Playing With POV

When dealing with a work such as The Diving Bell and the Butterfly, the importance of point of view and narrative style becomes apparent. Its limits and its possibilities allow one story to be told a thousand different ways. Focusing on point-of-view brought to mind books I’ve read, series I’ve loved. For example, in A Song of Ice and Fire, a series by G.R.R. Martin more commonly known by its TV adaptation Game of Thrones, the chapters are split up between dozens of characters, focusing on their specific points of view for certain aspects of the story. The snapshot of each individual’s involvement in the overall plot presented through all of the characters cultivates foreshadowing and dramatic irony, while simultaneously driving readers to insanity as they wonder and spectate on just who he is going to kill off next. 

But point of view can be used for more than just a plot device; it can expand upon the world established as it did in The Diving Bell and the Butterfly. One can view the world through the peculiar sensations as experienced by one individual, or through a sweeping omniscience filtered only by the limits of comprehension. 

It also makes for an interesting demonstration of tone and reliability. What compromises point of view, and prevents it from having a residual effect? Does it take in the viewers or readers? Or does it alienate them, preventing them from fully experiencing the tableau before them as you would wish them to?

Novels like Identical by Ellen Hopkins, or Go Ask Alice by Anonymous show how the narrator can be compromised, giving the reader a colored point of view of the events taking place. Transferring this to film can be done through elimination: elimination of events, of plot, and of the truth. 

As far as my final project goes, it made suit it well to play with point of view between the two main characters, showing their points of view, but in conflict with one another. Who do you believe? Who is right and who is wrong? Or is it even possible to tell…

I’m not even sure yet.

Cupid & Psyche Scene

Clothes littered the blunt blue carpet, a muddled mess of a rainbow.  The chaos contrasted sharply with its dull surroundings, which had been rendered dim and grey in the eyes of the apartment’s – now lone – occupant. He had no care for the disorder; he had too much to sort out in his own head to spare a worry for things like a clean floor.

   As he slumped at the small wooden kitchen table, his eyes drifted from the unopened envelope fisted tightly in his hand to the chair across from him. With each glance at the empty seat, he almost expected to see Beth, smiling toothily and twirling a strand of hay-yellow hair around her finger, ready to taunt him for thinking she had actually left.

   The seat remained empty.

   His chest tightened, and he forced his eyes back to the envelope. The paper had crumpled in his grip. Nothing marred the happy curls of his name– no tears or shaky, unsure hands, not even the tension radiating from his fingers seemed to do damage to the flourished scribble. With a weary sigh, he dropped the envelope onto the table. Heaving himself out of the seat took more than the usual effort; the knowledge hanging over his head, along with the guilt that pressed heavily on his shoulders weighed him down so much that he almost wanted to give in and fall to the ground, never to get back up again.

   Once, twice, he opened his mouth, but he couldn’t force any words out, knowing that they had no longer had other ears to fall upon. Instead, he could only manage soft, choking breaths that echoed painfully in the stale silence, silence that had once barely existed.

   Leaving the unopened letter on the table, he walked blindly into the bedroom. He cast his eyes about, but the disarray didn’t bother him much; it never had before. When she had packed up her things, Beth had thrown everything about in her usual fashion, he supposed. He could only guess on that point, considering she had vanished before he had come home from work, leaving him to blindly stumble upon the destruction she had left behind. Every physical trace of her had disappeared, save for the lingering scent of her vanilla body spray and the pictures on the dresser.

   The longer he stood there – a couple of his t-shirts that had been casualties in her swift escape trampled beneath his feet – the more the light shining in from the window above the bed’s headboard gave way to the shadows of the night sky, without even a sprinkle of stars to brighten it. As he stared at the destruction of what used to be their shared space, his vision filled with her, memories of her. All too easily, he remembered her as she braced one leg on the bed, bent at the knee, as she rubbed lotion into her tan, freckled skin; as she twirled about in a new blue day dress only to stumble into the corner of the nightstand, laughing uproariously; as she threw her hands up in frustration as her forehead wrinkled, her angry shouts shaking the air with their hostility.

   His lips pursed. The first flashes of resentment sparked in his eyes. With grim intent, he strode over to the kitchen counter, where he had left his phone after finding her letter. He punched the digits of her number on the screen with barely controlled fury, then waited. To his surprise, she picked up – it would have been much more her style to avoid him. Her voice was soft, remorseful; but he could sense no regret.

