The Big Sleep: Novel or Movie?
Architects forever changed the urban landscape when they began building skyscrapers. After only a short while they turned away from the burdensome load-bearing walls and opted for a thin, geometric steel skeleton. The skeleton allowed more glass and embellishments; businesses could have huge windows to display their wares on bustling city streets. Raymond Chandler creates a strong skeleton of figurative language in his novel, The Big Sleep. Howard Hawks piles the importance of his movie on his famous duo, Humphrey Bogart and Lauren Bacall. Which is finer? Stories and skyscrapers are the same.
Details run throughout Chandler's text. They come in the form of slap-you-in-the-face similes, lively images and repeated metonyms. The figurative language unifies the book. With every turn of the page we are blasted with sly similes. Chandler can pack five or more on a page and still maintain the super-cool voice of his narrator, Marlowe. Agnes' silver nails move rather than she. But Chandler's most crafty play is in Chapter Twenty-six. He uses figurative language to make his characters predators or prey. Marlowe first "[hangs] there motionless, like a lazy fish in water", then he moves "like a cat on a mantel" (Chandler 171, 172). Marlowe is stalking the office while Canino speaks to Jones in a "purring voice;" Jones has a "bird-like voice" (175, 171). Later, Marlowe addresses Jones's body and says "You died like a poisoned rat, Harry, but you're no rat to me" (178). Harry Jones wasn't Marlowe's prey. The dynamic of the chapter is set up through imagery and metaphor.
I love Chandler's figurative language and I love his narrator. Marlowe is the reason that this language is possible. Marlowe isn't going to shuffle around topics; he goes straight to the point and is determined to drag you along. That is why he uses such language &emdash; to pull us in and let us understand. We hear you Marlowe. We are getting every point. We can better understand his character if we know what he is thinking about. The details offer us insider information. We see what little things he notices -- the little things that add up.
I miss the knight in the movie.
By giving the biographies of architects Richard Neutra and Robert Alexander, Hines does nothing to remedy his aimless writing. He writes that Neutra had a variety of experience as an archi...
Film Noir is a genre of distinct and unique characteristics. Mostly prominent in the 40s and 50s, the genre rarely skewed from the skeletal plot to which all Film Noir pictures follow. The most famous of these films is The Big Sleep (1946) directed by Howard Hawks. This film is the go to when it comes to all the genre’s clichés. This formula for film is so well known and deeply understood that it is often a target for satire. This is what the Coen brothers did with 1998’s The Big Lebowski. This film follows to the T what Film Noir stands for.
Though racial and sexual issues seem to continuously serve a main purpose in James Baldwin’s writings, oppression can be described as a useful theme in both “Sonny’s Blues and Going to Meet the Man”( Murphy 6). In “Sonny’s Blues” we meet the narrator, Sonny’s brother who runs into one of Sonny’s old friends who begins conversing with Sonny’s brother about Sonny’s recent arrest. Sonny’s old friend tells the narrator that he “can’t much help Sonny no more” which upsets him because it makes him realize how much he had given up on trying to help his brother. Sonny was suffering from drug abuse, and was in desperate need of a savior. After the
In contrast, syntax provides a new perspective to the narrator s behavior as sentence structure draws attention to her erratic behavior. By her last entry, the narrator s sentences have become short and simple. Paragraphs 227 through 238 contain few adjectives resulting in limited descriptions yet her short sentences emphasize her actions providing plenty of imagery. The syntax quickly pulls the reader through the end as the narrator reaches an end to her madness.
James Baldwin, author of Sonny’s Blues, was born in Harlem, NY in 1924. During his career as an essayist, he published many novels and short stories. Growing up as an African American, and being “the grandson of a slave” (82) was difficult. On a day to day basis, it was a constant battle with racial discrimination, drugs, and family relationships. One of Baldwin’s literature pieces was Sonny’s Blues in which he describes a specific event that had a great impact on his relationship with his brother, Sonny. Having to deal with the life-style of poverty, his relationship with his brother becomes affected and rivalry develops. Conclusively, brotherly love is the theme of the story. Despite the narrator’s and his brother’s differences, this theme is revealed throughout the characters’ thoughts, feelings, actions, and dialogue. Therefore, the change in the narrator throughout the text is significant in understanding the theme of the story. It is prevalent to withhold the single most important aspect of the narrator’s life: protecting his brother.
No dearth of similes exists in this book. Sometimes Chandler decorates a page with more than four. They stand out. The similes are the fragrance of the flower. The only circumstance in which no simile can be found on a page is if the page is full of dialogue. Chandler's similes function interestingly in his text &emdash; they seem to be the only art in his concise style. Some of his similes are almost silly, so they really stand out from the casual mood of the text; "his neck stuck up out of [his coat] like a celery stalk" (25). Yet others are beautiful and create very strong images such as those in Chapter Twenty-six when Marlowe is tracking Henry Jones. Marlowe picks a lock and " there was a dry click, like a small icicle breaking.
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. "
Haddon’s use of chapter digression allows the reader a shift between recounts of Christopher’s experiences and facts given by Christopher. The use of digressions and prime numbers used to number chapters amplify the novel’s distinctiveness, differing it from any other regular novel. Whilst the digressions in the novel correspond with prior or upcoming chapters, elements of Christopher’s character is revealed.
4. What two forms of figurative language does the author use in lines 20-23 of page 211 to make his writing more
James F. O'Gorman, Dennis E. McGrath. ABC of Architecture. Philadelphia: University of Pennsylvania Press, 1998. Document. October 2013.
While reading short stories, two stood out: Ernest Hemingway’s Hills Like White Elephants and Raymond Carver’s Cathedral. The themes in both stories are powerful and convey strong messages that really pose existential thoughts. Not only is each story’s theme attention grabbing, but so is the common and reoccurring use of symbolism throughout the stories. They did not just use the Element of Fiction symbolism, but even used one common symbol. Ernest Hemingway’s story Hills Like White Elephants and Raymond Carver’s story Cathedral each contain existential and similar themes such as talking versus communicating and looking versus seeing, as well as demonstrating creative and comparable symbolism throughout.
For a long time, when anyone thought of a war movie, they immediately thought of Darryl F. Zanuck’s, The Longest Day. Cornelius Ryan, who was the author of the book by the same name, and happened to be a D-day veteran himself, wrote the movie. The book meticulously recreates the events preceding and during the invasion. It is filled with detailed descriptions of multiple occurrences during the invasion. It explains everything from mass attacks on beaches and towns to humorous anecdotes. The book wasn’t exactly a story involving characters, and neither was the film. The Longest Day is more a story of tragedy, glory, and courage surrounding one very important day. And even though mainly American and English filmmakers produced the movie, the movie and book both portray the Germans fairly. But the film added so much to the story that the book could not. Without some of the stunning visuals that the five (Zanuck went unaccredited, but was said to have directed over half the movie) directors put in the film, it would have been impossible to comprehend the scale of it all.
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.
To understand the role of place in architecture, the author compares architecture to language. Language has patterns and arrangements, architecture relates directly to what humans do. It changes or evolves as
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...