative begins with the protagonist seeking assistance to reach a destination, turning to another bear, a cub named Kota, who is separated from his mother. They embark on a journey to the salmon run, a meeting place for bears. The protagonist, initially reluctant to care for Kota, gradually develops a bond and starts valuing his company. Their journey is filled with challenges as they head to their destination, while Denahi, another character, follows them, mistakenly believing the protagonist killed Kenai.
• 13:30 - 14:30: Restorative Justice: Realization and Atonement The chapter titled 'Restorative Justice: Realization and Atonement' discusses the theme of misunderstandings and the ensuing drama that bonds the characters Kenai and Kota in an endearing relationship for the audience. It explores themes such as found family and community, with additional comedic relief provided by characters like Moose, Rut, and Toque in the natural world setting. While not groundbreaking, the narrative successfully develops the connection between these characters.
• 14:30 - 15:30: Empathy and Understanding in Healing This chapter explores the theme of empathy and understanding in the context of healing. The narrative focuses on the characters Kenai and Kota, who are challenged to reassess their worldviews. While the story does not lead them to direct confrontation, Kenai gains insight into how humans are perceived as monstrous by the natural world through Kota's experiences. The relentless pursuit by Kenai's brother to kill him forces Kenai to confront the cycle of violence, revealing harsh truths about this reality to those like Kota. The specific details of their journey are less significant than these thematic revelations.
• 15:30 - 16:30: Kenai’s Acceptance and New Path Kenai embarks on a journey seeking revenge, believing he is righting a wrong. Throughout the journey, he forms connections that are crucial to the story's resolution. These connections and the events along the path lead to a profound self-examination of his actions. The film forces Kenai to confront the idea of when a person's actions turn them into a monster, highlighting the monstrous aspects of his own actions. This confrontation marks Kenai’s acceptance of a new path after grappling with his past actions.
• 16:30 - 17:30: The Broader Implication of Forgiveness The chapter explores the concept of restorative justice through the lens of a story involving a character named Kenai. The narrative is positioned from Kota's perspective, which allows both the audience and Kenai to better understand the harm he has caused. The chapter highlights the dangers that humans pose and the need for Kenai to recognize his role in perpetuating those dangers. This recognition is crucial for practicing restorative justice and making a meaningful apology, as Kenai must first comprehend the impact of his actions.
• 17:30 - 18:30: Personal Reflection on Forgiveness and Growth The chapter discusses the theme of forgiveness and growth in the movie 'Brother Bear.' It highlights how Kenai, the main character, although being the source of the conflict, is not depicted as the villain. The movie lacks a true antagonist, which is uncommon for Disney animated films of its time. Denahi, who persistently chases Kenai and Koda, is not a true antagonist either. This absence of a clear villain presents a unique narrative approach emphasizing personal development and change.
• 18:30 - 19:30: The Relevance of 'Brother Bear' Today This chapter discusses the relevance of the movie 'Brother Bear' in contemporary times. It critiques the film's tone and pacing, stating that it varies wildly and that the relationship development between characters Kota and Kenai feels rushed unless the audience is familiar with the typical tropes. The chapter makes a point that the video isn't focused on the artistic merits of the film but rather its standing as a mid-tier animated feature. It suggests that the film is better than critics originally thought, though it's not considered a hidden masterpiece like its contemporaries 'Atlantis' and 'Treasure'.
• 19:30 - 20:30: Final Thoughts on Apologies and Restorative Justice This chapter analyzes a movie, often praised for its entertainment value, but highlights its deeper significance found in the underlying themes. The protagonist, Kenai, is depicted as unequivocally flawed and unapologetic for his misdeeds. Particularly, his act of vengeance leads to murder in the eyes of the spirits. This is not a story about a noble hero nor the typical Disney protagonist. Rather, it's a narrative devoid of a traditional hero, challenging common tropes and showcasing a fresh perspective on character morality. In doing so, it aligns more with themes of apology and restorative justice, as it invites viewers to explore the implications of actions and the journey of redemption.

