Gothic Fiction and the Separation of Barbaric Past

Gothic Fiction and the Separation of Barbaric Past Gothic fiction challenges the separation between an apparently barbaric past and the civilised world, showing that the two can overlap.Gothic fiction is one of the most outstanding genres of the nineteenth century, the era of a significant societal and technological changes. These changes at that time have greatly contributed to the unique features of the gothic genre. This essay will be showing the overlap between the barbaric past and civilised present by discussing the general overview of the nineteenth century as a developing age and how the savage past was still present in the dark corners of the civilised world, as well as, the popular idea of moral degeneration existed in the period. This essay will also investigate the novella The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson and the short story The Phantom Coach by Amelia Edwards.[G1][G2] First and foremost, gothic fiction portrays the Victorian society as an advanced period of time in both scientific field and human behaviour. It is the transferring phase between the ancient and the modern world. In this period, the scientific way of thinking replaced magic-based method of explaining. Scientific topics appeared in most gothic fictions from the story of the old scientist in the Phantom Coach to the taste of Dr. Jekyll[G3] being rather chemical than anatomical (Stevenson 1886, p. 32). All reflect the dominant and undeniable existence of science. Its role was so important that people reject as false all that cannot be brought to the test of laboratory or dissecting room (Edwards 1864, p. 4). This is a significant advancement of the Victorian society as their ideas were shaped by logical thinking and scientific developments instead of magical thinking. In the new era, they observed continuous series of new inventions in science and [G4][G5]technology which motivated them to test the nature to prove the reality. To them, an idea or a phenomenon could only be true if it could be tested in the laboratory, thus, they rejected superstitious or supernatural ideas. Moreover, there was an advancement in human behaviour and awareness in that society. In order to maintain their reputation, they had to act responsibly to their good name as can be seen here in Mr. Utterson[G6] who enjoyed the theatre, had not crossed the doors of one for twenty years (Stevenson 1886, p. 3). Based on their occupation and class, they had their own code of conduct which meant what kind of behaviours are accepted and suitable for their class. Characters like Dr. Jekyll, [G7]Mr. Utterson[G8] in Dr. Jekyll and Mr. Hyde[G9][G10] and the lawyer James Murray in the Phantom Coach belong to the higher class in the Victorian society. They live a decent life in a well-to-do neighbourhood and hang out with peers having the same social status. There were certain rules that they had to obey s o that they could be respectable and most importantly, they could not have any desire or enjoy certain pleasures such as [G11]drinking alcohol or visiting prostitutes like people in the lower class. However, the new society was definitely not perfect, it was not entirely civilised because of some remaining factors of the past. Despite the upward changes benefiting the society, some vicious pieces of the past still remain and hide   in the dark. The nineteenth century seemed to be civilised and developed but when taking a closer look, people might find out that the past still lingered in the dark side. Although most of the barbaric elements had already disappeared, they were not completely gone. The existence of Mr. Hyde is a typical example representing the past in London from his physical features to his behaviours. On describing his appearance, Stevenson reveals the following quotes Mr. Hyde was pale and dwarfish, he gave an impression of deformity (Stevenson 1886, p. 19) and he gave Mr. Utterson the feeling of unknown disgust, loathing, and fear ([G12]Stevenson 1886, p. 19). The description of Mr. Hyde evokes the readers a sense of villainy and his bad intention for others. His ugly features are typical to Gothic fictions villain. Corresponding to his outward look, his monstrous behaviours reflec t himself as sinister and barbaric by the act of trampling the girl (Stevenson 1886, p. 6) and the murdering Sir Danvers Carew (Stevenson 1886, p. 28). In an advanced society, people do not use violence to discuss an issue, they use reasons and logic to solve problems. However, Mr. Hyde is not a part of the modern world but having more resemblance to the people in the past who are not fully evolved and tend to be dominated by anger and violence. He usually appeared in the dark night of London, enjoyed degrading pleasures that no gentlemen would ever do without taking into consideration his reputation. In addition, the coming back of the past is most clearly demonstrated in the Phantom Coach. Edwards (Edwards 1864, p. 7) suggests that the existence of brutal past in the modern society through the ghosts with fiery unnatural lustre eyes, livid face and bloodless lips. They suggest the return of the past in the civilised world. In the period when people no longer believe in supernatura l stories, witnessing the corpses carriage is the most obvious evidence for James Murray about the frightening past remaining in the civilised world. They represent the terror and fright existing at dark night. The past does not mean that it has entirely extinct, it shows up when people least expect it. Behind the fanciness of the nineteenth century remaining the decaying past that is hiding in the night and waiting to come back unexpectedly.