...Darkness inside Human Mind Joseph Conrad, who wrote The Heart of Darkness, once said, “The mind of man is capable of anything.” What he is telling us was that a person will do any actions by any means regardless of its consequence. There is always an evil side living inside the human soul, and this evil side breaks out during times when there is a difference in culture; for example, during World War II, Nazis killed any Jews that appeared in Europe, and their reason was Jews were not considered Germans, and they were believed to be disloyal and untrustworthy. This shows the difference in culture that created darkness inside the mind of the Nazis, who told them to do unimaginable things. The madness, fear, imperialism, death, escape, and difference in culture are the main theme of Heart of Darkness and Apocalypse Now; although they were written in different times, settings, and purposes, they both express how savage the human mind can be when he confronts with darkness. Both the novel Heart of Darkness and the film Apocalypse Now address the idea of imperialism. Imperialism, defining as a country’s political, military, and economic domination over another, is the theme that talk thoroughly in both works. For instance, in Heart of Darkness, richer nations are robbing the goods in Africa, such as ivory and slaves, while in Apocalypse Now America is trying to subvert Vietnam from being Communism. A modern example that relate to the idea of imperialism is America showing assistant...
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...of the book (its plots, settings, and stylistic convention) but revamps particular details in those particular ways that the filmmakers see as necessary and fitting. The third one is radical, which reshapes the book in extreme and revolutionary ways both as a means of interpreting the literature and of making the film a more fully independent work. (Linda Cahir, p17) Traditional adaptation and radical adaptation are considered to be the top two types of film adaptations to discuss since traditional adaptation and radical adaptation are mostly seen in films. In order to examine the effectiveness of both traditional adaptation and radical adaptation in films, Pride and Prejudice (both novel and film), Heart of Darkness (novella) and the film adaptation of this novella Apocalypse Now are going to be discussed here. According to Linda Cahir, “Traditional adaptation maintains the overall traits of the book (its plots, settings, and stylistic convention) but revamps particular details in those particular ways that the filmmakers see as necessary and fitting. (P16)” Pride and Prejudice (both film and novel) is applied here to examine the nature of the traditional adaptation and evaluate the effectiveness of traditional adaptation in the film. As far...
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...Heart of Darkness vs. Apocalypse Now Both the novel "Heart of Darkness" by Joseph Conrad and the movie "Apocalypse Now" are about one man's journey through Africa and Vietnam. A comparison and contrast can be made between the two. Both have the same themes but entirely different settings. Heart of Darkness takes place on the Congo River in the Heart of Africa while Apocalypse Now is set in Vietnam. The stock characters in both have the same general personalities but have different names. Of course, Kurtz is Kurtz, Willard twins Marlow, and the American photojournalist relates to the Russian Harlequin. Willard is a lieutenant for the US Army while Marlow is a captain of a steamboat of an ivory company. The first looks of Willard and Marlow differ a little. The movie begins with Willard lying in an apartment room completely out of touch with reality. He is haunted by his earlier deeds and he is getting very plastered. Willard smashes the mirror while fighting himself and cuts his hand. He falls to the bed crying. Marlow is portrayed as a traveler of the sea. The narrator described him as a hero somewhat. Their mission is to find Kurtz and take him down.. In both stories Kurtz is a psychotic rebel, worshipped as a god, who threatens the stability of his unit, but in one it is an ivory trading company and in the other it is the US Army. Kurtz, who had begun his assignment a man of great optimism and the highest morals, had become peculiarly savage. Tribes of natives worship...
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...Shirley Reigada Professor Frongillio HUM2250 October 5, 2014 The film substitutes Vietnam for Africa in setting but leaves, with the exception of some characters, the novel’s basic structure intact. Do you agree that the movie retains the key elements and core meanings of the novel? Is the movie a literal, loose, or intermediate adaptation? What are the major changes and are they significant? Is the movie more political or mythical, prosaic or poetic, realistic or formalist, in your point of view? In the film Apocalypse Now by F.F Coppola, and the adaption of Heart of the Darkness was updated to fit in the movie with the environment and the time frame. Also being true to many of the events, characters, themes and the ideas presented in the story. I wondered what ideas would have changed and what indicated the director, and even the society as one, felt about the concepts that were no longer satisfactory....
