A great example to explain the limits in photography with respect to literature can be found in the intercalary Chapter 14 A Companion to Literature and Film. The use of a collage of vignettes, monologues, and dialogues designed to show the social and historical processes behind the events that were occurring in the story of the Joads. As Steinbeck was totally aware about the dark background of the Depression in the States, he also knew very well the audience he was addressing. We can say that the camera in a movie fulfills the same task the narrator does in a novel, since it is in charge of selecting and organizing the information that will be displayed for the audience. This essay intends to disclose a crucial topic regarding the historical context in both novel and film.
In Chapter 1 sunlight is presented as a universal force beyond all human power, and the same happens in the final scene of the film with Ma Joad pronouncing her culminating speech towards the light that emanates from the horizon. The elaboration of this theory in the novel is seen in the education of the oppressed and disadvantaged with the organization of unions and strikes as vehicles of group protest and change. For example, Chapter 7 provides the monologue of a used car salesman and is followed in Chapter 8 by an account of the Joads preparing to leave, having just purchased a used Hudson Super-Six. Both Casy and Tom put these words into practice as they fight for the rights of the oppressed and less fortunate. Click here to sign up. Vacant Houses, Turtle crossing the road, Ma Joad, truck. In addition, the movie follows this documentary method to the point it highlights even more all these powerful images found in the source text.
The suffering of the wandering families and their oppression by larger, cjapters powerful forces was a social crisis of widespread magnitude. Separately, these intercalary chapters have moments of brilliance and beauty.
Indeed, it is questionable whether strict fidelity is even possible. The stranger also feeds them. His truth is marching on. The Emersonian concept of the Oversoul is expressed in the earthy folk language of Jim Casy, who believes that all person’s souls are really just part of one big soul. However, what he finds when he meets his family is that his home is no longer a place to live — his family has been dispossessed from their land and all of them were now forced to search for a new place to live.
They drove thousands of miles in search of jobs and a better life anaoyzing their families. The English settlers undertook their journey with a hopeful belief on improvement and on the recovery from the past, and America was a real and virgin geographical possibility for their dream. The family remains hopeful even in the most hopeless circumstances and their desire of growing remains strong until the very end.
Use of Literary Devices in the Intercalary Chapters of The Grapes of Wrath
The main storyline is continually interspersed with short sketches and narratives, or explanatory discussions that show what conditions of the era were like and what people were grapws. Its strong imagery and the emotional power of the visual effects it encodes remind us of a documentary.
The Grapes of Wrath as a intetcalary of the history of America 4. What I found was that the film included several alterations with respect to the book, and therefore I proceeded to study each one of them in order to ascertain whether these meant crucial factors for the quality of the adaptation or not. The main route of the migrants to California is Highway A Guide to the Theory and Practice of Film Loneliness shows up next in the life of Crooks.
A huge contrast is established with this self-made American and the group of people whose dream still remains unaccomplished.
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Honesty has a way of creeping in even when it was not intended. The puritan settlers never imagined the sins they were escaping from to persist in a never ending cycle throughout all human history. The land turtle, whose symbolic struggle across the highway is meticulously described in Chapter 3, is picked up by Tom Joad in Chapter 4 and released in Chapter 6, only to continue its journey in the direction soon to be followed by the Joad family.
The book almost demands a visual representation, and John Ford saw in it a great opportunity for his plan. Hundreds of unemployed people took the streets as their new home, others built the town of Hooverville as their shelter in Central Park, and a great mass of migrants were led by hope in search of work.
The use of intercalary chapters provides a balance, allowing Steinbeck to realize the ultimate artistic goal: However, both Steinbeck and Ford knew very well how to end this battle.
The Grapes of Wrath Guide
The inhumanity that man extends to other man; Wrath meaning; The saving grace of family and spiritual belief; The true effect of selfishness and philanthropy. See anything attracts you? The narrator in The Grapes of Wrath acquires a great relevance concerning the journalistic point of view that is suggested in the book, and its documentary nature is what endows the whole novel with a high richness in imagery.
The salt-of-the-earth language of Jim Casy, and his belief that every individual soul is just a smaller piece of one giant soul, is an akin to the Emersonian concept of the Oversoul. She is self-centered and expects to be catered to. And that companion fact: The spiritual beauty and strength of this language is most clearly thr in the apocalyptic grapees delivered in Chapter 25, “There is a crime here which goes beyond denunciation. First, it ties chaptrs entire passage together with a common theme.
Hence, Ford dramatizes the story with no aim, other than remaining faithful to its realism. The producer Darryl F.
Ine the Joad family continues to travel south, they find a government-run camp in Weedpatch, where they stay for just over a month but realize they must continue on. Most often an intercalary chapter will present a generalized situation that will either become more fully realized or brought to a conclusion by the events in the succeeding narrative chapter.