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Raymond chandlers writing
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The Characters of Chandler's The Big Sleep
The differences between the characters in Hawks' adaptation of Chandler's The Big Sleep and the novel are obvious to someone who has noticed the details on both. Of course there are positive and negative aspects to such choices which Hawks makes in his film and those decisions which Hawks made from novel to movie should be examined and questioned whether they helped or hindered the production of The Big Sleep. One of the major differences, and I would argue a drawback, in the film version is the representation of the characters and the predictable ending. Looking specifically at Marlowe and Mrs. Regan, it is easy to see that Hawks changed some things about their characters simply because of the high profile actors: Bogart and Bacall. Such a change in the characters was most likely a decision made by Hawks in order to make the novel more believable or exciting to the audience, perhaps assuming the majority of the viewers may not have read the novel. The end of the movie was completely predictable and I think Hawks took the easy way out when making his decision to end with Marlowe and Regan ending up in love. The changes Hawks made in the characters as well as the end are ones that I assume Hawks made on the basis of what he thought would produce the best film. I can respect Hawks' goal, but I think anyone who has read the novel would agree that the novel is the better version between the two.
Starting with the character of Marlowe, the differences in his character are major ones. In the novel Marlowe is somewhat of a loner- a characteristic that I found intriguing. It is made clear that Marlowe knows this about himself and even revels in this aspect of his personality. He likes to ponder things alone and does not even long for company. Throughout the novel, there are several instances where Marlowe is put in social situations and is always strictly business. Marlowe has drinks with Mr. Geiger while doing business, but does not elaborate on conversation with him. Marlowe is very subdued and laid back in his manner; when he is done talking business with Mr.
In ¡§Boys,¡¨ the writer condenses the boys¡¦ life into one paragraph. Even though it is a story with thirty-year time frame, the narrative way ¡§one paragraph¡¨ makes every single account similar. As if readers are looking at the world from a high place. Moody uses repetition,¡¨ Boys enter the house¡¨ in every sentence, makes a connection on every single account in boys¡¦ life. It indicates that every outcome that happens before the turning point is relatively immature. This particular style, repetition, emphasizes the symbolism of the growing process and maturity. The story is based on a thirty-year time frame; from infancy to adulthood. It consists a chronology linear of thirty-year which indicates the amount of the time that boys need to transform to men. The writer condenses the whole story into a paragraph with one incident followed by the other which reflects the pace of time as they age.
In The Big Sleep, Raymond Chandler writes items in a series in almost every paragraph that does not include dialogue, occasions, in the text where Marlowe watches the other character do something like open and close a book or light a cigarette and flick the ash into a tray. When Chandler stops the dialogue to creates a space for Marlowe to record elements in the environment, he constructs sentences that indicate how Marlowe assimilates the information: characters perform three or more acts successively and Marlowe notices every movement, recording it at once. Therefore, Chandler builds sentences that contain as many separate actions as possible to reflect how fast the character performs the act, rather than isolate single actions in single sentences that break the action up. Specifically, Chandler builds sentences with items in a series to reflect continuous motion and mimic the way Marlowe perceives it. Series are economical and fast, pointing to the movement of the character and the way Marlowe thinks.
One main difference is that in Romeo and Juliet the sililoquy is spoken while in
I enjoyed The Big Sleep by Howard Hawks, but can still recognize and appreciate the differences between it and Chandler's masterful novel. It is an objective appreciation of the two works which forms the foundation a good paper. One must look at the book as a distinct unit, look at the film as a distinct unit, and then (and only then) use one to compare/contrast the other in a critique. The film, after all, is not an extension of the novel&endash;as some would like to argue&endash;but an independent entity that can be constructed however the artist (Hawks in this case) wants. The novel is the inspiration; the film, the work itself.