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...APOCALYPSE NOW ←Page-to-Screen Adaptation→ John Milius’s original screenplay moved Joseph Conrad’s 1898 novella Heart of Darkness from colonial Africa to the heart of the Vietnam War in the late 1960s. Although Milius made drastic changes, he left the basic structure intact: a man travels upriver to face an evil genius and, along the way, must face his fears, his mortality, and the possibility that he will go slowly insane. Director Francis Ford Coppola in turn embellished Milius’s screenplay to make it more closely mirror Conrad’s book, cutting scenes, adding others, and demanding a great deal of improvisation from his actors. Milius and Coppola therefore shared the film’s screenwriting credit. Author Michael Herr, who wrote a notable collection of Vietnam War articles entitled Dispatches, also received a writing credit for penning the film’s narration. In addition to switching the setting, Milius renamed or modified nearly all of Conrad’s characters (aside from Kurtz). Conrad’s protagonist, Marlow, a pensive sailor on a quest to meet the ostensibly great, multitalented thinker Kurtz, becomes Milius’s Army Captain Benjamin Willard, an emotionally scarred Special Forces operative on a classified mission to terminate Kurtz. Milius’s Kurtz was an outstanding military officer who has apparently gone crazy. As the film opens, he leads a small colony in Cambodia, relying on “unsound methods” for imperious control. Moreover, Kurtz as portrayed by actor Marlon Brando is drastically...
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...Karen Conner Professor Pridgeon English 252H Spring 1993 Semester Film Production: Final Project After the astounding success of my last film endeavor [final project for ENG 251H], Townies, my production company, Gateway Productions, has con¬tracted me for a new endeavor, this time for an adaptation of Joseph Conrad's novella Heart of Darkness. The company says that I may have full creative license in this one so, as Orson Welles did in his film Citizen Kane, I intend to oversee all aspects of the process. In selecting my staff, I have decided to keep some of the old faces from the previous film. My friend Julie Weaver will once more be at my side. As you recall, I chose her previously because she is not only a good art director but a talented illustrator as well. Her ability to do on-the-spot sketches of ideas saved me a great amount of time and money on the last project. I have also decided to keep Brightwood as cinematographer and Wise as sound director, again for the same reason for which I chose them last time, because they would make good contributions to the creative aspect of the process, and I felt that these two could best translate my ideas to film. Another old face will be Joyce Nevelson, my editor. I chose her last time because she was well-known in the industry and had won many rewards, proving her talent. Changes I have made will be in the writing, sound, and music departments. I have chosen Paul Gainritch to write my screen¬play. He is...
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...Composition Essays - Analitical, Autobiographical, Argument, Cause/Effect, Classification, Compare/Contrast, Comparison, Conversation, Creative+Writing, Critical, Deductive, Definition, Descriptive, Description, Dialog, Division, Exploratory, Expository, Informative, Interview, Inquiry, Journalistic, Narration, Observation. Personal Narrative, Place, Profile, Process, Proposal English Literature and Literary Analysis - Adventures of Huckleberry Finn, A & P, Antigone, Apocalypse Now, Araby, The Awakening, Barn Burning, Beowulf, Beloved, Bible, Birthmark, Blade Runner, The Bluest Eye, Candide, Canterbury Tales, Catcher in the Rye, Cathedral, Chrysanthemums, A Clockwork Orange, The Color Purple, Comparing Literary Works, Crime and Punishment, Death of a Salesman, Death in Venice, Desiree's Baby, A Doll's House, Dr. Faustus, Epic of Gilgamesh, Everyday Use, A Farewell to Arms, Frankenstein, The Grapes of Wrath, Great Gatsby, Great Expectations, Glass Menagerie, Gulliver's Travels, The Handmaid's Tale, Heart of Darkness, The Iliad, Invisible Man, Jane Eyre, The Joy Luck Club, The Lottery, The Love Song of J. Alfred Prufrock, Metamorphosis, My Antonia, My Papa's Waltz, Neuromancer, The Odyssey, Oedipus Rex, On the Road, Oresteia, Paradise Lost, The Picture of Dorian Gray, Portrait of the Artist as a Young Man, Pride and Prejudice, A Raisin in the Sun, A Rose for Emily, The Scarlet Letter, Siddhartha, Sir Gawain and the Green Knight, Slaughterhouse-Five, Song of Solomon, The...
