Once the board beneath Farquhars feet is dropped, there is an underwater view of his body plunging to the bottom of the stream and shows the struggle that he goes through to get the bindings off of his hands so he can swim. Here the short story can better describe what is happening because of the lack of camera freedom. In the literature, it tells of Farquhars neck being bound so tightly by the noose that he can neither breath nor can water get in through his open mouth. Once farquhar struggles loose and reaches the surface, his strife is shown by a heavy gasp for air and a look back at the soldiers whom just realize their folly. At this point, the story describes his struggles to avoid the bullets shot by the soldiers and how deadly close they were to farquhar; however, in the film you can actually see how close the bullets are in the water and noticing the fear and. Also, once again using the close-up of a gunman on the bridge, with gray eyes, in order to convey what Farquhar is thinking. Throughout the rest of the film, Enrique bring the audience even closer and closer to the main character and in the end uses a lighting effect in order to convey the supernatural effect of him reaching his wife and home and his desire to attain.
Papers on Language and Literature
Enrique put the eastlake spectator into the film by beginning with an overhead, birds eye view of the forest around the bridge, with intense realistic sounds and close-up, along with a write wide-angle circular camera route of the surroundings of the bridge. Once the surroundings have been established, still keeping the sounds of the birds and the faint stream flowing in the distance, enrique then shows a high-angle aerial view of the bridge. The camera gets closer and closer, placing you in the middle of the action on the bridge. As you get closer, you hear the sounds of the soldiers, giving and taking orders, and you are introduced with the main character, peyton Farquhar. Payton is shown as a middle-aged man about to be hung for his wrongs against the northern army. Enrique establishes this, which is narrated in the short story, by forcing a close-up shot of his face and dress. Through this full-body descriptive shot, you can tell that the main character is one of a civilian planter, not a soldier. A close-up shot of his face, the worried look, the sweat rolling down his face, shows that the man is scared. The sound of the stream beneath his feet now amplifies as he gazes towards it, will that be his retched doom. At this point, Enrique allows the spectator to identify with the character, allows peytons thoughts to be heard by the audience, the thoughts of his wife and home and even thought of escape. At this time, the spectator begins to put themselves in the shoes of the main character, they begin to think, what if that were me?
Film has an instant advantage over literature in that it can paper show two simultaneous events at the same time where as described above, literature cannot. Otherwise, film and literature are very evenly matched as far as reality is concerned. Both can give adequate descriptions of including but not limited to settings, characters, and emotions; however, they go about it in many different ways. Film implants you into the situation by providing a visual depiction of the setting of the story, it shows you the emotions of the characters and it gives you the image of those plastic figures that are to be created in your mind throughout the. This in some sense makes it easier to identify with the story of a film, because it takes less effort to see than to imagine. Along with the provided figures, lighting in filmmaking can offer some sort of 3-d effect in order to show depth and effect. 21-23)Settings and themes in films can be exposed in very many ways. In Enriques 1963 film version of Ambrose bierces short story, an Occurrence at Owl Creek bridge, the setting is shown through an in-depth visual of the bridge and its surroundings.
(Kilman, 1988:.88) Though visual reality is a large part of the complete reality of a story, one must still identify with the characters through feelings and emotions. Literature broadcasts characters feelings through- out the story, once again by narration and elaborate description. Here is where a reader must take those plastic figures and establish a facial expression atop these imaginary figures. The final and possibly most important factor of reality in art is a time and place factor. In the literary art, all scenes must take place in the order in which they happen; they have to follow the laws of causality. For example, if the narrator states that two situations occur simultaneously, the reader will automatically think that the one read first occurred first. This is one element that takes the reader a little away from reality. In film, the majority of reality is brought to the spectator through visual or sound.
Language and literature course international
Though his main focus to compare in this excerpt is the theater, it still applicable to literature. Within his summary of the aspects of the artworks, two items are emphasized: perceived reality and expression. The main overall reason that use Hugo munsterberg wrote this excerpt is to answer the question, can film do what literature and theater do? (Vankin: 2005:.113-119). Literature film; What is reality. There are many ways in which literature and films are similar in promulgating their reality.
Both have the same themes and motifs; however, they express them in very different ways. Literature presents you with a very vivid literary detail on the scene and the characters in the story, which allows your mind to project you into that situation as if you are watching it in person. This projection is done mostly through narration either by a character or possibly by an observer of the situation, however the author decides. It instills images into ones mind which in turn creates small, plastic recreations, which are used throughout your interpretation of the story. This is the object of reality within literature, if it is done well, through elaborate description and intricate adjective use.
In this paper has been tried to put answer to this question. Keywords: Literature, film, comparative analysis, cite this paper: Mohammad Khosravi shakib, "Comparative analysis Amid Film and Literature international journal of Arts, vol. Introduction, what do you say if someone tells you something that you dont believe? Perhaps it is the common statement; Ill believe it when I see. This expression is possibly stating that a humans most valuable sense is that of vision. If one cannot see something then they are more likely to question the reality and validity of that object, whether it be an occurrence earlier that day on the news or in the newspaper, or a movie or novel that they may have encountered.
