Excruciating pain, dead silence, and overwhelming darkness was how my nightmare began. Unfortunately for me, it wasn't just a cruel, sick dream. It was one hundred percent real... I held back a soft groan, letting my eyes drift open a crack so I could get at least a fuzzy view of my surroundings. I couldn't make out much, but I didn't recognize anything that I saw. "Is he dead?" I heard a female voice ask. "Obviously not. I can tell that he's still breathing, and his eyes are even open some."
of ecstasy that I can never forget I have taken. After viewing this quick-cut, fast paced, and slightly unnerving piece, my mind did not ever want to view the film again but for some reason I could not resist. This film has no clear throughline narrative, but beautifully illustrates a dreamlike feeling that usually cannot be articulated. The six minute and nineteen second film has so much dense material that needs to be unpacked in order to attempt to enter Brakhage’s mind or thought process. Cat’s
writing and fiction writing. For the many themes I wished to explore, I thought fiction might allow me the most creative avenues. As a double-major in English Writing and Sociology, I have been obsessed with themes of race, time, memory, language, history, and communication. Both of my majors have contributed to the culmination of these ideas and I decided the best vessel for them, for everything I’ve learned, and that would allow for the most creative storytelling advantages led was fiction. More specifically
follows an experimental "narrative progression". This type of story progression is a way that an author can manipulate, contort, or obscure the "5 Stages of Plot" structure (Hillard, "Point of View in Fiction"). In this essay, I will explore how experimental "narrative progression" is used in "Happy Endings", how it works in the story, how it relates to the story, and my opinion on experimental "narrative progression" in Margaret Atwood's "Happy Endings". How is experimental "narrative progression"
Some of the dominant features of postmodern fictions include temporal disorder, the erosion of the sense of time, a foregrounding of words as fragmenting material signs, a pervasive and pointless use of pastiche, loose association of ideas, paranoia and the creation of vicious circles or a loss of destination between separate levels of discourse, which are all symptoms of the language disorders of postmodernist fictions. The postmodern novel may be summed up as: • Late modernism. • Anti-modernism
Modernist English Fiction (with Special Reference to the Contributions of James Joyce and Virginia Woolf) Arpan Adhikary The term ‘stream of consciousness’ as applied in literary criticism to designate a particular mode of prose narrative was first coined by philosopher William James in his book Principles of Psychology (1890) to describe the uninterrupted flow of perceptions, memories and thoughts in active human psyche. As a literary term, however, it denotes a certain narrative technique used
greatly from that of fiction-based films. Many avant-garde films are made not only to challenge the existing use of film itself but also to express the personal views or experiences of the screenwriter and/or director. In most cases, fiction-based film focuses on telling the story of a character rather than shedding light on their life and challenging the presentation of the narrative. Commercial film and film documentary differ greatly not only in their
Auster uses different literary devices and narrative styles to create a new form of crime fiction, that links the traditional genre characteristics with experimental metafiction and postmodern irony. In the “New York Trilogy” novels published sequentially as “City of Glass” (1985), “Ghosts” (1986) and “The Locked Room” (1986), Auster uses a number of different narrative styles including pastiche, parody and intertextuality to mix postmodernism with crime fiction. Previously, the most important aspect
What is Cinema? A cinema or a movie, or you may say it as a motion picture, which includes the art of moving images through a visual medium that tells stories and exposes or expresses reality. Cinema is the world’s most recent art form that was created in the 19th century. It is the world’s most complex, collaborative, and costly artistic expression. Initially, the first two versions of the film camera used were the kineto-graph and its European counterpart, the cinematograph to record daily events
Jamie Anderson EL111 The purpose of this essay is to discuss how James Joyce’s seminal novel A Portrait of the Artist as a young man, is experimental with regards to plot, point of view, language, symbolism, style and character development, and will begin with a brief introduction. Many artists, be they of the pen, brush or instrument, seek through innovation an artistic immortality that has the potential to act as a blueprint from which imitation is spawned. Joyce’s Portrait is at its core