The first part covers the first 30 pages of the novel
A Parallel:
As this is the start of the novel, McCarthy is most likely trying to establish certain symbols and implicit ideas through his language and story telling. Obviously there is the ash and grey and dark that are constantly repeated throughout the first section. But, the one that stood out to me, as it was not mentioned as many times, was the strong connection between the man and the boy. There are two specific passages where the man thinks or the narrator explains his commitment to him: "They set out along the blacktop... each the others world entire" (6) and "The boy was all that stood between him and death" (29).
A Contrast:
The novel suggests a negative connotation for darkness or blackness at multiple points throughout the novel ("The blackness he woke to on those nights was sightless and impenetrable" (15), "The nameless dark come to enshround him" (9)) but there is one moment where that is challenged: "This was not a safe place. They could be seen from the road now it was day" (5). In that context, darkness is saftey, and safety is definatly something that they are trying to achieve.
Two Questions:
Was this disaster so bad that it ruined the land for farming, it seems unwise to not settle down.
This is out there but does it ever explicitly say that the boy is the mans son? Are they for sure blood related?
Tuesday, November 27, 2012
Tuesday, November 13, 2012
The Most Important Shot in It's a Bird
As I was reading this novel, I was looking for shots that really stood out to me, and I found a few. However, there was only one shot that was a direct cutaway from the linear look of the story. What I mean by that is that there are three formats (shown by the framing) that Seagle utilizes throughout the novel: present day, flashback, and Superman descriptions. But on page 119, Steven cuts from his flashback to a present day shot of him making amends with his father, and with Superman: "That's what Superman is all about. To remind us that we have hurdles... and as long as we keep jumping them.. were still in the race." This is a medium to long shot of an embrace between father and son. Its the first time that the father shows any non anger emotion. The fact that its a medium/ long shot gives the characters space in the frame, and implies room the grow in their relationship. This is the moment that things change for Steven. He realizes that even if he gets this disease, he will be happy with the life that he has lived. Additionally, this moment and "George's Dance" give Steven the confidence to write Superman, and even amaze kids with the super hero at the end of the novel.
Thursday, November 8, 2012
It's a Bird by Steven T. Seagle Part 4 Analysis
Written Parallel or Contrast:
Throughout the novel, there have been secondary characters that interact with Steven that are also secondary characters in his life. His girlfriend or his editor are examples of primary characters, but guys like Rafa have less importance on his life. Seagle has an interesting way of writing dialog for these characters, and they commonly set up cutaways to Superman bios. Seagle writes their dialog in a very low brow fashion. Rafa always cuts away from actual conversation to argue about Superman vs. whoever, and on page 75, a bigger guy confronts Steven about Superman: "Da supa-heros, dey know right from wrong." This dialog is less sophisticated than any discussion Steven is used to having, and it connects a lack of sophistication with super heros, Superman in perticular.
Visual Parallel or Contrast:
On page 74, there are two shots (conveniently right on top of each other) of Steven and Marco having a connection on the topic of Huntingtons Disease. They connect on a level that Steven has not reacted to in this fashion throughout the novel, as his eyes are wide open for the first time. I think because this disease has consumed his life, that for him to know that someone else is feeling the same way as him not only relieves him, but astonishes him. That is why there is a look of shock on his face as they talk about their experience.
The Frames:
Seagle sets up three different sections of framing throughout the novel. There is the dark bold black framing that shows a present day setting, the thin faded outline shows a flashback. Those two formats are all very square and formulaic, but the cutawys depicting Superman in some way or another are purposefully different. The Superman cutaways have no formulia, and can include full width frames with dark bold boarders to tiny frames with no border. They show the different sides of the hero, and also give a relation to a point in Stevens life when he can relate to Superman.