Is Sorry Ever Enough? Transcription

• 00:00 - 00:30 we've all had to apologize for something at some point but all of our apologies are not created equal though they often share that very same phrase of I'm sorry we use this phrase for the most mundane reasons just as we use it in the most hallowed expression of remorse and empathy sorry as a word can be tossed out as a passing thought when you bump into someone accidentally it can be said sarcastically it can be even drawn out of us when we don't want to say it or when we don't really mean it like when you apologize to your sibling because your parent made you but even when said
• 00:30 - 01:00 with callus care the word can still have impact it still allows you to move forward and get past whatever issue had occurred though it doesn't always work it's not some magic phrase to instantly make everything okay surely some things go beyond an apology which yeah certainly they do in fact most times just saying I'm sorry isn't actually fixing anything that's not what makes the phrase important it's not a fix all but it gives a chance to start again to begin what might be a long long long
• 01:00 - 01:30 road to recovery for your relationship social standing and even self-acceptance as Bernie toppen once described it's a pretty simple idea one I think everyone can relate to at one point or another in their life the whole idealistic feeling people get when they want to save something from dying when they basically know deep down inside and it's already dead sometimes sorry seems to be the hardest word what makes an apology work or fail can be difficult to discern though namely cuz we apologize for lots of things and mean it to various levels of sincerity all the time but also
• 01:30 - 02:00 because it's a totally intimate social tool it's communication between two individuals or parties that serves not to necessarily heal and solve everything instantly but to make that First Leap apology and taking responsibility for your actions even when the consequences were unintended or unforeseen can be incredibly important and have a restorative quality to rebalance the world around us and that's what we'll be looking at today at least in part in how this often forgotten 2003 movie explored the concept of restorative justice which will Loosely defined here as an approach
• 02:00 - 02:30 to justice that focuses on the idea of repairing the harm done by a crime as opposed to Simply seeking retribution which yeah well with topics like that this video is going to be a bit of a journey but come on everybody we're on our way already new places new faces to see this is Brother [Music] Bear okay so for those not familiar we'll start with a real quick breakdown of the movie because well it's an odd
• 02:30 - 03:00 one for sure and you'll see why as we go released in 2003 as the directorial debut of longtime Disney animators Aaron blae and Robert Walker Brother Bear is a journey story that follows the main character keenai in post Ice Age Alaska which what was with the early 2000s and the Ice Age cuz if I had a nickel for every time that an early 2000s movie franchise was set in the Ice Age I'd have two nickels which isn't a lot but it's weird that it happened twice right anyway we opened following Kenai a brash self-serving teenager on the cusp of
• 03:00 - 03:30 manhood accompanied by his brothers Sitka and denahi the brothers are out fishing for the village in advance of kenai's totem ceremony a ritualistic Coming of Age ceremony that would provide Kenai with his guiding spirit and Kenai is given the totem of the bear Guided by love which well he's less than happy about which is silly cuz bears are awesome I who doesn't like bears but anyway the movie honestly gets into a very light poke around the concept of fragile masculinity here and that's really interesting for a do 3 movie but
• 03:30 - 04:00 it's all kind of quickly swept up in the realization that a bear stole the fish during the ceremony because Kenai didn't tie it up driven by frustration and shamed anger Kenai goes after the bear only to be led into a tense battle where his brothers attempt to come to Kai's rescue but this only leads to Sitka having to sacrifice himself to save the others breaking an ice cap and taking himself in the bear down while the bear manages to survive the fall and flee into the forest below sitka's not so lucky this sequence of events is
• 04:00 - 04:30 honestly where the movie starts in a lot of ways we get this great scene where Kenai comes to denahi in the aftermath at sitka's funeral P looking to go after the bear and we get a scene that explores concepts of guilt and consequences as denahi makes clear he doesn't blame the bear for what happened it's unfortunate what happened it's tragic but going after that bear it fixes nothing it's wrong but Kenai pursues the bear regardless and later denahi follows knowing he needs to stop Kenai before he makes makes a mistake