[G13] It is the idea of degeneration that fosters the existence of the savage past in the developing society. When the society is on its way to be more developed, human behaviour, on the other hand, tends to degrade. Societal and economic advancement brings lots of benefits to the world but at the same time, it restricts humans enjoyment. Stevenson describes Dr. Jekyll[G14] as a person who concealed my pleasures (Stevenson 1886, p. 73) or had learned to dwell with pleasure, as a beloved day-dream (Stevenson 1886, p. 75). He desires to freely enjoy his life without being restrained by the rules, nonetheless, he also wishes to keep his good name as an honourable doctor who is highly respected in the society. The stress from his responsibility and fame has put a strain on Dr. Jekyll to find a way out to [G15]have a desire for himself[G16] without negatively affecting his social status. Therefore, it leads him to create Mr. Hyde. Unfortunately, Mr. Hyde is the downgrade version of human in tha t period from his appearance to behaviour. Contrary to Dr. Jekyll who is described as a tall, fine build of a man ([G17]Stevenson 1886, p. 53), Mr. Hyde was more of a dwarf (Stevenson 1886, p. 53). Furthermore, his inhumane behaviours such as murdering the member of Parliament suggest that Mr. Hyde represents the idea of moral degeneration at the time. He not only arouses a sense of dissipation but his cruel personality also suggests that he is a brutal criminal belonging to the lower class. However, in fact, Mr. Hyde is actually a [G18]moneyed gentleman as what Mr. Enfield calls him (Stevenson 1886, p. 6). He belongs to the same class as Dr. Jekyll [G19]but he is a gentleman representing moral degeneration. Mr. Hyde[G20] is not the only symbol of degeneration; Dr. Jekyll[G21] is as well an example. Stevenson reveals that The powers of Hyde seemed to have grown with the sickliness of Jekyll (Stevenson 1886, p. 93). His separation from his friends, colleagues and his association with a cruel person like Mr. Hyde risks his good reputation[G22]. He also led a downward path of life both physically and morally as he isolated himself from the outside world and lived in the fear of his secret. Dr. Jekyll himself[G23] became degenerating from a respectable gentleman to a fearful person controlled by the savagery of his other personality. In conclusion, taking into consideration the novella The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson and the short story The Phantom Coach by Amelia Edwards, it can be seen that gothic fictions demonstrate that within the modern present, the sinister past still lingers in the society and that both of them overlap each other since not one of them is completely overshadow the other. Bibliography Edwards, A. B 1864, The Phantom Coach, Retrieved September 13, 2017 from  http://www.eastoftheweb.com/short-stories/UBooks/PhanCoac.shtml Stevenson, R.L 1886, The Strange Case of Dr. Jekyll and Mr. Hyde[G24][G25], Retrieved 10 January 2016  from http://www.planetebook.com/ebooks/The-Strange-Case-of-Dr- Jekyll.pdf

Ernest Hemingway and Hollywood Essay example -- Biography Biographies

Hemingway and Hollywood "I try, when I'm writing a screenplay from somebody's original work, to be as faithful to it as I can be, within the limitations of a screenplay and remembering that the novel medium and the screen medium are entirely different" -Screenwriter, Casey Robinson, (Laurence 12). Hollywood attempted twice, but it still could not produce a film adaptation of A Farewell to Arms that Hemingway considered to do literary justice to his classic novel. The first effort was in 1932 when Paramount producer Frank Borzage used ridiculous publicity stunts to lure audiences, such as sending letters to women stamped REJECTED BY CENSORS. They read: Dear Madam: War-time! Suppose you were alone in a dark, drab, Swiss hotel room! In a few weeks you were to become a mother-and the man you loved was miles away-on the shell-torn Italian front. You write letter after letter to him-twenty one of them-and they are all returned stamped REJECTED BY CENSOR: This is just one of the dramatic situations in Ernest Hemingway's A Farewell to Arms, which comes to the _____ Theater on ___ (date). As you read in the novel, you'll see A Farewell to Arms on the screen! (Laurence 42-3). This was just one of the many shameless ploys Hollywood used over the years to exploit the celebrity status of the revered author; however "the effectiveness of such a publicity piece depended on the recipient's not having read the book-else they would recognize that no such situation exists in the novel" (43). Studios knew what they had to do get the ratings they sought; it was gratifying for the public "to believe that going to a movie was as good as reading a book" (43). By