Through literature and films, we learn about different portrayals of cultural norms and culture conflicts in different parts of the world. A basic tenet of training in cultural competence is that people become aware of the differences and similarities across cultures, allowing them to be more conscious of their own cultural world view, and also better able to deal with any differences and to learn from. Reading literature and seeing films can help to develop trainees' humanism and capacity for understanding and so facilitate their learning about cultural competence. (Corrigan and Timothy, 1999:.81) One drawback of using films in this way is that the dramatic points in the literature may hinge on social stereotypes. (Denbey, 1996:.36) For example, in several recent Hollywood blockbusters the British characters were portrayed as butlers, buffoons or villains using their accent and caricatured appearance to emphasize 1916,Hugo munsterburg wrote, the film: a psychological Study, which contained an excerpt, The means of the Photoplay. In this archaic but relevant to the subject article, munsterburg compared the psychological effects used in movies (photoplays) and that of art such as plays and literature. Throughout his article, he stressed many different items within these artworks that all play on ones stream of consciousness. They all have their own different way of creating a reality to their spectators.
Literature, optional Subject, paper
Trainees can learn about how people from specific cultures think and behave, and how this knowledge can be used to develop treatment plans. Of course, literature and films can only give some direction; further insight will come from discussion with communities and community leaders. Literature can, at times, have a fascinating connection with film. In some cases, it is evident that the two are intertwined in many more ways than the average person may realize. Whether it is a film or a piece of literature, both are written by someone that wants to impact readers or a viewing audience. With that being said, it is always a question fuller of whether or not the author accomplished his or her goal and if the audience was impacted in the way he or she wanted. Is this intent prevalent to the audience and is the authors intent predetermined before the film or book is taken in by the audience? How the author can shape the reader or viewer and whether or not they can interpret things for themselves is another factor that must be examined when trying to answer this question. Another question that is often thought of is how power is depicted through film or literature in terms of not only sex and gender, but in class, race, and nationality.
quot; and highlight a line from the selection and comment on it, especially if you think it might relate to a central point you want to make throughout your commentary. Whatever you say, say nothing seems to be the paradoxical base on which this poem by seamus heaney is built. The Writers Mind (Scott, foresman and co, 1984 just remember that none of these can work without some practice, so experiment with them as you write all of your commentaries, so youre ready to use one in your actual Paper 1 examination). Mohammad Khosravi shakib, department of Persian Language and Literature, human Science faculty, lorestan University,. Correspondence to: Mohammad Khosravi shakib, department of Persian Language and Literature, human Science faculty, lorestan University,. Email: Copyright 2012 Scientific academic proposal Publishing. Abstract, both literature and films can be a powerful teaching resource for audience learning about cultural norms and nuances in an individual's development.
sense of you as an individual and your story as an interesting one. Michael Adams in, the Writers Mind compares the opening words of your essay to the starter in a car. He compares your first words in an essay to the spark plugs, needed to excite your readers curiosity. He has suggestions, too, for a whole range of essays, but some especially which would add some interest to an opening for Paper 1 are: Include a definition, especially if theres a particular stylistic feature or abstraction that immediately strikes you. For example, irony, the way writers add layers of meaning, always seems to involve two things and here jonathan Lethem uses those two levels to keep the reader reading. Make a bold assertion: There seems to be no way to fully explain the heartbreak of a friends rejection, but Carol Ann Duffy gets it exactly right in this poem. Write a line (not a narrative, please) that connects the selection with your own personal experience. i wouldnt have thought someone else could so clearly express my experience., but Mary Oliver does it in this short description.
You can be quite basic and straightforward about these matters or you can practice enough with them so that you can write them with a little bit of roles flair and interest. Do all three kinds of essays need the same kind of introduction? Probably not, although all of them need something of the * statement above. But how to add flair and interest, to introductions in Paper 1, to those factors that immediately grab the examiner? Mark beverley, an experienced teacher and examiner, suggests including one of the following for the paper 1 commentary: Whats the most interesting thing youve noticed in reading the selection? Whats the most striking stylistic feature youve noticed? In what ways does the selection connect to some feature of human or natural experience?
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Beginnings and endings in assessments in Language A: Literature (Part 1 getting it right in Paper. Getting in and out of an essay or a commentary. Should be pretty simple, right? Well, its a fair bet youve had some challenges with these rather apparently straightforward parts of your essays. Here are some ideas to help you, from various sources. Part 1 deals with introductions for commentaries. Later postings will deal with the Written Assignment, paper 2 and Conclusions. The most important factor is being aware that you are talking to someone who does not presentation know you and does not know what you think about the material, whether its a work you have studied or one you are seeing for the first time. You need to let the reader know: -what particular text(s) you intend to write about -what your angle on them is, -and even, possibly, how you are going to approach them.