• 04:30 - 05:00 the resulting sequences we get lead to some beautiful imagery and Powerful performance as Kenai manages to kill the bear but is left no more healed from his loss but for his crime the spirits punish Kenai turning him into a bear and setting him on his journey a punishment of perspective all right so with the setup out of the way and the journey of the movie ahead I think it's worth stopping here to discuss some of the key themes motifs and tools used in this movie to convey its story and message and get more into why I wanted to make
• 05:00 - 05:30 this video namely cuz this is where one of the biggest changes happens in the movie and that's the change to the aspect ratio that's right at the exact moment keenai loses Consciousness cast down into the river fleeing his brother in his new bare form the movie changes the film begins at a standard widescreen aspect ratio of 175 which is common enough but just as Kenai is transformed the audience's perspective is transformed with him as the aspect ratio expands to an anthropomorphic aspect ratio of 235 now that might seem like a
• 05:30 - 06:00 really nerdy detail to bring up which it is but trust me if you watch it it's really obvious especially now on streaming where the ratio makes the start of the film feel like something's broken cuz there's massive black bars filling out the sides in the bottom of the screen that's because the effect originally was done in theaters using curtains so back in 2003 when the theater goes dark as kenai's knocked unconscious the curtains would move and when Kenai wakes up both he and the audience gain a whole new visual
• 06:00 - 06:30 perspective on the world around him and it's not just the aspect ratio that changes here we also depart from the hyperrealistic though romanticized sweeping landscape animation style to a much more soft cartoonish character style for animals and nature all of this is being done to visually begin the process of altering perspective and understanding for both the character and the audience which is important when we consider the eventual outcome of this movie perspective is the through line of this movie in dealing with kenai's loss his punishment learning to care for what
• 06:30 - 07:00 he hated and feared the other that he saw in the bear the monster this New Perspective helps to develop empathy for his monsters to understand them and to understand why his own actions require atonement because it isn't obvious to the audience or keenai what his punishment is trying to teach him from the start sure he killed a bear and now is a bear and that's Poetic Justice at least but what these governing Spirits are trying to teach in this world is not not inherently clear and maybe that's
• 07:00 - 07:30 because atonement and making up for your actions isn't always a clear a plus b scenario gaining A New Perspective is great The Wider aspect ratios the new visuals are an important First Step but they don't mean anything if you don't understand the why which is where the rest of the journey comes in along this journey we have Kenai waking up and grappling with his new form as a bear he's dead set on becoming human again he learns he needs to find where the light touches the Earth but he doesn't know
• 07:30 - 08:00 how to get there so who does he turn to why a fellow bear of course Kota a bear cub separated from his mother looking to get to the salmon run an annual local for Bears to meet and greet and hang out every year what follows is a tale old his time of the begrudging protagonist that over time learns to care for His companion that he once felt saddled with and now doesn't know where he'd be without the Journey's full of ups and downs as the two bears race to their destination while denahi Trails behind tracking the bear that he believes theves killed Kenai classic
• 08:00 - 08:30 misunderstandings Goofs and gaffs and drama ensues the relationship we get built out between Kenai and Kota is instantly endearing for the audience who knows the classic tropes it opens up conversations into found family and community and the inclusion of comedic relief moose me moose moose me moose Moss me moose moose rut and toque and the surrounding natural world it's not anything special in its own right but I do think the movie makes a solid show of developing the ction between these
• 08:30 - 09:00 characters which becomes important as both Kenai and Kota grapple with their worldviews while the movie doesn't set them into outright confrontation Kenai does get to see through Kota how humans are the natural world's monsters and despite what protests he might hold kota's point is underscored by the Relentless pursuit of kenai's own brother trying to kill him he's being forced to confront what a circle of violence looks like and the Ugly Truth of what that means for people like Kota the exact details of the journey here are not what's important and I'm not going to detail playby plays of what