the time devoted Hemingway readers saw the film ... ... Arms he once said "(they did not ) also get the right to my sanction of the picture version" (Laurence 44). Despite the sum of money he made, Hemingway suggested "that the best way for a writer to deal with Hollywood was to meet the producers at the California state line: 'You throw them your book, they throw you the money. Then you jump into your car and drive like hell back the way you came" (Oliver "A Hemingway Retrospective") Works Cited: Laurence, Frank. Hemingway and the Movies. Jackson: University Press, 1981. Oliver, Charles ed. A Moving Picture Feast: The Filmgoers Hemingway. New York: Praeger 1989. Oliver, Charles. "A Hemingway Retrospective: Hemingway and Hollywood." http://www.cnn.com/SPECIALS/books/1999/hemingway/stories/hollywood/ http://mason-west.com/Hemingway/films.php: Films based on the works of Ernest Hemingway. Ernest Hemingway and Hollywood Essay example -- Biography Biographies Hemingway and Hollywood "I try, when I'm writing a screenplay from somebody's original work, to be as faithful to it as I can be, within the limitations of a screenplay and remembering that the novel medium and the screen medium are entirely different" -Screenwriter, Casey Robinson, (Laurence 12). Hollywood attempted twice, but it still could not produce a film adaptation of A Farewell to Arms that Hemingway considered to do literary justice to his classic novel. The first effort was in 1932 when Paramount producer Frank Borzage used ridiculous publicity stunts to lure audiences, such as sending letters to women stamped REJECTED BY CENSORS. They read: Dear Madam: War-time! Suppose you were alone in a dark, drab, Swiss hotel room! In a few weeks you were to become a mother-and the man you loved was miles away-on the shell-torn Italian front. You write letter after letter to him-twenty one of them-and they are all returned stamped REJECTED BY CENSOR: This is just one of the dramatic situations in Ernest Hemingway's A Farewell to Arms, which comes to the _____ Theater on ___ (date). As you read in the novel, you'll see A Farewell to Arms on the screen! (Laurence 42-3). This was just one of the many shameless ploys Hollywood used over the years to exploit the celebrity status of the revered author; however "the effectiveness of such a publicity piece depended on the recipient's not having read the book-else they would recognize that no such situation exists in the novel" (43). Studios knew what they had to do get the ratings they sought; it was gratifying for the public "to believe that going to a movie was as good as reading a book" (43). By the time devoted Hemingway readers saw the film ... ... Arms he once said "(they did not ) also get the right to my sanction of the picture version" (Laurence 44). Despite the sum of money he made, Hemingway suggested "that the best way for a writer to deal with Hollywood was to meet the producers at the California state line: 'You throw them your book, they throw you the money. Then you jump into your car and drive like hell back the way you came" (Oliver "A Hemingway Retrospective") Works Cited: Laurence, Frank. Hemingway and the Movies. Jackson: University Press, 1981. Oliver, Charles ed. A Moving Picture Feast: The Filmgoers Hemingway. New York: Praeger 1989. Oliver, Charles. "A Hemingway Retrospective: Hemingway and Hollywood." http://www.cnn.com/SPECIALS/books/1999/hemingway/stories/hollywood/ http://mason-west.com/Hemingway/films.php: Films based on the works of Ernest Hemingway.

Miguel Street Essay

Discuss the representation of man and manhood in the 2 short stories of Miguel Street. On Miguel Street, the representation of man and manhood can be seen negatively in these two short stories† â€Å"Bogart† and â€Å"A thing without a name†. Where as a man’s manhood is considered strong if certain characteristics such as aggression, evading the law and their present living circumstances. The story about Bogart illustrates where his manhood being threaten where as Bogart is unable to father a child by his Tunapuna wife so he finds a means to escape this difficulty. He goes elsewhere, run a â€Å"high-class† brothel, meets another woman and successfully impregnates. Once he has achieved his goal of proving his virility, he may return to Miguel Street although he returns as a bigamist as Hat would say â€Å"To be a man, among we man†. He would now be seen as a high standing man of the community, playing with the surrounding children and giving them parties, which is a vastly different from the life he once had by pretending to be a tailor but now is seen The main character in â€Å"A thing without a name â€Å" Popo is a carpenter by profession but he is not considered a man among his peers as his wife was the main breadwinner of the family which did not bothered him as he would continue to make â€Å"a thing without a name†. This however changed when Popo wife left him for another man, it is then that he was accepted as â€Å"one of the gang â€Å"within Miguel Street, as they could related to his pain and heart ache. His man hood was however bruised by the separation of his wife , so he would then retaliate by fighting the other man and going to prison, which eventually made him an hero on Miguel street.

