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Analysis of cormac mccarthys the road
Analysis of cormac mccarthys the road
Analysis of cormac mccarthys the road
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This article is based on my MA thesis which is entitled ‘’Comparison of TwoNovel Adaptations of Beat Generation: Jack Kerouac’s ‘On the Road’ and William Burroughs ‘Naked Lunch”. The main issues in this paper are: a) Beat Generation and Beat Novel b) Analysis of On the Road’s Film Adaptation c) Analysis of Naked Lunch’s Film Adaptation. Also, final section of this study intended to determine whether adapters of On the Road and Naked Lunch succeeded to create a new and original work of art or not. On the basis of the results of this article, it was concluded that “a restoration of the essence of the letter and the spirit’’ was the most efficient elements in adaptation of Beat Novels.The obvious finding to emerge from this study was that director Walter Salles’ On the Road was defined as less …show more content…
All of a sudden, Dean appears and desires to drive and take him to Mexico City. They take a very long journey and stop in a town where they go a brothel. Finally, they arrive in Mexico but Sal becomes too sick to enjoy the city. Sadly, Dean leaves Sal alone in his sickbed and goes away. After Sal heals and goes to New York, he goes out for a concert with his friend Remi. That night is the last time Sal faces with Dean. Dean unexpectedly appears and Sal says good bye to him. They never see each other again. Turning now our second Beat Novel Naked Lunch, it is based on autobiographical elements which are one of the main characteristics of Beat Generation works as well. To understand better how Naked Lunch is written, we should look at the ten years of Burroughs’ life before the book exists. Readers of Naked Lunch can detect traces of his background in the South, his sexual orientation, his drug addiction –using and selling drugs in New York-, escaping from cops, killing his “de facto” wife Joan by accident, his journey from Mexico to Panama and his visit to South America and living in Tangier at
The only real way to truly understand a story is to understand all aspects of a story and their meanings. The same goes for movies, as they are all just stories being acted out. In Thomas Foster's book, “How to Read Literature Like a Professor”, Foster explains in detail the numerous ingredients of a story. He discusses almost everything that can be found in any given piece of literature. The devices discussed in Foster's book can be found in most movies as well, including in Quentin Tarantino’s cult classic, “Pulp Fiction”. This movie is a complicated tale that follows numerous characters involved in intertwining stories. Tarantino utilizes many devices to make “Pulp Fiction” into an excellent film. In this essay, I will demonstrate how several literary devices described in Foster's book are put to use in Tarantino’s film, “Pulp Fiction”, including quests, archetypes, food, and violence.
Though most of the experiences and actions revealed in William S. Burroughs' Naked Lunch directly contradict philosophies believed by the Jewish faith, there is a definite connection between My Name is Asher Lev and Naked Lunch. This connection lies is the narrators' artistic roles in society. Both Lev and Burroughs stray from the surrealistic aspect of their mediums: art and writing, respectively, and portray life as they see that it really is. There is no embellishing on either of their parts nor is there any glorification to the events happening around them.
Firstly, the group of friends and writers most commonly known as the Beats evolved dramatically in focal points such as Greenwich Village and Columbia University, and subsequently spread their political and cultural views to a wider audience. The three Beat figureheads William S. Burroughs, Allen Ginsberg and Jack Kerouac each perceived an agenda within American society to clamp down on those who were in some way different from the accepted ‘norm’, and in response deliberately flirted with the un-American practices of Buddhism, drug use, homosexuality and the avant-garde. Ginsberg courted danger by lending a voice to the homosexual subculture that had been marginalised by repressive social traditions and cultural patterns within the United States.
Can you recall the very last night that you spent with your high school buddies before packing your bags and leaving for college? The films American Graffiti and Dazed and Confused bring you back to that through the recreation of those great experiences. American Graffiti is based on a closely-knit group of teenagers who will all be leaving each other the next day for new adventures. This gang of teenagers, despite their differences, all goes out together and share their last memorable evening. Throughout the night, friendships are strengthened, conflicting struggles arise, and romances are created and disrupted. Dazed and Confused dealt about life during wartime – the wartime of high school, where the faculty is irrational, the parents are
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
As the case with most “Novel to Movie” adaptations, screenwriters for films will make minor, and sometimes drastic, adjustments to the original text in order to increase drama and to reach modern audiences. Baz Luhrmann’s 2013 film interpretation of The Great Gatsby followed the 1925 classic great plot quite accurately, with minor deviations. However, Luhrmann made some notable differences to the characters and settings of The Great Gatsby in order for the story to relate to the current generation and to intensity the plot
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Williams juxtaposes the three genres together, to reveal similarities and differences, and, in turn, their similar and different desire effects on the audiences. Specifically, she points out the physical reaction of characters in the films, and how the audience members mimic them. Firstly, in regards to the physical body, Williams discusses the similar uncontrollable “convulsion or spasm,” that comes with the different genres; a body on the screen is “’beside itself’ with sexual pleasure, fear and terror, or overpowering sadness.” (729) Next, she dissects the sound of these bodily reactions – the overpowering moan, scream, or sob that the chara...
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
The film Pulp Fiction was an immediate box office success when it was released in 1994 and it was also well received by the critics, and celebrated for the way it appeared to capture exactly a certain pre-millennial angst and dislocation in Western capitalist societies. The term post-modernist, often used to refer to art and architecture, was applied to this film. The pulp fiction refers to popular novels which are bought in large numbers by less well educated people and enjoyed for their entertainment value. The implication is that the film concerns topics of interest to this low culture, but as this essay will show, in fact, the title is ironic and the film is a very intellectual presentation of issues at the heart of contemporary western culture and philosophy.
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
In her work “Notes from the Orifice: Language and the Body in William Burroughs”, Robin Lydenberg suggests that Naked Lunch is a “history of voice and body, of language and materiality” (56). Lydenberg discusses the use of language in which she looks closer at binaries, metonymy, and metaphors. The focus on her paper lies in relationships between the literary devices and binary oppositions. In which she reveals concepts of dehumanization and dismemberment.
“I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix,” This opening line of Allen Ginsberg’s 1955 poem Howl truly depicts what the Beat generation was really like. He writes that his ‘generation was destroyed by madness’ meaning that the people of his generation became the victims of drug abuse, alcohol addiction, and violence. The Beat generation, or beatniks for short, consisted of some of Americas most celebrated writers including William Burroughs, Allen Ginsberg, Neal Cassidy, and of course its leader, Jack Kerouac. The beats were a unique group of writers who strongly opposed social norm. They were very independent people who were known for breaking the law whenever they needed to. They were also drifters who spent most of their lives on the road, a motif which especially fascinated Jack Kerouac.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.