• 09:00 - 09:30 happened it's the connections formed during the journey that make the ending of this movie work and Hammer home the subtext of reexamining your own actions and finding new understanding there keenai set out to write what he saw as a wrong and to get revenge but now along this journey he must confront those actions in The Cold Light of Day the movie makes the character grapple with the question when does a man become a monster the Monstrous nature of kenai's actions Li at the center of the film's
• 09:30 - 10:00 story and it's at the center of what I want to explore most with this video restorative justice the ju position we get on kenai's actions From kota's perspective allows us and Kenai as a character to understand the harm he has caused as he realizes the real dangers humans have presented and comes to recognize what he himself had perpetuated which is a huge aspect of restorative justice and apology I mean Kenai needs to understand the impact of his AC actions for any meaningful
• 10:00 - 10:30 development to come out of his punishment though this aspect of the story is part of what makes Brother Bear such an odd movie while keenai is the originator of the conflict he isn't the villain of the story and in fact I would argue there is no villain of this story which marks a real departure from the norm of animated Disney movies of the time but there is no real villain per se while denahi is in Relentless pursuit of Kenai and Kota he isn't truly an antagonist within the story and neither's keenai this results in a
• 10:30 - 11:00 tonally vague story and even creates problems with the pacing for this movie it swings wildly in tone and the development of the relationship between Kota and Kenai can feel really rushed if you weren't already familiar with the tropes their relationships pulling from because of this but this video isn't really about the artistic merits of Brother Bear I mean it's a relatively mid-tier animated feature which isn't a negative I think it's better than perhaps the critics gave it credit for at its time but I don't think it's some hidden masterpiece like it's contemporaries of Atlantis and Treasure
• 11:00 - 11:30 Planet I just think it's a pretty all right movie it's fun but the impact and importance of this movie comes from the subtext it explores it puts forward a protagonist who is at Absolute fault and it's Unapologetic about this Kenai did a bad thing his act of Vengeance was an act of murder before the spirits this isn't a movie about a righteous hero saving the day or the unlikely hero or morally gray heroes or heroics despite appearances or really any of the classic Disney Hallmarks there is no hero it's a
• 11:30 - 12:00 protagonist being forced to confront the ramifications of their actions and gaining New Perspective from this reflection it's a movie about cyclical violence and how we don't always know the full impact our actions can have that is alone an incredibly nuanced topic to be tackled little alone in a movie with about a 90-minute runtime well it's not perfectly done here it's incredible that an attempt is being made to tackle this subject matter but that's why the tone and pacing feel off development and relationships between
• 12:00 - 12:30 characters happen quickly and comedy feels aloof to the story it's in but all of these weird idiosyncrasies do provide an opening for the audience to be more empathetic to everyone involved which is a tall order at the best of times in stories however the audience is invited to try and grapple with all of these variant perspectives on life and the actions of characters these merging stories with their ups and downs all their own Twisted together in this week of life every character is grappling
• 12:30 - 13:00 with their own pain related to the inciting incident of kenai's Vengeance to try and communicate that and to communicate how this hurt manifests differently and impacts all parties involved complexly in your messaging is an incredible scope for this movie to swing for in fact the messaging that this movie really tries to examine is where lines are drawn in life and why by that I mean that the movie doesn't inherently condemn the actions of humans but it does explore or how perspective on your own actions can shift how you
• 13:00 - 13:30 might feel about and understand them Kenai does not instantly regret his actions of killing the bear becoming a bear was not some instant refocus of his life nor should it be his sole Focus becomes a return to his normal life but as we go he begins to appreciate the perspective Kota has on humans and he begins to Grapple with where lines are drawn between the actions of himself his brothers the whole way of life that humans engage in I find the characterization of a healing repentance