Postpartum Psychosis in the Yellow Wallpaper - 1290 Words

Post-Partum Psychosis and â€Å"The Yellow Wallpaper† â€Å"The Yellow Wallpaper,† by Charlotte Perkins Gilman, tells the story of a woman’s descent into madness as a result of postpartum psychosis. Postpartum psychosis is a condition that affects between one and two of every thousand live births. The condition of postpartum psychosis usually begins within two weeks of giving birth and sometimes within a matter of days. (â€Å"Depression†, 2009) Symptoms of postpartum psychosis are â€Å"delusions or strange beliefs, hallucinations (seeing or hearing things that aren’t there), feeling very irritated, decreased need or inability to sleep, paranoia, rapid mood swings and difficulty communicating at times†. (â€Å"Postpartum Psychosis†, 2009) The†¦show more content†¦This is not the last time that John’s views will be commented upon with some distain by the narrator. While the narrator recognizes the great care with which her husband is treating her she seems to constantly feel that she is being ungrateful. She calls herself out in her journal for being a â€Å"comparative burden† (Gilman) The room in which the narrator resides has a sturdy bed that is nailed to the floor. The narrator notes that there are bars on the windows and rings hooked into the wall. She wrongly assumes that this room was used as a nursery or gymnasium by the previous owners. As the reader, we are able to instill our own thoughts that this room was in fact built to house someone with a mental disorder. This begs the question of what the house really is, to contain such a room away from decent society. From the beginning of their tenure in the summer home, the narrator’s fixation on the wallpaper in her quarters is ever present. She states that it is the worst paper she had ever seen. It is dull with a vague pattern that follows no rules of how it is l aid out. The color is â€Å"almost revolting; a smoldering unclean yellow, strangely faded by the slow-turning sunlight’† (Gilman) The fixation and constant monitoring of the wallpaper falls under some of the symptoms that are present in postpartum psychosis. It isShow MoreRelatedThe Portrayal Of Postpartum Depression1581 Words   |  7 PagesThe Portrayal of Postpartum-Depression in â€Å"The Yellow Wallpaper† â€Å"The Yellow wallpaper† is a story about a woman going through a mental breakdown. She has recently had a baby and is suffering from postpartum depression and postpartum psychosis. Charlotte portrays postpartum depression very accurately in the story â€Å"The Yellow Wallpaper†. She writes about how others do not understand her needs and how they will not listen to what she wants to say. Postpartum depression is a serious form of depressionRead MoreThe Progressive Stages Of Postpartum Depression1392 Words   |  6 Pagesused to be†(Yellow Wallpaper.) 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Dangers of Totalitarianism in Orwells 1984 Essay

1984 by George Orwell is an extremely negative outlook on a futuristic, seemingly utopian society. People inhabiting the land of Oceania are enslaved to the government, most without even realizing it. The Party uses its many members to enforce its methods of control on the population. While a bit extreme, Orwell was attempting to warn people about the dangers of totalitarianism. The story focuses largely on the tactics of the Party?s manipulation. The major aspects of the aforementioned control stratagem are the alterations of history as the wishes, the invention of Newspeak to eliminate any chance of rebellion, psychological and physical intimidation, and the use of technology to monitor citizens. The Party changes records of the†¦show more content†¦If there are no words, then there is no way to formulate the thought. The populace is scared into believing that any expression of defiance, even in their own homes, is illegal. Any violation or possible threat to the Party ?s power will result in re-education and then, usually, death by vaporization or gunshot to the head. Telescreens constantly monitoring the public keep them weak and afraid. The omnipresent posters reminding them that the supposed Big Brother is watching them at all times also keeps them rigid and on alert. Citizens become hyperaware of their facial expressions, and everything they say has to first be mentally checked for any possibility that the phrase could be taken in a different manner, an illegal one. The Party also keeps the population in a near-constant state of exhaustion, the result of working long, hard, and tedious jobs. People are too tired to bother rebelling or harboring rebellious thoughts and ideas. By keeping them feeble and powerless, the government can make sure they won?t rise up against the Party. The protagonist of the story, a thirty-nine-year-old man named Winston Smith, tries to rebel against these oppressions. He hates the Party, and the many ways it suppresses his individuality. He has a very fatalistic personality, so he believes he will be caught no matter what. This causes him to take unnecessary risks, such as buying a diary from Mr. Charrington?s antique shop, and writing ?DownShow MoreRelatedAnimal Farm And George Orwell By George Orwell1034 Words   |  5 Pageswriting the novel 1984, which similarly criticized totalitarianism by depicting an overwhelmingly melancholy dystopian society. 