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...Fear of an Apocalypse Shalene Walsh Professor Sanpierto ENG 151-07 04/27/2015 Table of Contents Abstract Page 3 Annotated Bibliography Page 4 Introduction Page 6 Fear of an Apocalypse Page 7 Conclusion Page 13 Abstract People have many fears in the world whether it be heights, bugs, death, etc. I fear an apocalypse, just knowing that one day all we have come to love and enjoy can be gone in an instant. I fear that happening and the many different things that can cause the end of the world. Some people fear the end of the world and others don’t really care about it. I know for me if there were zombies coming after me or any other scenario I wouldn’t know what to do. I have wrote about each individual scenario that could cause the end of the world. I talked about how each one affects us. Some people fear an apocalypse so much they have either killed themselves over it or even dwell on it so much their life becomes surrounded by it. I wouldn’t say my life is surrounded by it, but just knowing something, anything, could happen is scary. I feel all the different...
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...go—always self-knowledge 2. Nice to Eat With You: Acts of Communion a. Whenever people eat or drink together, it’s communion b. Not usually religious c. An act of sharing and peace d. A failed meal carries negative connotations 3. Nice to Eat You: Acts of Vampires a. Literal Vampirism: Nasty old man, attractive but evil, violates a young woman, leaves his mark, takes her innocence b. Sexual implications—a trait of 19th century literature to address sex indirectly c. Symbolic Vampirism: selfishness, exploitation, refusal to respect the autonomy of other people, using people to get what we want, placing our desires, particularly ugly ones, above the needs of another. 4. If It’s Square, It’s a Sonnet 5. Now, Where Have I Seen Her Before? a. There is no such thing as a wholly original work of literature—stories grow out of other stories, poems out of other poems. b. There is only one story—of humanity and human nature, endlessly repeated c. “Intertexuality”—recognizing the connections between one story and another deepens our appreciation and experience, brings multiple layers of meaning to the text, which we may not be conscious of. The more consciously aware we are, the more alive the text becomes to us. d. If you don’t recognize the correspondences, it’s ok. If a story is no good, being based on Hamlet won’t save it. 6. When in Doubt, It’s from Shakespeare… a. Writers use what is common in a culture as a kind...
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...never permanent. In this novel, most of the main characters pass quickly through, and few things are permanent. This passage is especially fitting considering Arthur’s heart attack marks the transition between normal life and post-apocalyptic society. This is also the first time people begin to realize their lives of comfort are not permanent, and their survival is not certain. Like Jeevan, airports also remind me of impermanence, as most people I see are not from Toronto and I will likely never encounter them again. At this point in the novel, many characters are seeing each other for the last time, as humanity will soon die out from the Georgia Flu. Similarly, many people will unexpectedly never see Arthur again, like his ex-wife Miranda. “My people and I ... when we speak of the light, we speak of order. This is a place of order. People with chaos in their hearts cannot abide here.” 61 This quote comes from the prophet, and tells us much about is character. The prophet is obsessed with order because their post-apocalyptic society lacks all semblance of organization and governance. The rules he enforces on his community is his method of regaining structure and purpose in his life, even though the way for him to do this is to restrict and exile people. I found it insensitive that the prophet refers to the apocalypse as a cleansing and that the survivors are morally superior to those who died from the Georgia Flu, considering the guests in their community (the Traveling Band), many...
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...Sin writ large over it, readers have tended to respond to the novel in terms of its doleful view of humanity or its perceived theology. Its initial success reflected post-war pessimism, the loss of what Golding (1988a:163) has called his generation's "liberal and naive belief in the perfectability of man". Although the novel does not groan under a dogmatic burden to the extent that some critics have alleged, it has seemed the prime example of Golding's earlier writing, a tightly structured allegory or fable. … It is not surprising that the Bible's first and last books, on humankind's "origins and end" beyond the horizons of knowledge, turn to symbolic narrative. In Lord of the Flies Golding draws heavily on imagery from Genesis and the Apocalypse, together with prophetic eschatological imagery, as this article will attempt to indicate. As the primitive myths were essentially magical and religious, Frazer (1957:169), in his great if a-historical study of mythologies, expressed the belief that the "movement of higher thought ... has on the whole been from magic through religion to science". This faith in the "progress upwards from...