The Big Sleep Movie and Novel & nbsp; On first inspection of Raymond Chandler's novel, The Big Sleep, the reader discovers that the story unravels quickly through the narrative voice of Philip Marlowe, the detective hired by the Sternwood family of Los Angeles to solve a mystery for them. The mystery concerns the General Sternwood's young daughter, and one Mr. A. G. Geiger. Upon digging for the answer to this puzzle placed before Marlowe for a mere $25 dollars a day plus expenses, Marlowe soon finds layers upon layers of mystifying events tangled in the already mysterious web of lies and deception concerning the Sternwood family, especially the two young daughters. & nbsp; When reading the novel, it is hard to imagine the story without a narrator at all. It certainly seems essential for the story's make-up to have this witty, sarcastic voice present to describe the sequence of events. Yet, there is a version of Chandler's novel that does not have an audible storyteller, and that version is the 1946 movie directed by Howard Hawks. & nbsp; Hawks' version of The Big Sleep is known to be one of the best examples of the film genre-film noir. "
When we first encounter Little Chandler in “A Little Cloud,” it immediately becomes clear that the protagonist in this chapter of James Joyce’s Dubliners is deliberately and aptly named. We are told early on that in addition to his small stature, Little Chandler “gave one the idea of being a little man” (Joyce 53). His smallness is underscored by the frequent and overpowering references to his friend and imagined competitor, Ignatius Gallaher, and relegates Little Chandler to an inferior position even within his own story. Yet Little Chandler’s implicit and explicit inferiority is punctuated by moments of courage and hope, and he does try, however briefly, to exalt himself as he walks the streets of Dublin. The narrator, expressing Little Chandler’s
The costumes in each version explains a lot about each character i.e. Friar Lawrence’s robe. In Zafarelli’s ‘first meeting’ face version Romeo wears a gold mask to disguise that a montigeau is in a capulate event.
One of the comparison is theme, and how the different format represents it. There is two theme in the text such as, blackmail and esteem. The text represents Irene Alder trying to blackmail the king by revealing his photograph. Therefore, when king is about to get married, Irene would reveal the compromising photograph of the king. This was the theme of the text, 3 men trying to stop blackmail. However, the film represents it in a different way. In the film, Irene Alder has the photography, but she doe not have any intension of blackmailing Sherlock Holmes’s client. Also in the film, king is not addressed, and only described as Sherlock’s secret client that he assumes it is from upper class. But Sherlock’s brother Mycroft Holmes knows that something important information about the government is inside
...om that point on the play began to slow down and unravel the conflicts. This was a play I which everything happened very quickly. The problem was presented right at the beginning, the conflict was established along with subsidiary conflicts resulting from our central conflict itself, and the was then resolved rather quickly. The theme of conflict was apparent throughout the play as well, and is the cause of the problems that befall the characters. Overall there was never really a difference or a change in the main idea or conflict or setting of the play to the film, besides a few content difference and alterations with he context and words of the play to the film, I believe that the film was a very good portrayal of the play, the plot and other literary elements used in drama. All were established and addressed the final resolve at the end in A Midsummer Night Dream.
The first thing to discuss is the main differences between the writing by Sir Arthur Conan Doyle and the movie directed by Sidney Lanfield. The first thing noticed different in the movie is that the notice of a recently escaped convict is never mentioned. A second thing noticed different in the movie is that the note warning Sir Henry to not go to the moor was thrown into his buggy on his way to the hotel. In the writing,
These two poems are alike and different in their own way. The Passionate Shepherd to His Love and The Nymphs Reply to the Shepherd are both trying to mirror each other on their structure of the poems. Both Christopher Marlowe and Sir Walter Raleigh had a very unique way of writing and making these poems so similar, but throwing in different types of love and view points.
Many researchers have written about child development, but none are quite as well known as Jean Piaget and Lawrence Kohlberg. Jean Piaget’s cognitive development theory and Lawrence Kohlberg’s moral development theory have been essential for researchers to gain a better understanding of child development. While these theories are unique in explaining different types of child development, they have many similarities and differences as well.
Lawrence Kohlberg conducted research on the moral development of children. He wanted to understand how they develop a sense of right or wrong and how justice is served. Kohlberg used surveys in which he included moral dilemmas where he asked the subjects to evaluate a moral conflict. Through his studies, Kohlberg observed that moral growth and development precedes through stages such as those of Piaget’s stages of cognitive development. He theorized that moral growth begins at the beginning of life and continues until the day one dies. He believed that people proceed through each stage of moral development consecutively without skipping or going back to a previous stage. The stages of thought processing, implying qualitatively different modes of thinking and of problem solving are included in the three levels of pre-conventional, conventional and post conventional development. (2)
Piaget’s stage theory of cognitive development demonstrates a child’s cognitive ability through a series of observational studies of simple tests. According to Piaget, a child’s mental structure, which is genetically inherited and evolved, is the basis for all other learning and knowledge. Piaget’s
Austen, Glyn. “The Strange Ambiguity of Christopher Marlowe and Dr Faustus: Glyn Austen examines the powerful paradoxes of Dr Faustus in the light of its literary and intellectual context.” The English Review 14.1 (2003): 2