1984 achieved similar success and opened the public’s eyes to the dangers of the spread of despotic regimes throughout the world. By examining both Animal Farm and Orwell’s biography, further light is shed onto his belief in the dangers of totalitarian governments as depicted in 1984. Primarily, there were many influential factors and moments in George Orwell’s life that causedRead More1984 Dystopian Society Essay1164 Words   |  5 Pagesthe Party immortal. 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Analysis Of The Book Dumb Essay - 1325 Words

â€Å"I completely bullcrapped that essay† These were the words uttered so often before turning in assignments in Mrs.Batson’s eleventh grade English class. I wasn’t the only one who used this phrase before a paper was due, in fact my whole class admitted to â€Å"bullcrapping† for her essays. I remember sitting in the back of her beige classroom, that was painted with Macbeth quotes and classroom rules posters, thinking; â€Å"how did I get here?†. I had the same teacher as everyone else in my eleventh grade class, but I was in her second period class. Which meant I was in the â€Å"dumb† English class. Three years of advanced English, yet there I sat. In a regular English class, where if we were lucky we got to watch the movie of the classic book the AP class was reading. Though anger boiled inside me at the thought of being in the awful class, I knew the choice was not random. I had completely given up on writing. I procrastinated, halfway researched, and turned in papers late until I had, deservingly, earned my spot in regular English. It hadn’t always been this way, my first experience writing was filled with wonder. When I was younger, my favorite place was my grandmother’s backyard. I can still smell all the abundant aromas that hit you like a wall, walking out onto Nana’s back porch. There was a constant smell of fresh cut summer grass, mixed lightly with the faint smell of pine. In the fall the air raged war against itself. Sour green apples, fought the sweet smell of ripe pears.Show MoreRelatedStereotypes In Reality Television730 Words   |  3 Pagesmany cases to continue to have an audience, and because people continue to watch these shows, these stereotypes are not only in television but they disseminate into society, too. Reality television does not only stereotype one subject, either. This analysis will help prove that reality television stereotypes gender, self image, and race. 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Long Days Journey into Night 1987 Essay Example For Students

Long Days Journey into Night 1987 Essay A â€Å"Long Day’s Journey Into Night† is a tale of a day spent in the life of the Tyrone family at their summer home. The play begins at 8:30 in the morning, just after breakfast when Tyrone, the father lights up a cigar. We quickly learn that Mary, the mother, has returned to the family two months ago after being in a sanatorium for a morphine addiction. Edmund, the younger son, has begun to cough and Mary speculates it being a summer cold. We learn as the play goes on that he has tuberculosis as was expected by Jaime, the older brother. We quickly find out that Mary is still addicted to morphine. The plot of the story is driven by arguments. Each family member is constantly getting on each other’s nerves and drugging up regrets of old. Everyone blames Tyrone for being so stingy, which caused Marys to go to a lesser physician, which may have led to her morphine addiction. Mary cannot even admit that she has a morphine addiction and keeps complaining about how good things use to be. Everyone keeps attacking the boys for not being more successful. The drinking and arguing keeps getting worse all the way to the end. Analyzing the play reveals certain cinematic devices implemented to affect the viewers response along with necessary non linguistic aspects exclusive to film format. The use of multiple cameras and switching angles can completely change the is the play is seen. Sound effects too can be added into a film production to bring a more dynamic aesthetic to the unseen parts of the production. Also a director can change the costuming if they please to take a more modern route or to stay with the time period. Devices used in the play were mainly the elements that made all of O’Neill’s directing from the script come to life. While reading the script the directing was distracting and made me wish the whole thing was written to be a novella instead. However when watching the play made small explanations like â€Å"Mary: Turns smiling to them, in a merry tone that is a bit forced,† feel so much smoother. This is because we neednt consider them while watching as we must when reading. This play made use of multiple camera angles