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An essay about storytelling
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From Novel to Film: Storytelling as a means of survival in Life of Pi As Frank Herbert once said, “how often it is that the angry man rages denial of what his inner self is telling him.” In Yann Martel’s, Life of PI, the inner beast of Pi Patel, with the use of storytelling, is fabricated and given to the reader as a tiger. By the end, the novel leaves the reader with an appreciation of storytelling as being a means of survival, and the movie of the same name is able to capture the essence of that through the use of cinematic techniques, symbolism and characterization. In Ang Lee’s masterpiece, the flawless cinematography, in combination with the use of symbolic visuals and avid characterization, successfully delineate storytelling as being an effective method in a survival situation. In film, one of the most important channels of theme communication is through the use of cinematic techniques. The avid artistry displayed in Life of Pi, with a magic realism approach, amplified the influence of the camera angles in proving that storytelling is a means of survival. In the novel, Pi des...
Stranded for 227 days at sea in a lifeboat, with no one else except an adult Bengal tiger. This is exactly what the main character Pi, in "The Life of Pi" went through. "Life of Pi" by Yann Martel is a story about a boy named Piscine Molitor Patel, an Indian boy who survives more than seven months floating on a lifeboat in the Pacific Ocean, with no one else but a 450-pound tiger (Cooper). Yann Martel was born on June 25, 1963, in Salamanca, Spain. His parents, Emile Martel and Nicole Perron, were both born in Canada. He spent his childhood in several different countries, including France, Mexico, the United States, Canada, and Costa Rica. As an adult, he lived in many other places but one of them was India, which may be where he got inspiration for writing “Life of Pi”. Yann Martel uses the literary elements similes and foreshadowing, to express the theme that believing in religion can give you the faith to want to survive.
Storytelling is a way of expressing one’s imagination through fanciful adventures and serve a variety of purposes. One important reason is to capture a special moment and endure it but mostly because it unites us and of course entertains us. In Yann Martel’s Life of Pi, and Tim Burton’s The Big Fish, storytelling is seen as more important than the truth. Throughout the novel Life of Pi, and the film The Big Fish, it can be argued that the truth is intertwined with the lies in each story to form a new kind of truth. An example of this would be when Pi retells his story to the two Japanese men in a way in which he makes the animals human and introduces a different version of the truth. Both the film and movie also share a unique way of story telling because what they both share is a common moral “quest” which involves the main character, who is usually the hero, must overcome challenges in order to achieve a goal or reward at the end.
“Everyone carries a shadow, and the less it is embodied in the individual's conscious life, the blacker and denser it is. At all counts, it forms an unconscious snag, thwarting our most well-meant intentions” (Carl Jung). The archetype of the shadow self is the darker, animalistic self that a person represses and is forced into the unconscious by the ego. In Life of Pi by Yann Martel, the protagonist, Piscine Molitor is stranded in the middle of the Pacific with a Bengal tiger. It is on this journey that Pi encounters his shadow self. Unfortunately, in an effort to survive, Pi goes against most of his beliefs; and resorts a level of savagery by giving in to his shadow self, Richard Parker. Thence, Pi’s plight is quite challenging for his fruitarian, gentle, kind hearted persona; therefore, Pi would not have survived if he repudiated his shadow self, projected as Richard Parker.
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.
Neill, Alex. “Empathy and (Film) Fiction.” Philosophy of film and motion pictures : an anthology. Ed. Noel Carrol and Jinhee Choi. Malden, MA: Blackwell Publishing, 2006. 247-259. Print.
The power of Imagination can give humans the will power to accomplish anything. In the book Life of Pi by Yann Martell Imagination helped Pi the main character get through his long journey aboard a lifeboat. Over the course of this story Pi encounters many different situations where he needs to use his imagination. Towards the end of the book you as the reader have the option to believe the story you just read or a second story, a more vulgar and less interesting story. As the reader you have to use your imagination just like how Pi needed to use his imagination. Imagination allowed Pi to survive by keeping him sane, protecting him and lastly to acquire the traits of telling a beautiful story.