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...sinister play where many of the virtuous die, including Cordelia and Lear, or are left in despair like Kent. Shakespeare’s change of ending appears to hint at a message of pessimism, darkness and no hope. Some people believe that it was Shakespeare’s intention to create a hopeless and pessimistic ending and leave the audience overwhelmed with tragedy. Indeed, W.R. Elton supports this final interpretation: ‘No redemption stirs at this world’s end; only suffering, tears, pity and loss and illusion.’ However, others believe that Shakespeare leaves little glimmers of optimism flickering in this ‘gored state.’ Shakespeare carefully structures that play to build a mood of pessimism as the play unravels towards its climax. Kent’s character plays a vital role in helping create this final bleak mood. Throughout the play Kent has been a positive, hopeful character devoted to his King: ‘let me still remain the true blank of thine eye.’ By this final scene he is presented as a character overwhelmed and without hope. Kent’s pessimistic and negative language would severely impact on the audience. To see such a noble and strong character so utterly without hope would shatter what little hope the audience has left: ‘All’s cheerless, dark and deadly,’ the lack of light suggests how bleak and hopeless the country is now, ‘deadly’ suggests a lack of...
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...The Nazarene Way of Essenic Studies 666: The Number of the Beast The Book of Revelation of St. John the Divine "No one may buy or sell except one who has the mark or name of the beast, or the number of his name, and his number is 666" ~The Book of Revelation 13:17-18 Some versions of Christian eschatology holds that this prophecy refers to future events, typically that the Mark of the Beast is one way in which the antichrist will exercise power over the earth, during the period known as the Tribulation in the book of Revelation. Opinions as to what form it will take are varied. The literal interpretation is that the number 666 will be imprinted on the skin, but with recent technological developments the possibilities of universal control are limitless. The notion that the mark is required for all commerce implies that the mark might actually be a special card, or that we might have to have our fingerprints scanned into a worldwide database in order to be recognized in business. Or, the mark might be some kind of smart chip implanted into the body. In Revelation 14:9-12, the third angel warns of wrath and retribution to all those who bear this mark on their heads or hands. The number 666, which supposedly represents the name of the Antichrist, is another source of controversy. There are various theories about the meaning of this verse, and there have been many attempts to show that a person is the Antichrist by relating his name to the number 666. One interpretation is...
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...The Nazarene Way of Essenic Studies 666: The Number of the Beast The Book of Revelation of St. John the Divine "No one may buy or sell except one who has the mark or name of the beast, or the number of his name, and his number is 666" ~The Book of Revelation 13:17-18 Some versions of Christian eschatology holds that this prophecy refers to future events, typically that the Mark of the Beast is one way in which the antichrist will exercise power over the earth, during the period known as the Tribulation in the book of Revelation. Opinions as to what form it will take are varied. The literal interpretation is that the number 666 will be imprinted on the skin, but with recent technological developments the possibilities of universal control are limitless. The notion that the mark is required for all commerce implies that the mark might actually be a special card, or that we might have to have our fingerprints scanned into a worldwide database in order to be recognized in business. Or, the mark might be some kind of smart chip implanted into the body. In Revelation 14:9-12, the third angel warns of wrath and retribution to all those who bear this mark on their heads or hands. The number 666, which supposedly represents the name of the Antichrist, is another source of controversy. There are various theories about the meaning of this verse, and there have been many attempts to show that a person is the Antichrist by relating his name to the number 666. One interpretation is...
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...W.B. Yeats's "The Second Coming" W.B. Yeats' poem "The Second Coming" was written in 1919, just one year after WWI ended. The beginning of this poem reflects on how evil has taken over the minds of good Christians, and the world has turned into chaos. It is apparent that Yeats believes that a Second Coming is at hand, and he spends the last half of the poem discussing what that Second Coming could look like. Turning and turning in the widening gyre (line 1) Yeats imagines the world in a cyclical sphere known a gyre (shape of a cone). In Yeats' note on the text, he states that "the end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction" (2036). Yeats believes that the two thousand years of Christianity will be coming to an end, and after a violent reversal a new age will take its place. The widening part of the gyre is supposed to connote anarchy, evil, and the loss of innocence. The falcon cannot hear the falconer; (2) The falconer in this analogy is most likely God (or Jesus), and the falcon is the follower (or devotee). Humanity can no longer hear the word of God, because it is drowned out by all of chaos of the widening gyre. A wild falcon can symbolize an unconverted Gentile; someone who has sinful thoughts, and does sinful things. A tame falcon (one who listens to the word of God) is a Christian convert. In the...
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