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Woodard 1
Addi Woodard
Period 1
Mr. Hollweg
HOD/AN Essay
HOD/AN Essay
TITLE
Conrad and Coppola. Both highly revered in their respected mediums for effortlessly coining characters and composing weighty statements. The World War II film, Apocalypse Now, is analogous to the imperialist novel, Heart of Darkness, not only in subject, but modus operandi as well. Upon meeting The Company’s Chief Accountant, Conrad’s protagonist, Marlow, is enamored with the man’s grandeur. The Accountant steps out of his office within the Inner Station for “… a breath of fresh air…” and greets Marlow (Conrad, 15). Being that the Inner Station is a brash environment, The Accountant’s desire to get fresh air outside is rather uncouth. Despite boasting a comfortable
With Conrad exercising his expertise in imagery, diction and repetition, The Company’s Chief Accountant serves as a symbol for all. Just as he gives the impression that he has sound morals in stepping outside or housing the ill native, his submersion in his job has eroded away at seemingly standard morals. Coppola’s regular use of zoom, ambient noise and close-up shots add to Lieutenant Kilgore’s individuality as well. Kilgore’s comment concerning “…napalm in the morning…” in addition to his easy distraction when tending to a dying Vietcong native, serve as proof that his moral compass is more than a touch battered (Apocalypse Now). Each of these two artists, Conrad and Coppola, efficaciously cultivate a reality often avoided in the workplace. Becoming too involved in one explicit aspect of life can cause a loss in touch with humanity and virtuous morals.
Woodard 5
Works Cited
Apocalypse Now. Dir. Francis Ford Coppola. Prod. Francis Ford Coppola, Dean Tavoularis, Angelo Graham, George R. Nelson, and Charles E. James. By Francis Ford Coppola, John Milius, Michael Herr, Vittorio Storaro, Richard Marks, Walter Murch, Walter Murch, Carmine Coppola, Richard P. Cirincione, Joseph Lombardi, and A. D. Flowers. Perf. Marlon Brando, Robert Duvall, Martin Sheen, Frederic Forrest, Albert Hall, Sam Bottoms, Laurence Fishburne, Dennis Hopper, G. D. Spradlin, Harrison Ford, Scott Glenn, and Glenn Walken. N.p., n.d. Web.
Conrad, Joseph. Heart of darkness. Mineola, NY: Dover Publications, 2009.
In the novel The Things They Carried, Tim O’Brien demonstrates how exposure to the atrocities of nations at war leads to the soldiers having skewed perspectives on what is right and wrong, predominantly at times when the purpose of the war itself appears elusive. The ambiguity that consumes the stories of “The Things They Carried” and “How to Tell a True War Story” is displayed with irony, for the ‘moral’ of such war stories is that there is no moral at all. O’Brien portrays the character Mitchell Sanders as an observer who seeks the morals to be found through the war fatalities; however, he depicts these morals in a manner that actually stresses the impiety of the situations above all else. The characters in this novel are at the forefront of the Vietnam War, thus blinded by carnage that soon begins to obscure any prior notions held about what is moralistic and what is not.
In Vonnegut's novel, Galapagos, the narrator, Leon Trout, attempts to understand humanity's cruelty after witnessing the Vietnam War's brutality and lack of purpose. As a marine in "...a nearly endless, thankless, horrifying, and, finally, pointless war..." (Galapagos 254), Trout struggles to come to terms w...
It is generally recognized that Tim O’Brien’s Going After Cacciato (1978) is most likely the best novel of the Vietnam war, albeit an unusual one in that it innovatively combines the experiential realism of war with surrealism, primarily through the overactive imagination of the protagonist, Spec Four Paul Berlin. The first chapter of this novel is of more than usual importance. Designed to be a self-sufficient story (McCaffery 137) and often anthologized as one, this chapter is crucial to the novel in that it not only introduces us to the characters and the situation but also sets the tenor of the novel and reveals its author’s view of this war in relation to which all else in the novel must be judged.
Comparing Heart of Darkness and Apocalypse Now Heart of Darkness, written by Joseph Conrad, and "Apocalypse Now," a movie directed by Francis Coppola, are two works that parallel one another but at the same time reflect their own era in time and their creator's own personal feelings and prejudices. "Apocalypse Now" was released in 1979 after two years in the making, as Coppola's modern interpretation to Joseph Conrad's novel, Heart of Darkness (Harris). Conrad's book is an excellent example of the advances writers and philosophers made in the nineteenth and early twentieth centuries. This advance deals with civilized humanity's ability to be prepared for and know the unknown. (Johnson) Comparatively, Copolla's movie did the same in the late 1970's.