• 13:30 - 14:00 found in this film to be fascinating for that reason and I don't mean that in some biblical symbolism way but rather that the exploration of the ways in which we as humans grow from our mistakes is incredibly interesting and thought-provoking as I said it's a difficult topic to Broach and this movie explores the social aspect of Crime and Punishment it aims to help the audience understand that sometimes there is no apology that would be good enough but that doesn't mean there's nowhere to go and that doesn't mean that an apology is
• 14:00 - 14:30 worthless as a starting point it just means that we must be willing to understand and learn how our actions have affected others to truly mend the damage to reconcile amongst ourselves and heal each other that understanding is Central because if you cannot grapple with your actions and empathize with your victim you can never really achieve a state that allows growth you keep yourself perpetuated in the role of the monster the villain but recognition and empathy is not an excuse of the actions
• 14:30 - 15:00 taken it's all well and good to recognize when you've done wrong but that really means nothing without follow-up without meaningful effort to heal the damage that you caused that might all sound long-winded and complicated but that's kind of because it is and I think it's great that this movie would explore the complexity and the personal nature that our actions our quote unquote crimes can take on especially when you consider when this movie came out at the height of a tough on crime fervor in the post 911 11 world where rights and freedoms were being
• 15:00 - 15:30 suspended for the sake of righteous Vengeance in the midst of all that this movie comes out with a theme of understanding the other the othering of bears and Wildlife within this movie is kenai's way of dismissing the importance intelligence and value of a life not his own it's not an uncommon Trope in media and it's something that affects us in real life as well it's a lot easier to excuse your actions against someone that you don't empathize with someone you view as being an other someone who isn't and cannot be you we get to see Kenai
• 15:30 - 16:00 learn and grow from his interactions with other bears at the Salmon Run and from other animals within the forest like rat and toque he learns how they all have their own experiences shaping their worldviews but that they truly aren't that different from himself but a protagonist gaining an understanding and compassion for those that are different is not what makes this film a standout there's lots of movies that explore that theme to understand what makes Brother Bear stand out it's important to understand the context of the world that it came out in in 2003 this film was being released into a scared and fearful
• 16:00 - 16:30 World particularly in the United States wars were being waged rights were being suspended and fear mongering was rampant it would be very easy for this movie to have just explored the concept of understanding the other and left it at that but instead it examines how the protagonist can be wrong how acts of Vengeance are not inherently righteous the exploration of consequences for the protagonist's actions and the need to help the victim of this vengeance is a poignant theme for a movie release in 2003 this frames our understanding of
• 16:30 - 17:00 kenai's perception of the world at the start of the movie but it hits home to how easily we can all fall into the trappings of identity and write off the experiences of others it's an examination and a critique of a pure expression of a selfish worldview where only you and your experiences matter and where if you felt wronged you ought to be able to seek Vengeance at any cost it critiques what a devil mayare approach to your own life can reap and the pain it can even if unintentionally cause to others this concept is at the heart of
• 17:00 - 17:30 what theories and practices of restorative justice aims to combat for just this reason however restorative justice is complicated it asks a lot of individuals in an attempt to find a way forward Beyond tragedy when Kenai recognizes in kota's story what had happened and finally understood the real impact of his actions upon those around him only then was his atonement possible when Kenai attempts to communicate to Kota his guilt and he tries to find words to form some type of apology there is where Healing Begins his lack of
• 17:30 - 18:00 words is not I believe just a sign of being unable to find the right phrases to say to Plate the situation it's a genuine inability to express the volume of remorse he feels this highlighting and focus on empathy is argued by scholars in the field to be deeply important to real restorative justice efforts as John Wilson founder of just Alternatives has argued quote at the most extreme the presumptions of those who are unaware of victims and survivors needs can leave them believing that all victims and survivors need and want or