Throughout the novel, there have been secondary characters that interact with Steven that are also secondary characters in his life. His girlfriend or his editor are examples of primary characters, but guys like Rafa have less importance on his life. Seagle has an interesting way of writing dialog for these characters, and they commonly set up cutaways to Superman bios. Seagle writes their dialog in a very low brow fashion. Rafa always cuts away from actual conversation to argue about Superman vs. whoever, and on page 75, a bigger guy confronts Steven about Superman: "Da supa-heros, dey know right from wrong." This dialog is less sophisticated than any discussion Steven is used to having, and it connects a lack of sophistication with super heros, Superman in perticular.
Visual Parallel or Contrast:
On page 74, there are two shots (conveniently right on top of each other) of Steven and Marco having a connection on the topic of Huntingtons Disease. They connect on a level that Steven has not reacted to in this fashion throughout the novel, as his eyes are wide open for the first time. I think because this disease has consumed his life, that for him to know that someone else is feeling the same way as him not only relieves him, but astonishes him. That is why there is a look of shock on his face as they talk about their experience.
The Frames:
Seagle sets up three different sections of framing throughout the novel. There is the dark bold black framing that shows a present day setting, the thin faded outline shows a flashback. Those two formats are all very square and formulaic, but the cutawys depicting Superman in some way or another are purposefully different. The Superman cutaways have no formulia, and can include full width frames with dark bold boarders to tiny frames with no border. They show the different sides of the hero, and also give a relation to a point in Stevens life when he can relate to Superman.
Tuesday, November 6, 2012
It's a Bird by Steven T. Seagle Part 3 Analysis
Written parallel or Contrast:
Steven may not be the most consistant or relilable person in the world, but he has been adiment on his opinion of Superman. On page 32, Steven says "I know it's a challenge. But Jeremy doesnt know that I will win. I'll take Superman head on." He makes true on his promise. Later in the section, he talks to the current author of Superman, Joe Allen. This conversation turns hostile, "He's not showing us what we can be because we can't be from another planet, have x-ray vision, flight, or super-strength." He ends up punching the guy. He really sticks to his hatrid of Superman, and refuses to give up on his stance.
Visual Parallel or Contrast
Before the cutaway "Red, Yellow, Blue" there has been very little dramatic coloring of the novel. After Seagle establishes red as a masculine color, of life and fire. After that set of pages, red begins to appear at a much higher frequency. Now red is used on Steven to accent anger or frustration. It appears when he is having his fight with Joe Allen and talking about his familys past in his aunts house. This accent really stuck out to me, as it not only shows how he is feeling, but is also a part of Superman within him.
Images and Visual Details
An interesting plot detail arises during that same conversation with Joe Allen. Steven the author decides to have the weather conveniently change. As the conversation gets more cloudy, so does the sky (zing!). In this conversation, the shots are rarely straight on, and if they are then its an extreme close up. These shots really show an intensity in the conversation. He uses dutch angles and disfocused shots to show this anger and rage from the POV of the main character.
Steven may not be the most consistant or relilable person in the world, but he has been adiment on his opinion of Superman. On page 32, Steven says "I know it's a challenge. But Jeremy doesnt know that I will win. I'll take Superman head on." He makes true on his promise. Later in the section, he talks to the current author of Superman, Joe Allen. This conversation turns hostile, "He's not showing us what we can be because we can't be from another planet, have x-ray vision, flight, or super-strength." He ends up punching the guy. He really sticks to his hatrid of Superman, and refuses to give up on his stance.
Visual Parallel or Contrast
Before the cutaway "Red, Yellow, Blue" there has been very little dramatic coloring of the novel. After Seagle establishes red as a masculine color, of life and fire. After that set of pages, red begins to appear at a much higher frequency. Now red is used on Steven to accent anger or frustration. It appears when he is having his fight with Joe Allen and talking about his familys past in his aunts house. This accent really stuck out to me, as it not only shows how he is feeling, but is also a part of Superman within him.
Images and Visual Details
An interesting plot detail arises during that same conversation with Joe Allen. Steven the author decides to have the weather conveniently change. As the conversation gets more cloudy, so does the sky (zing!). In this conversation, the shots are rarely straight on, and if they are then its an extreme close up. These shots really show an intensity in the conversation. He uses dutch angles and disfocused shots to show this anger and rage from the POV of the main character.
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