Earnest Hemmingway once said "Never think that war, no matter how necessary, nor how justified, is not a crime." (Ernest Hemingway: A Literary Reference) War is a gruesome and tragic thing and affects people differently. Both Vonnegut and Hemmingway discus this idea in their novels A Farewell to Arms and Slaughterhouse Five. Both of the novels deal not only with war stories but other genres, be it a science fiction story in Vonnegut’s case or a love story in Hemingway’s. Despite all the similarities there are also very big differences in the depiction of war and the way the two characters cope with their shocking and different experiences. It is the way someone deals with these tragedies that is the true story. This essay will evaluate how the main characters in both novels deal with their experiences in different ways.
Francis Coppola’s movie Apocalypse Now was inspired by the world famous Joseph Conrad novel Heart of Darkness. A comparison and contrast can be made between the two. Both have similar themes but entirely different settings. Heart of Darkness takes place on the Congo River in the Heart of Africa, while Apocalypse Now is set in Vietnam.
...adaptation of Ron Kovic’s best-selling autobiography. Both of these movies depict real-life accounts of how war can change people both physically and emotionally. America is approaching the 50th anniversary of the Vietnam War. Today’s students are much too young to remember this time in society. While textbooks have plenty of information regarding this time period, they do not have the emotional impact that these movies convey. In a case of life imitating art, Stone’s movies are the voice of a generation.
Joseph Conrad's The Heart of Darkness Written by Joseph Conrad in the early 20th century, "The Heart of
“Under an overcast sky — seemed to lead into the heart of an immense darkness.” This is the last line of the book Heart of Darkness and it summed up the setting and tone of the book. Apocalypse Now is an epic war film made in 1979 set in Vietnam directed by Francis Ford Coppola. It is based on the book Heart of Darkness. The settings of both the book and the movie are very different; they take place in completely different places. However, their effects are very similar to each other and shown in a variety of ways: in character development, cultural aspects, as well as thematically.
Connelly, Marie. "The films of Martin Scorsese: A critical study." Diss. Case Western Reserve University, 1991. Web. 07 Apr 2014.
In the opening scenes of the documentary film "Hearts of Darkness-A Filmmaker's Apocalypse," Eleanor Coppola describes her husband Francis's film, "Apocalypse Now," as being "loosely based" on Joseph Conrad's Heart of Darkness. Indeed, "loosely" is the word; the period, setting, and circumstances of the film are totally different from those of the novella. The question, therefore, is whether any of Conrad's classic story of savagery and madness is extant in its cinematic reworking. It is this question that I shall attempt to address in this brief monograph by looking more closely at various aspects of character, plot, and theme in each respective work.
* Conrad, Joseph. “Heart of Darkness” in The Norton Anthology of English Literature, M.H. Abrams, general editor. (London: W.W. Norton, 1962, 2000)
Both Conrad’s, “Heart of Darkness”, and Coppola’s, “Apocalypse Now”, profoundly illustrate the journey of man into their inner self and man’s encounters with their insanity, fears and demise. The novella and film are comprised of numerous pivotal themes that facilitate the understanding of the deeper meaning of both works. Fundamentally, theme is an extensive message or idea expressed by an author and is a crucial element of literature since it sheds light on universal concepts. The most striking parallels that can be formulated when comparing themes in both the novella and the film are associated with human nature. Specifically, Conrad and Coppola incorporate theme of hypocrisy in order to portray man’s incredible potential for evil.
Kurtz was the chief of the Inner Station, where he was in charge of a very important ivory-trading post. Marlow learns that because of Kurtz’s ability to obtain more ivory than anybody else, he is of “greatest importance to the Company” and is to become a “somebody in the Administration” (Conrad 143). However, a critical aspect is the way in which he went about his business, as it was ruthless and selfish, characteristics that go hand-in-hand with European colonization.
Joseph Conrad’s Heart of Darkness is a great example of a Modernist novel because of its general obscurity. The language is thick and opaque. The novel is littered with words such as: inconceivable, inscrutable, gloom. Rather than defining characters in black and white terms, like good and bad, they entire novel is in different shades of gray. The unfolding of events takes the reader between many a foggy bank; the action in the book and not just the language echoes tones of gray.