In the last paragraph of the introduction it is said what this paper does not do but the exact aim of the study is not stated. This is, of course, not the ideal procedure how a "Seminararbeit" should be written - without having a specific aim in mind. My aim, in fact, was to compare Huston's film and Joyce's short-story in a way that made it possible to express some of the fascinating details of both. I did not know the results that this would lead to. To take the concept of 'point of view,' which exists both in literary and filmic theory, as a basis for comparison lead to a good and surprising result. It offered a way to do exactly what I wanted, that is simply to watch and to read. In this way the different techniques of the film and the story began to crystallize - or rather the way a reader or viewer was lead to an understanding.
The result was successful primarily because 'point of view' offers a metaphor which comprises seeing as well as telling and captures a notion of subjectivity as well as objectivity.
If one needed to state the aim of the paper the best would be to say that it was not to be lead by an idea but to let the film and the story have the lead and to see how their differences and characteristics would single out and the concept of 'point of view' is a concept which allows one to take up exactly that position as simply either a reader in the story or a viewer in the film.
Table of Contents
I. Introduction
II. Literature and Film - Some Notes
III. The Problem of Point of View
IV. Elements of Narration in Film
V. Levels of Narration in Huston's The Dead
VI. Subjectivity in the Short Story - Who's Voycing?
VII. Concluding View of Both Versions of "The Dead"
VIII. Final Thoughts
Research Objectives and Themes
This paper examines the narrative techniques employed in James Joyce's short story "The Dead" and John Huston's cinematic adaptation, specifically focusing on the concept of 'point of view' to explore how both media transmit subjectivity and objectivity to the reader or viewer.
- Comparison of literary and filmic narrative structures.
- Analysis of subjectivity versus objective narration in the two media.
- Examination of character perception and the role of the observer.
- Evaluation of symbolism and its function in both original text and film.
- Investigation into how 'point of view' influences reader and viewer reception.
Excerpt from the Book
IV. Elements of Narration in Film
A picture invariably discloses its spatial determinations, which are not as salient in verbal narrative, for the reason that the picture must necessarily be taken from some angle and location. Spatial properties are initially more important than others in a picture and may serve as a reference with which to describe the general activity of narration. In specifying the classes of film narration we will, therefore, begin with placement and movement of the camera. Camera placement may be either motivated or unmotivated. The placement is unmotivated if it does not fulfil any function of the motivated camera:
- to establish scenographic space
- to follow or anticipate movement by character or object - to follow or discover a glance
- to select narratively significant detail (object, facial expression)
- to reveal character subjectivity
As already stated, camera is a concept which makes intelligible the spaces of a film. Space in film is defined by the placement and displacement of frame lines. A displacement of frame lines may be brought about by camera movement (editing), zoom shots, optical and spatial effects, etc. Camera in the 'classic' text is compounded of six spatial effects labeled as dolly, track, crane, pan, tilt, and lateral tilt.
Summary of Chapters
I. Introduction: This chapter introduces the challenge of filming James Joyce's work, specifically "The Dead," and outlines the paper's goal of comparing the narrative strategies of the story and the film.
II. Literature and Film - Some Notes: It discusses the fundamental differences between literature and film as media, noting how each conveys time, space, and narrative details.
III. The Problem of Point of View: This section explores theoretical concepts of point of view in literature and film, highlighting the difficulty of applying literary narrator definitions to cinematic experience.
IV. Elements of Narration in Film: It analyzes how camera placement and movement contribute to narration and the establishment of spatial relationships in film.
V. Levels of Narration in Huston's The Dead: This chapter investigates the specific narrative levels and framing techniques used in Huston’s film to distinguish between subjective and objective portrayals.
VI. Subjectivity in the Short Story - Who's Voycing?: The chapter examines Joyce's literary methods, particularly his use of free indirect style, to create levels of subjectivity within a text that seems to lack a traditional narrator.
VII. Concluding View of Both Versions of "The Dead": It synthesizes the differences found between the two works, focusing on how Gabriel's character development is perceived in each medium.
VIII. Final Thoughts: The conclusion reflects on the symbolic power of the "snow" in both works and argues that the film and the story are complementary in their ability to evoke epiphany.
Keywords
James Joyce, John Huston, The Dead, Point of View, Narration, Film Adaptation, Subjectivity, Objectivity, Narrator, Cinematic Techniques, Symbolism, Gabriel Conroy, Gretta, Epiphany, Narrative Levels
Frequently Asked Questions
What is the core focus of this academic paper?
The paper focuses on comparing the narrative techniques of James Joyce's short story "The Dead" and John Huston's film version, with a particular emphasis on how "point of view" functions in each medium.
What are the primary themes discussed?
Central themes include the transmission of subjectivity and objectivity, the distinction between literary narration and cinematic representation, character perception, and the role of symbolism.
What is the main objective or research question?
The main objective is to analyze how the film and the story handle the concept of 'point of view' and to explore how their respective techniques lead the audience toward an understanding of the narrative.
Which scientific methods are employed?
The author uses a comparative analysis based on film theory (drawing on Seymour Chatman and Edward Branigan) and literary criticism to assess narrative structures and the use of 'point of view' indicators in both media.
What is covered in the main body of the work?
The main body examines narrative levels in Huston's film, the mechanics of literary subjectivity in Joyce's prose, and provides a comparative analysis of how each work portrays the protagonist's epiphany and the symbolic significance of the snow.
How can the work be characterized by its keywords?
The work is characterized by its engagement with narratology, film adaptation theory, and a close reading of Joyce's text, centering on themes like epiphany, subjectivity, and the adaptation process.
How does the author define the 'objective' nature of the film compared to the short story?
The author argues that the film presents events more objectively through its visual framing, whereas the story uses the third-person narrator to create a more subjective and intimate connection to Gabriel’s thoughts.
What significance does the author assign to the 'snow' in the final analysis?
The author suggests that the snow acts as a complex symbol that initially represents death but evolves into a device that highlights the confusion of deciphering meaning, ultimately reinforcing the complementary nature of the film and the story.
- Quote paper
- Gertrud Schmitz (Author), 1990, Voices of "The Dead" - Comparing Film and Literature, Munich, GRIN Verlag, https://www.grin.com/document/22593