   “Hayden–”

   “What the actual fuck, Beth?”

   Silence descended from the other end.

   “What brought this on?” he demanded, his voice rising with his rage.

   Quietly, she asked, “Did you…did you read my letter?”

   For a moment, the sound of her voice calmed him, as it was apt to; the sweet sound reminded him of ice clinking in a glass of lemonade on a hot summer day, of crickets chirping merrily from their grassy hiding spots.

   “No, I didn’t.”

   “Well, why not? Weren’t you curious? Didn’t you want to know? What about answers?”

   Her words shattered the illusion of calm that her voice had created. “What do you mean ‘answers’? I don’t want ‘answers’.”

   ‘Then what do you want? We can’t get back together!” It was as if the ice had melted, the glass had cracked, the crickets had been stomped on and the grass had turned a lifeless brown. In that moment, he didn’t know what he wanted, what he had hoped to gain by calling her. However, he did know what he didn’t want, and would never want again.

   “Get back together?” he barked out a laugh, the sound bitter. “I’d rather die than be with you, Beth.”

   He hung up.

   A lighter rested next to the vitamin jar on one end of the counter, close at hand for a quick smoke after a meal. Reaching over with a stretch, he swiped it up and took off for the bedroom. Once the dresser, covered in a myriad of frames that held some of his best memories with Beth, was in front of him, he dropped his phone. It fell soundlessly to the carpet as he slipped the lighter in the back pocket of his jeans. With both arms, he managed to pick up the entire collection of pictures. No emotion registered on his face as he carried them back into the kitchen, dumped them in the tin trash bin.

   In a moment he had the lighter out, its flame glowing an orangey red. His brows drew together in concentration as he lowered it to the bin. Only when the wooden frames combusted, and the photos began to singe and curl black around the edges behind the quickly blackening glass did the hollowness in his chest ease up.

   He refused to allow her to have a place in his memory, this girl who had betrayed him. Soon, he would only have memories of memories of her.

Response to Capote, Color of Paradise

After class, I called my mom to make sure she could pick up both Capote and The Color of Paradise for me so when I come home for spring break, I’ll be able to watch them – Capote, in particular. The exposition for both films was so strong that it doesn’t feel right to not see the rest of them; and I’m eager to do so. The funny thing is, for both of them, I didn’t quite understand what was going on at first. Something about them managed to draw me in despite my confusion, and actually enticed me to watch more.

The begininning of anything – a story, a film – in a way, is the most important part. It establishes the tone, the characters, the focus. If you mess up the beginning, chances are people won’t be willing to keep on until the end. Capote manages to capture the watcher’s attention almost instantly, while the young woman approaches the Clutter family home. I could tell something was a bit off, but I wasn’t sure what. Her exploration of the house upon finding the door unlocked should’ve given me a clue as to what she would find, but the I gasped with her as she opened a door to reveal the bloody body of what I presume was Mr. Clutter. The scene cuts right then, and the sudden jump, right after something so significant, makes you riveted on the following scenes as you try to figure out for yourself exactly what was going on. It almost makes you pay closer attention than you would normally, because you’re almost hyper-sensitized by the abrupt discovery of the murder, and the switch to a completely different point of view.

One thing I definitely plan to keep in mind after this week is the effective use of a proper introduction, and the way it affects the viewer’s perception of the rest of the film. This can be especially useful in my writing, because drawing the reader in is often the hardest part.

Character & Dramatic Question

One part of our assignment for entry this week was to find something from someone in our field and include it. Since I’m still immersed in the Lost Generation of the twenties, I chose to pull some quotes from Ernest Hemingway, who’s book, A Moveable Feast, I finished recently.

If a writer nows enough what he is writing about, he may omit things that he knows. The dignity of movement of an iceberg is due to only one ninth of it being above water.

I found this quote particularly relevant to what I’ve been thinking about in my other two entries; how, if at all, does omission affect the sequence of a story? Do I want to do that? It’s a lovely idea, but it might be difficult to actually apply it in regards to my project, with it already being so limited in length, etc. By omitting things, I could either wreck the flow of the story, or enhance it, depending on how I go about it.

When writing a novel a writer should create living people; people, not characters. A Character is a caricature.

