“The “precision” of a film is that it relays the voices and perspectives – we emphasize the plural – of the community(ies) in question. While the image evokes the question of mimetic realism, the “voice” evokes a realism of delegation and interlocution, a situated utterance of “form of speech” and “speaking to.” Ella Shohat and Robert Stam in “Stereotype, Realism, and the Struggle of Representation” offer discourses on how not only marginalized groups have arrived at their state of powerlessness, but also how institutions perpetuate themselves and about which the public receives the information. They assert: “That films are only representations does not prevent them from having real effects on the world; racist films can mobilize the Ku Klux Klan or set the stage for retrograde social policy. Recognizing the inevitability and inevitability of representation does not mean, as Stuart Hall says, that 'nothing is at stake'. Essentially, the representational quality of a film can influence individuals to determine positive or negative thought ideas. In the “Orchestration of Discourse” section, Shohat and Stam discover that multivocality plays an essential role in constructing the positive image and “precision” of films. This article will explore how different voices in The Treasure of the Sierra Madre function as a mirror of the real world and achieve "mimetic precision." The Treasure of the Sierra Madre is set in the remote Sierra Madre mountain range on the Mexican border. Although Spanish is the dominant language of this specific location, English remains the primary language spoken throughout the film, reinforcing the notion of whiteness still being a sort of dominant power. Aside from the trio and Cody, the film's minor characters...... middle of paper...... they need it, while Howard responds accordingly; therefore, the voice speaks of a Mexican, it addresses Howard, and vice versa when Howard speaks to them. To fully understand the conversation between Howard and the Mexicans, a certain level of Spanish proficiency is required. And yet, this is what Shohat and Stam claim as multivocality, “an approach that would strive to cultivate and even increase cultural difference while abolishing socially generated inequalities.” Dobbs and Curtin are not the ones who don't understand Spanish conversation; most viewers, including myself, are also wondering what the whole conversation is about since subtitles are not provided. Perhaps in doing so, John Huston is able to allow the voices of a given group to be heard and understood by a given group and reflect the real world as it is and achieve "mimetic precision ».”.