In many stories, authors let characters to take actions that allow them to benefit when the seemingly uncontrollable turning points come. In the film Stranger than Fiction written by Zach Helm, turning points are used this way through Harold Crick. Harold’s realization of being powerless to avoid his fateful death provides a turning point that induces Harold’s transformation, which helps him to stay alive at the end. Harold understands his failure to control his own destiny after witnessing the sudden demolishment of his own apartment, which triggers him to become earnest and goal-oriented by playing the guitar, to get rid of his inflexibility by pursuing his love interest Ana Pascal using irrational methods, and to complete his great alteration of character by heroically saving the little boy on the bike and getting hit by the bus. The courageous deed impresses Karen Eiffel who then changes the resolution of her novel.
What this tells the viewer is that the events being shown have already occurred. The narrators are telling the stoly in the past tense. This could have introduced a major problem, by having only Henry narrate throughout the film the viewer would know that He survived the lifestyle. Having Karen narrate as well has allowed Scorsese to introduce an element of doubt into the film, the viewer no longer knows whether e... ... middle of paper ... ...ted when Tommy decides to kill Billy Batts for insulting him. Tommy knows that if it is discovered that he killed this ?made?
The movie portrays this act being perpetrated by Durden instead. The Narrator is present in the scene, however, the script calls for him to be “growing even paler […] slump[ed] against a tree” (Fight Club). This makes the Narrator seem passive rather than active. Why then would Fincher choose to portray the scene the way he did, and what does this change do to the film? I propose that the difference exists to add a visual element to essential aspects of the story, as well as meet the audience’s artistic expectations of the work.
Ambrose Bierce’s various shifts deceive readers into believing the protagonist, Peyton Farquhar, has escaped a perilous fate. Readers are confounded as the conflict actualizes with Peyton Farquhar finding himself on a bridge awaiting his execution. Although Farquhar is to be hung, he still manages to keep calm and focused on what is important, his family. However this is where the story makes its first turn as Farquhar’s thoughts are interrupted by the sound of his own watch. The description of the piercing sound is but a small glimpse of the “dream” that is to come.
“An Occurrence at Owl Creek Bridge” shows to be an interesting, dramatic breath taking story with a hopeful main character who was determined to not live in the moment of his current situation. Bierce did a great job of turning Peyton Farquhar’s illusions into reality for the reader’s. Peyton’s illusions came from the fact that he could not face his reality of his death and this was the only way he could cope with it, his psychological succeeds at everything his physical could not. Throughout the entire story, it is nearly impossible to draw the line between what is real and what is being made up by Peyton, the reader is totally submerged into his illusions, deeming them as reality.
This director also showed the audience how the story could be affected by sound with examples like the clock becoming a character and storyline of its own and also the murderer being identified with his whistling. With the lack of sound and the collage of images during specific times, the director was able to create a mood without music or sound. Apparently this was a technique that was learned throughout his many years of silent films. These details were what brought the story together and would not have been done so precisely without the technique of sound.
“What makes a movie a movie is the editing” - Zach Staenberg The technique of establishing the rhythm and the emotion of characters in a film is the conceptual tenor of Editing. It is appraised as the final stage of filmmaking that is considered to be a hidden art, an under-appreciated art. The literal interpretation inside a script is perceived through assembling the story in rhythmic format itself is an aesthetic art that becomes invisible. “Editor’s work is to be invisible” - Thelma Schoonmaker It is a bizarre actuality that an invisible task gets inside the act of aesthetics. This exquisite art of invisibility started when the script had a range of continuity, implying actions moving from one sequence into another.
I choose to do the editing option because I believe that editing is the single handed most important part in film making. Editing in movies can basically make or break a movie. It also helps to tell the story that the producer and director are trying to get across to the audience. Might be the choice of lighting from one shot to the next, or the volume of a footstep. These all play major roles when putting a film together, and more times than not it takes more time to edit a film than to actually shoot it.
Although he is, in fact, dead, he described an elaborate escape that he experienced in which he “sprang to his feet, rushed up the sloping bank, and plunged into the forest” (Bierce) away from the soldiers and would see him eventually “standing at the gate of his own home” (Bierce 6). Clearly, Farquhar’s vision of escape when he is still living is not believable at all, whereas his vision of escape as he has died (or is dying) is presented as being logical and real. This emphasizes Bierce’s blurring of the line between life and death as the false reality he experiences during death is somehow entirely more believable than his vision of escape as a living man. Farquhar’s perception of reality also emphasizes the concept of the blurred line between life and death through his description of the wildlife he sees during his
Out of place, Fred is a shameful, childish man thrown into a war that has no place for him. During the course of the story, Collins yearns for a drink of well water located across an active battlefield. Going against all his inhibitions and judgment, and going along with peer pressure, Collins decides to make the suicidal trip. Remarkably, Collins somehow gathers himself together and reaches the well of water, surprising himself in the meantime. Upon arrival at his destination, Collins ponders the miraculous obstacles he overcame and even dubs himself a "hero" for a moment.