I have a particular interest in the representation of anxiety, and where a particular face or gesture can be located on the spectrum between a vague discomfort (Dyspepsia,for example) to total mental loss of control (AAAAARGH!!!!). Narrative situations can be invented in which the Figure participates and is drawn responding accordingly.The results can be uncannily accurate, or grossly inadequate.
Hence the sheer magic of scenes 01 and 06 where dullards gather to ponder the propositions of safety.
Besuited Safety Officials ponder a man who makes hand shadows on his Chart in 01. Was he imitating the profileof Richard Milhouse Nixon?
"Motor Vehicle Travel and Traffic Deaths".
We are told he is in the act of URGING.
Note the poster BACK THE ATTACK, at variance to the sobriety of the event. The speaker's military background adds nothing to the momentum of the event. No Patton he.
In the foreground a woman takes her own pulse to work out whether she is still alive.
A dubious gang of B Film villains (06) stares numbly at a pile of tires. It is clear that, moments before, they have been ordered by an unseen power to exchange their clothes. The man in a blue suit to the right carrying a small tambourine has done worst of all. The Police Chief is clearly taken in by the demonstration and is oblivious to his slightly fey companion picking the pocket of the man next to him. The identities are established by a careful choice of neckwear. A hierarchy is clearly established in banning anybody with working class tendencies to the back row.
Aren't they great, though? The kneeling man has not been successful in rolling the tires very far. Perhaps he will succeed with his last throw?
Please examine each carefully and interpret what each was meant to represent.
Had they seen the advertisement "blowout is bad news ..." (03) they could have been less inert. The compacting of the narrative drama into a shallow space is a marvel to behold.