Comments on: General Comments http://www.futureofthebook.org/occurrence Ambrose Bierce, 1890 Fri, 21 Jan 2011 05:06:00 +0000 hourly 1 http://wordpress.org/?v=3.2.1 By: Eugene Mannacio http://www.futureofthebook.org/occurrence/general-comments/#comment-535 Eugene Mannacio Tue, 12 Aug 2008 21:25:02 +0000 http://www.futureofthebook.org/occurrence/?page_id=5#comment-535 This film, which was shown by Rod Serling as part of the Twlight Zone series, utterly fails at living up to the spledid story as written by Ambrose Bierce. The flashback, in part two, provides a context to the hanging. In the film you have a man who you do not know and whose guilt or innocense is in question. He could be as damnable as John Wilkes Booth or he could be innocent. Part two provides an important context and the modern concept of entrapment ads a level of ambiguity to the hanging. Are those who are lead into temptation as guilty as those who engage in criminal acts of their own accord? Was this man a threat who, even if not tempted, might have acted against the Union Army given a chance and therfore justly executed. Bierce leaves you to think about these issues creating a much richer context for the subsequent section. Other discrepancies of import: in the film the Captain takes his watch. One is reminded of the looting of the bodies of the Samurai by the lowest class of Japanese. Is the film making a commentary here? If so, it is at complete odds with the original story which speaks of the dignity with which death is treated. Moreover the vivid images the condemned man sees, his sense of time slowing are in o way adequately represented. Finally in section three the film departs in so many ways from the words it becomes almost a ludicrous satire. The words do not talk about Mr Farquar running endlessly down the road. Nor does the gate magically open without his even touching it. Then the running of each to embrace the other is so drawn out that it borders on self satire. Finally the perpective of death is entirely different in the film that in the words of the story. One must remember that the last portion of the story is entirely seen form the internal perspective of the protagonist, as is his death. The film changes perspective very abruptly leaving the viewer with a story tellers version of "the bends". No grace in the transition, whatsoever. I came to this site to read the story after being very disappointed by the film version. I could not believe the written version had its shortcomings. I am happy to learn that it does not. I am aware there have been other film versions which, I hope are more faithful to the story and its perspective. This film, which was shown by Rod Serling as part of the Twlight Zone series, utterly fails at living up to the spledid story as written by Ambrose Bierce. The flashback, in part two, provides a context to the hanging. In the film you have a man who you do not know and whose guilt or innocense is in question. He could be as damnable as John Wilkes Booth or he could be innocent. Part two provides an important context and the modern concept of entrapment ads a level of ambiguity to the hanging. Are those who are lead into temptation as guilty as those who engage in criminal acts of their own accord? Was this man a threat who, even if not tempted, might have acted against the Union Army given a chance and therfore justly executed. Bierce leaves you to think about these issues creating a much richer context for the subsequent section. Other discrepancies of import: in the film the Captain takes his watch. One is reminded of the looting of the bodies of the Samurai by the lowest class of Japanese. Is the film making a commentary here? If so, it is at complete odds with the original story which speaks of the dignity with which death is treated. Moreover the vivid images the condemned man sees, his sense of time slowing are in o way adequately represented. Finally in section three the film departs in so many ways from the words it becomes almost a ludicrous satire. The words do not talk about Mr Farquar running endlessly down the road. Nor does the gate magically open without his even touching it. Then the running of each to embrace the other is so drawn out that it borders on self satire. Finally the perpective of death is entirely different in the film that in the words of the story. One must remember that the last portion of the story is entirely seen form the internal perspective of the protagonist, as is his death. The film changes perspective very abruptly leaving the viewer with a story tellers version of “the bends”. No grace in the transition, whatsoever. I came to this site to read the story after being very disappointed by the film version. I could not believe the written version had its shortcomings. I am happy to learn that it does not. I am aware there have been other film versions which, I hope are more faithful to the story and its perspective.

]]> By: The Film and Story http://www.futureofthebook.org/occurrence/general-comments/#comment-482 The Film and Story Wed, 10 Oct 2007 17:50:21 +0000 http://www.futureofthebook.org/occurrence/?page_id=5#comment-482 Consider the relationship between the film and the story. Does the cinematography appropriately convey the mood and message of the story? Music also seems to play a large part in the film. What effect, positive or negative, does the music have on the story? Does the fact that the second part of the narrative isn't addressed in the film change your interpretation of the events? Was the visual image when you read the story different than when you watched the film? Consider the relationship between the film and the story. Does the cinematography appropriately convey the mood and message of the story? Music also seems to play a large part in the film. What effect, positive or negative, does the music have on the story? Does the fact that the second part of the narrative isn’t addressed in the film change your interpretation of the events?
Was the visual image when you read the story different than when you watched the film?

]]> By: Time and Reality http://www.futureofthebook.org/occurrence/general-comments/#comment-481 Time and Reality Wed, 10 Oct 2007 17:50:08 +0000 http://www.futureofthebook.org/occurrence/?page_id=5#comment-481 The story seems to use the passage of time and addresses time's effects on how we perceive reality. How do you think the structure of the story relates to conceptions of time or to Peyton's reality? What metaphors, events, or other devices contribute to the author's portrayal of time? How? The story seems to use the passage of time and addresses time’s effects on how we perceive reality. How do you think the structure of the story relates to conceptions of time or to Peyton’s reality? What metaphors, events, or other devices contribute to the author’s portrayal of time? How?

]]> By: Perception and Consciousness http://www.futureofthebook.org/occurrence/general-comments/#comment-480 Perception and Consciousness Wed, 10 Oct 2007 17:48:48 +0000 http://www.futureofthebook.org/occurrence/?page_id=5#comment-480 Throughout the story, there are many alterations in perception and consciousness. The author takes the reader from reality to one man's perception of reality and weaves the two together. How does the reader see changes in consciousness, such as the difference between reality and Farquhar's idea of reality? What literary techniques are used to demonstrate these changes? How is time perceived throughout the story? How do flashbacks affect the reader's perception of the story? Throughout the story, there are many alterations in perception and consciousness. The author takes the reader from reality to one man’s perception of reality and weaves the two together.

How does the reader see changes in consciousness, such as the difference between reality and Farquhar’s idea of reality? What literary techniques are used to demonstrate these changes? How is time perceived throughout the story? How do flashbacks affect the reader’s perception of the story?

]]> By: The structure of the story/film: flashbacks and the passage of time http://www.futureofthebook.org/occurrence/general-comments/#comment-479 The structure of the story/film: flashbacks and the passage of time Wed, 10 Oct 2007 17:45:54 +0000 http://www.futureofthebook.org/occurrence/?page_id=5#comment-479 Part II of the story is a "flashback" which shows the reader what happened to Farquhar and why he is being executed. This flashback is missing in the film, but the film also includes a brief scene near its beginning in which Farquhar remembers his wife. As you read, consider why the story includes the flashback, and why the film omits it Does omitting the flashback in the film change the story, or is it necessary to make the film medium effective? Time seems to flow at a variable rate for Farquhar. How does the treatment of the past in both story and film relate to the theme of the passage of time? Part II of the story is a “flashback” which shows the reader what happened to Farquhar and why he is being executed. This flashback is missing in the film, but the film also includes a brief scene near its beginning in which Farquhar remembers his wife. As you read, consider why the story includes the flashback, and why the film omits it Does omitting the flashback in the film change the story, or is it necessary to make the film medium effective? Time seems to flow at a variable rate for Farquhar. How does the treatment of the past in both story and film relate to the theme of the passage of time?

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