This too, connected with my previous posts, my first, in particular. Obviously, in Cupid and Psyche, the characters aren’t exactly “living people,” as Hemingway calls them. They have very little background or story, and the narrator’s description of them is very vague and lacking in description, as he only chose to include the bare bones of what was relevant to the story. To keep my characters from being so stale, I’ll need to flesh them out more fully; that way, my audience doesn’t feel like they’re characters as opposed to just plain “people.”

In class, I found everyone’s Photo Romans enlightening; it helped me to solidify my own ideas so I can maybe start to elaborate them more and create a definitive plot. It also helped to see different kinds of ways of going about them – some were detailed and thorough, others abstract and less so; it led me to which kind I preferred, which, at this point, leans more towards the abstract.

As a sidenote: I started thinking about music in relation to film, and to my project. While I don’t have any concrete plans on what I’m going to do with my project, if I do decide to use music, or a soundtrack, I might consider using dubstep remixes of classical songs, like found here. This came to me not because I’m some dubstep junkie (I’m definitively not – give me an HCO playlist anyday – but because a dubstep classical remix is essentially similar to what we’re doing with our projects; taking a classical story and warping it to fit modern times and our own concepts of the original.

Week One: Cupid & Psyche Adaptation

Cupid and Psyche, is, in the end, a love story.

To adapt it into something fresh, one can draw off of the many elements that act as plot devices: jealousy, curiosity, perseverance, etc. In particular, ‘jealousy,’ interested me creatively. Both Venus and Psyche’s sisters envy her, and because of that, seek to destroy whatever it is she has that displeases them: in Venus’s case, her happiness (for some reason the goddess lets the girl’s beauty go untouched); and in her sisters’, her comfort with her husband (they cannot stand or believe that she has been so blessed, what with the richness she enjoys daily).

Cupid and Psyche also emphasizes some very negative aspects of women. The author depicts them as jealous, petty, and weak. Even Venus, a goddess who supposedly should be better than the average female, exhibits alarming caprice, and destabilizing jealousy, all the while making outrageous demands of Psyche to torture and, hopefully, kill her, as she tries to earn Cupid back.

In movies and stories, the vindictiveness and other unflattering traits of women are emphasized, especially in ones where romance is involved. For example, in Mean Girls, or in a 2010 movie I just watched the other weekend, You Again, the main female characters go out of their way to destroy the happiness of another, someone who has or had something that they want or wanted in the past, and now has the means to seek retribution for it, and for the cruelty that has been done unto them. Such films are liberally peppered with humor, but if the viewer ignores the jokes, he or she is left with a startling picture of women, and the human experience, in general.

For my adaptation, I’m toying with stripping away any excess and frippery to seek the motivations behind the characters’ actions and words, to expose their personalities and hidden motives and goals. By pulling the aspects from Cupid and Psyche that caused the majority of the characters’ problems – jealousy, curiosity, love – and applying them to a new setting with similar repercussions, I hope to flesh out an entirely different kind of story; not one about love, but one about the human state of mind, and its very, very flawed logic.

While we were in class, we discussed the tree image, and our sequences. Mine ended up being described as “transient,” and I’m interested in applying that to my adaptation. Others had a major sequential focus, and it was interesting to see my classmates throw away or employ sequence to follow their path of thinking. Without sequence, the options of where the story can be broken up and be re-connected are almost limitless; definitely something to consider when working on any project. Time, itself, in the stories doesn’t have to lack sequence, but the reversal of the sequence of the thought process, etc., could also have interesting implications.

Photo Roman: Modern Cupid & Psyche Adaptation

When creating my photo Roman, I drew from the original story. However, in doing so, I made sure to include the elements that I planned on carrying over into my adaptation.

 

As Dali and Bunuel in Un Chien Andalou, instead of explicitly portraying and stating the actual events, I want to toy around with symbolism and surrealism, and giving the viewer an overall sense of what I hope to get across, rather than going from point to point – again (like in my first blog post) the idea of transience and atypical sequence comes into my planning. Though my Photo Roman goes in sequential order of Cupid and Psyche, I want to take my actual ideas – the colors, meanings – and shuffle them, so that they’re broken up but still whole.

However, unlike Dali and Bunuel – and Anger, for that matter – I don’t want the story to be so abstract that it’s hard for the viewer to pick up on; too much of their short films confused me for me to have any other reaction than the shock factor. Despite the films being so brief in length, I felt like I couldn’t keep up with their thought process. Hopefully, I can avoid this in my final project, and in my writing, as well.