which I found found to be very engaging, evoking the viewers emotions with slow zooming and camera angle switches. Were a viewer to go to the theater and see it performed live these things would not be so easy. This became most useful and apparent in the final scene during Mary’s monologue when the expressions of Edmund and Tyrone (and a passed out Jamie) were important for the viewer to see. This production did not make use of sound effects other than footsteps and offstage laughter. It is more worth noting the complete absence of sounds effects. There is piano in the room which Mary sits at more than once but never plays. A sound of Mary stirring in her room is barely even heard but is made known to the audience by the men constantly looking in the direction of her door. This is similar to the script where we we have so much stage direction and still very little sound effects. For the audience this adds to the saddened and depressive nature of this play and puts more focus onto the nuances of the characters and content of the dialogue. Along with how sound effects (or lack there of) influence the viewer’s response costume design plays an important role. One could say the lack of creative costuming is boring but in reality the clothing reflects the inward nature of the characters. .u019515360dbe0a71099113c9dad0e396 , .u019515360dbe0a71099113c9dad0e396 .postImageUrl , .u019515360dbe0a71099113c9dad0e396 .centered-text-area { min-height: 80px; position: relative; } .u019515360dbe0a71099113c9dad0e396 , .u019515360dbe0a71099113c9dad0e396:hover , .u019515360dbe0a71099113c9dad0e396:visited , .u019515360dbe0a71099113c9dad0e396:active { border:0!important; } .u019515360dbe0a71099113c9dad0e396 .clearfix:after { content: ""; display: table; clear: both; } .u019515360dbe0a71099113c9dad0e396 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u019515360dbe0a71099113c9dad0e396:active , .u019515360dbe0a71099113c9dad0e396:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u019515360dbe0a71099113c9dad0e396 .centered-text-area { width: 100%; position: relative ; } .u019515360dbe0a71099113c9dad0e396 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u019515360dbe0a71099113c9dad0e396 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u019515360dbe0a71099113c9dad0e396 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u019515360dbe0a71099113c9dad0e396:hover .ctaButton { background-color: #34495E!important; } .u019515360dbe0a71099113c9dad0e396 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u019515360dbe0a71099113c9dad0e396 .u019515360dbe0a71099113c9dad0e396-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u019515360dbe0a71099113c9dad0e396:after { content: ""; display: block; clear: both; } READ: Moscow On The Hudson EssayEach of the men are wearing 1940s time period outfits and Mary is wearing a dress that seems a bit more old fashioned. As the play progresses the characters become more and more disheveled until finally it looks as though that all have just left some party. Mary’s hair is down and messy and her blouse is crudely buttoned. The men too look similarly unkempt. This is especially interesting since as we near the end of the play the characters have become increasingly intoxicated (or drugged) and open with their speech. Not holding back with what they are feeling inside towards one another. This only amplifies the audience’s response to the arguments and emotional outbursts and it is definitely easier to see in the play than in the script. The entire set is one big living room that does not change for the entire play. This is where camera angles come in handy once more. When an audience is looking at the big picture the entire show it can be difficult to focus on the intended place on stage where the action is. With cameras the viewer has no choice but to see what they were supposed to see the entire time. This made the set feel larger because the camera is moving thus giving the viewer a different background with every step an actor takes. Referring back to the scene where Tyrone and Edmund continually make gestures towards Mary’s door, they are effective for directing the audience’s attention towards their underlying worry. In the script O’Neill does this however it is seamless in the production whereas in the script the italicized direction from O’Neill interrupts the reading. The actors move naturally with the directing attributing to their gesture’s natural appearance. Supporting the gesturing is the effective blocking. It is well done in this production as well which only adds to its natural feeling. At appropriate moments of frustration arms are thrown into the air and pacing around the room ensues. Mary is a prime character to show the use of gestures. On several occasions she strokes and pokes at the piano which only indicates her longing for the past that is too far gone. The way O’Neill wrote this play makes reading it a bit strange. With all of the in script directions and details it can be a bit cumbersome for the reader. The 1987 production makes this all a bit easier.