• 18:00 - 18:30 should want to forgive or reconcile with their offenders and it's sometimes true that some victims and survivors do want these among other things but what we know they want first is for the offender to finally and actually comprehend what they have done to the victim and to know the pain of it as much as it's possible for another to know only then can the viability of moving on or reconciliation or even healing become a real or desired possibility that understanding is one of the most complex Central tenants of restorative justice and this movie gets
• 18:30 - 19:00 that perspective it allows the hurt to be felt and stay Central to the relationship that Kenai and Kota now have it allows the development of empathy from Kenai to be realized his choice to stay as a bear is not continued apology or plation towards Kota at the end of the film it's instead an embracement of responsibility and an active effort to find A Better Way Forward Kenai had made his apology amends were made Kota and Kenai saved one another and find a place where emotional understanding exists it would
• 19:00 - 19:30 have been all too easy to write that Cotto got adopted and goes and lives with gahi and Kenai in their Village some simple Disney animal companion story wrapup where everyone wins but the filmmakers here instead go with an ending that sees Kenai make a choice built out of his own growth from the perspective of restorative justice that is a successful punishment on the part of the spirits it did not leave Kenai disadvantaged or trapped in a cycle of violence it saw reconciliation create something new it built upon the work done by the initial punishment now with
• 19:30 - 20:00 this exploration into the topic of restorative justice within the movie I don't mean to truly say that brother bear is some perfect encapsulation of how the justice system ought to work the logistics of turning people into bears would be a bit complicated it would be a bit of a bureaucratic Nightmare and nor do I want you to be left with the impression that restorative justice is some simple system that can be applied to any situation I think what I wanted to explore with this video is kind of just what it means to forgive not just how to do so but what it means to both
• 20:00 - 20:30 parties and the difficulties that exist there because forgiveness is a rather a morphous concept that means different things to different people and yet has a general vibe that we all understand as humans I think in fact my greatest difficulty in making this video has been trying to wrap my mind around an exact concept of forgiveness and what it means to grow beyond the mistakes you've made so yeah I guess I'm using this as an outlet for personal growth and wellness which I mean get scammed I guess yeah it's all about me
• 20:30 - 21:00 baby but seriously we all have done things that we aren't proud of I mean I wouldn't believe you if you told me otherwise so I think this concept speaks to something I don't know profound in The Human Experience which sounds super lofty and philosophical or like I'm going to sell you something but really I just mean that while sorry can be the hardest word to say it might also just be the most important and that's not a new notion but it's interesting to apply it to the idea of Crime and Punishment the idea of restorative justice it if we truly aim to rehabilitate criminals to
• 21:00 - 21:30 prevent them from falling into the cycle of repeat offending we might need to reconsider how we approach Justice in society but getting back to the movie I think brother bear is a movie worth highlighting for a number of reasons but mostly because it's often forgotten or at least I don't hear many people talking about it I just ended up doing a rewatch of this movie over the holidays and it just struck me how it tried to tackle such a big topic while I don't think restorative justice was exactly what the filmmakers had set out to depict the they do so regardless namely by building on their Research into
• 21:30 - 22:00 native and Aboriginal traditions and folklore where many tenants of restorative justice find their origin which if you're interested in learning more about the history of it or just anything about restorative justice I'm going to link some of the resources I used researching this video but overall I think it's a concept found in the subtext of this film that speaks to where we find the world today and if this video at all makes you think more into that concept or structures in society then I think it was worth making so was sorry Ever Enough well on its own no I would say it's not rarely if ever
• 22:00 - 22:30 will the phrase alone do the heavy lifting but that doesn't mean there isn't some good that'll come out of it maybe sorry isn't enough but it's certainly a step in the right direction so next time you do something wrong or that you regret just remember it might be a long journey but every Journey starts with that first step thanks for stopping by and I'm sorry I can't stay but I'll see you [Music] around
• 22:30 - 23:00 [Music] to God keep man myay with