The Commitment of being an Air Traffic Controller

Finally, the community knew and resented the fact that it was macrocosm exploited commercially by the tourist industry. When the film was macrocosm shot, the Amish protested and got an agreement from the state that the state would not solicit every further use of the Amish as subjects for films and would in fact certify future film companies of the strong opposition of the community to take (Kraybill, 1989, 224-226).

Other writers have also noted how the press of tourism has impinged on Amish life. Some members of the community have moved forward from areas they believed were becoming too busy and displace. Others have adapted to the crowded roads, clicking cameras, and persistent questions of tourists, and some have even taken jobs in businesses that primarily serve tourists. Many Amish today supplement their in germ by producing quilts or other craft items for visitors (Nolt, 1992, 282).

The film certainly added to the inflow of tourists and gave many people an image of Amish life they may not have had before. The Amish have a long history neverthe slight hinted at in the film, and it is evident that those aspects of their lives that most separate them from coetaneous life are what the filmmakers wanted to emphasize. There are tail fin themes in Amish society which are examined in this film and in some appearances both challenged and affirmed at the identical time by the way the film treats the subject. These themes are se

The boy serves throughout as the tranquil observer of cultural differences. He is the observer in the metropolis who seems wide-eyed at what he sees, a world foreign that of the farm. In the city, he observes the faster pace, the variant speech patterns, and the different behaviors. On the farm, the boy observes the rest of the community and invariably seems to be taking everything in, digesting it, and deciding himself how to behave. The pace of the dialogue is also in keeping with the locale, and the people of the city talk faster and in shorter bursts than do the Amish people, who rarely speak without something to say and who are always deferential to one another and careful in the way they choose their words.

The stranger among them is made to stand out in a number of ways--first his clothes, and when he changes these, his demeanor and the ease with which he commits social errors, however unintentionally. In the city, he depends on automatonlike devices for his livelihood and his life--telephones, notably, and automobiles. When he is with the Amish, though, no mechanical devices not piece in the Bible are used at all, and this way there are no cars, no telephones, no radios, nada this man has depended on in the city. His gun is also looked upon as something that does not belong, and this has been almost a part of his body for years. His botheration and uncertainty are reflected in the camera angles chosen and in the editing as he moves through this world. The color set are different than they were in the city as well, less muted and more oriented toward yellow, like the sun. The film is evoke for the contrasts it makes and for the way the characters in it react to those contrasts, and elements of the religious community come through to the viewer.

Early in the film, this contrast is developed among the opening sequence in Amish country and the arrival of the sis and brother in the city. The scene in the train range involves this clash of
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