Surroundings affect how one participates in everyday life. Two settings seem entirely different, yet they create similar situations through availability of freedom offered by each setting. Life of Pi by Yann Martel possesses corresponding situations and distinct differences with “The Yellow Wallpaper” by Charlotte Perkins Gilman. Both compositions utilize confinement to intensify their settings, but the means of confinement have different bounds, and the things they can interact with are extremely separate. Characters of both works communicate with other beings based entirely on their setting. These stories revolve solely around the place of occurrence.
On its surface, Martel’s Life of Pi proceeds as a far-fetched yet not completely unbelievable tale about a young Indian boy named Pi who survives after two hundred twenty-seven days on a lifeboat with a Bengal tiger named Richard Parker. It is an uplifting and entertaining story, with a few themes about companionship and survival sprinkled throughout. The ending, however, reveals a second story – a more realistic and dark account replacing the animals from the beginning with crude human counterparts. Suddenly, Life of Pi becomes more than an inspiring tale and transforms into a point to be made about rationality, faith, and how storytelling correlates the two. The point of the book is not for the reader to decide which story he or she thinks is true, but rather what story he or she thinks is the better story. In real life, this applies in a very similar way to common belief systems and religion. Whether or not God is real or a religion is true is not exactly the point, but rather whether someone chooses to believe so because it adds meaning and fulfillment to his or her life. Life of Pi is relevant to life in its demonstration of storytelling as a means of experiencing life through “the better story.”
Life of Pi is so compelling to read and yet it is such difficult concept to truly understand. Yann Martel's novel, Life of Pi, is the about of Piscine Patel, who prefers it as Pi. At his age of sixteen, he survived for 227 days on a lifeboat in the Pacific Ocean with a hungry tiger to worry about. There were other inhabitants on the boat as well, a zebra, a hyena and an orangutan. Yann Martel is such a great author that he has masked one story over the other story though the work of Pi. Pi hides his second, true story by trying to give the people on the boat different appearances, in his devout triad of religions, and disembodying himself from his own thoughts. Pi hides his second story, in the first story, by trying to disembody himself from his own thoughts. To do so he had used physical look of Pi’s emotions, religion, and though circus acts.
“The presence of God is the finest of rewards.” (Yann Martel, Life of Pi 63) In Yann Martel’s riveting novel “Life of Pi” The basic plot of survival unfolds, however, this essay will show how the hidden yet the dominant theme of religion throughout the story is what helped the main character Piscine Molitor Patel (Pi) survive.
Pi Patel in Yann Martel’s Life of Pi is a young Indian boy who is put through a tremendous traumatic experience; he gets lost at sea! Not only does he lose all his family, but he is forced to survive 227 days at sea with very limited resources. This ordeal causes great psychological pressure on Pi and causes his mind to find ways to cope with all the stress. When asked to describe what happened, Pi tells two stories: one with him surviving with animals including an adult Bengal tiger named Richard Parker, and a parallel story with humans in which Pi is forced to bend morality. Pi’s story of his survival with Richard Parker is a fiction that he creates to cope with a reality that is too difficult to face.
Each chapter invents its own reality, a reality of the screen, of the movies, that is brought into closer contact by means of a literary text. The book as a whole, then, glorifies in the postmodern tradition multiple interpretations of reality. Movies themselves present alternative realities or interpretations of perceived realities, most often differing from our own individual constructions. Thus, by offering ...
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
We, as humans, often underestimate the fragility of our morals and “humanity”. In Life of Pi, author Yann Martel tells the story of a young boy named Pi who, after being shipwrecked and losing his entire family, must somehow survive in the middle of the Pacific Ocean with a grown tiger for days on end by abandoning all the morals he once valued. Through Pi’s story, Martel shows how easily humans can become akin to animals when finding themselves in a desperate situation.
In this article, Jones discusses the marginalization of motion pictures, yet touches on the great aspects of film, and how these aspects can expect to survive in the future. Major topics that Jones addresses are: developments in video narrative through flawless storytelling, the use of digital tools for film restoration and preservation, and an audience shift from film to digital. These points detail the love and appreciation that goes into filmmaking, and how the narratives, despite having changed formats throughout the years, have been able to survive and appear to be timeless. Jones also further discusses the idea of using audiovisual material to create narratives appealing. He details how the stylistic approach of a film, and the techniques like cinematography and editing, can enhance and provide for a greater narrative. In summary, the sum of the parts of a film are what make the entire experience, which not only makes for a great film, but for a lasting story as