In the film version of The Big Sleep, Howard Hawks invents scenes and characters that do not appear in Raymond Chandler's novel. No rare bookstore trist, no rough and ready female cabdriver, no winking cigarette girl grace the pages of his book; Marlowe and Vivian never talk of horses; and Carmen's always naked. But not in the film. In the film, she wears clothes, Marlowe is a jockey, Vivian is a horse, and all these characters appear. Faulkner, Brackett, and Furthman write these elements into the screenplay. But they do not develop ideas the text does not already suggest. The ideas are there--just evolved into new species that echo the original animal. Hawks had to do it, for the Production Code forbid directors to present any material that was overtly sexual, violent, vulgar or otherwise, profane. Therefore, since the Hays Office regulated what Hawks could present on film, his writers embedded the censored material in new forms. Todd McCarthy explains that, "the writers . . . and director . . . extract[ed] the maximum character and suggestiveness from every situation" (387). In other words, they invented and modified scenes and created characters while Hawks manipulated the mise-en-scene to suggest the forbidden ideas in Chandler's novel.
Three tenets of the Production Code impact the film directly. The Hays Office states as follows:
1. Sadism, homosexuality, incest, etc., should not even be hinted at in motion pictures.
2. The treatment of low, disgusting, unpleasant, though not necessarily evil, subjects should be subject always to the dictate of good taste and a regard for the sensibilities of the audience.
3. Complete nudity is never permitted. This includes nudity in f...
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...tes, but he does not present everything. Nor can he, for the Production Code restricts what he can represent on film in 1946. For this reason, Hawks eliminated some ideas--i.e. Geiger's homosexuality, Vivian's violent aggression--entirely. But he kept the one element he felt he could not omit. In the novel, Carmen's nude figure possesses an incalculable amount of energy. Hawks wanted that energy to carry the film. Therefore, he employed writers who would help him inject the power of her image into the film in ways the Hays Office would accept.
Works Cited
Chandler, Raymond. The Big Sleep. New York: Vintage Books, 1939.
McCarthy, Todd. Howard Hawks: The Grey Fox of Hollywood. New York: Grove Press, 1997.
Moley, Raymond. The Hays Office. Indianapolis: The Bobbs-Merrill Company, 1945.
The Big Sleep. Dir. Howard Hawks. Universal, 1946.
morals are acquired, and conformity to a standard of right is attained. In the novel The
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This quote describes how Louise Halfe uses all four common elements of native literature in her writings. I have chosen to discuss two of the elements she frequently uses, Spirituality and Orality in relation to three of her poems: My Ledders, She Told Me and The Heat of my Grandmothers.
Connie Fife is a Saskatchewan, Cree poet who writes using her unique perspective, telling of her personal experiences and upbringing. This perspective is revealed to her audience through the poems “This is not a Metaphor”, “I Have Become so Many Mountains”, and “She Who Remembers” all of which present a direct relationship to her traditional background and culture (Rosen-Garten, Goldrick-Jones 1010). To show the relationship of her experiences through her poetry, Fife uses the form of dramatic monologue, as well as modern language and literal writing to display themes about racism presenting her traditional viewpoint to her audience.
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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. "
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The question that causes division among many regards disgust’s role in morality. Those whom have opinions on the matter are making a prescriptive claim rather than a descriptive one. The question is not about what role disgust actually has in morality, rather, it is about what role disgust ought to have in morality. In addition to arguing why or why not disgust reactions are reliable in the moral spectrum, each side also appeals to a particular view of the nature of disgust itself.
Many of the first film elements that can be found in this movie work as an introduction to the two main characters of the story. These elements are meant to force the spectator- even one who had never heard speak of, or seen the two Hollywood stars shown on screen- to focus their attention on them.
... dook you/ gold cup and wine/ pass it ‘round circles” (29-33), the sardonic attitude is illustrated once more. The ironic tone is not only addressed through the use of Christianity, but the speaker also discusses how it ironic it is that it becomes acceptable for “whitemen” (14) to build sweat lodges. The speaker uses satire to convey the disgusted feelings of how her culture has been altered and combined with a loss of meaning.
Native American children were physically and sexually abused at a school they were forced to attend after being stripped from their homes in America’s attempt to eliminate Native peoples culture. Many children were caught running away, and many children never understood what home really meant. Poet Louise Erdich is part Native American and wrote the poem “Indian Boarding School: The Runaways” to uncover the issues of self-identity and home by letting a student who suffered in these schools speak. The poem follows Native American kids that were forced to attend Indian boarding schools in the 19th and 20th centuries. By using imagery, allusion, and symbolism in “Indian Boarding School: The Runaways”, Louise Erdrich displays how repulsive Indian
In conclusion, details involving the characters and symbolic meanings to objects are the factors that make the novel better than the movie. Leaving out aspects of the novel limits the viewer’s appreciation for the story. One may favor the film over the novel or vice versa, but that person will not overlook the intense work that went into the making of both. The film and novel have their similarities and differences, but both effectively communicate their meaning to the public.
The film may have edited out one of the drastic details that made the novel’s success, explaining the film’s failure.
Harrison, Anthongy H. Christina Rossetti in Context. University of NC Press, Chapel Hill and London: 1988.
In this essay Hume creates the true judges who are required to have: delicacy of taste, practice in a specific art of taste, be free from prejudice in their determinations, and good sense to guide their judgments. In Hume’s view the judges allow for reasonable critiques of objects. Hume also pointed out that taste is not merely an opinion but has some physical quality which can be proved. So taste is not a sentiment but a determination. What was inconsistent in the triad of commonly held belief was that all taste is equal and so Hume replaced the faulty assumption with the true judges who can guide society’s sentiments.