Apocalypse Now: Film as Literature
SCENE ANALYSIS

Since AP Literature has been given a chance to screen Apocalypse Now and to see how Dartmouth suggests approaching Film analysis, the class will now develop and edit a response to this historical film. You will be assigned a particular scene from the film and a cinematic focus. The film techniques you select will coincide with the focus of your paper.

Notice: This movie has the foundation of impacting literature; therefore, ALL themes seen within Heart of Darkness are reflected at times through these ELEMENTS OF FILM. You must keep this in mind at all times.
1. Fear
2. Fate
3. Race
4. Identity
5. Madness
6. Ambition/power
7. Exploration/ Unknown
8. Time
9. Language and Communication

Your Thesis needs to be grounded in a thematic statement according to your method of analysis AND assigned scene.

Francis Ford Coppola was the deciding director of the film, therefore he had to approve all production decisions (sound, editing, music, etc.). If you would like to include names responsible for specific elements within your discussion, please browse www.imdb.com.

No research is required for this assignment because this is YOUR analysis with the provided materials: Dartmouth Handout and your film notes. Select TWO of the following:

1. Music (Score)
2. Sound
3. Camera Movement/positioning
4. Lighting
5. Editing

You MUST determine what elements (film glossary terms) are most important to your overall analysis. Think: “What has been used to most effectively represent THEME?”

Paper Requirements: Due February 4th or 7th
—Assessment based on an AP Scale. (650 word minimum; 1000 word maximum)
—Times New Roman, 12 Pt., Double Spacing, Default 1.5” margins, and Header

The Hollow Men

T. S. Eliot

Mistah Kurtz—he dead.
A penny for the Old Guy

I

We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar

Shape without form, shade without colour,
Paralysed force, gesture without motion;

Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.

II

Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.

Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—

Not that final meeting
In the twilight kingdom

III

This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.

Is it like this
In death’s other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.

IV

The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms

In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river

Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.

V

Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.

Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom

Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long

Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom

For Thine is
Life is
For Thine is the

This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.

Screen Writer John Millius Speaks of adapting HOD

Apocalypse Now is based on Heart of Darkness, and this classic Vietnam film would not exist without the novel's foundation.

John Milius wrote screenplays ranging from Dirty Harry to Jaws.

Watch this interview. click here

Essential Heart of Darkness Criticism

Lawrence University Freshman Studies

Karin Hansson "White Lies"

The General Prologue

Here bygynneth the Book of the Tales of Caunterbury

Whan that Aprill, with his shoures soote
The droghte of March hath perced to the roote
And bathed every veyne in swich licour,
Of which vertu engendred is the flour;
Whan Zephirus eek with his sweete breeth
Inspired hath in every holt and heeth
The tendre croppes, and the yonge sonne
Hath in the Ram his halfe cours yronne,
And smale foweles maken melodye,
That slepen al the nyght with open eye-
(So priketh hem Nature in hir corages);
Thanne longen folk to goon on pilgrimages
And palmeres for to seken straunge strondes
To ferne halwes, kowthe in sondry londes;
And specially from every shires ende
Of Engelond, to Caunterbury they wende,
The hooly blisful martir for to seke
That hem hath holpen, whan that they were seeke.

Modern Translation:

When in April the sweet showers fall
That pierce March's drought to the root and all
And bathed every vein in liquor that has power
To generate therein and sire the flower;
When Zephyr also has with his sweet breath,
Filled again, in every holt and heath,
The tender shoots and leaves, and the young sun
His half-course in the sign of the Ram has run,
And many little birds make melody
That sleep through all the night with open eye
(So Nature pricks them on to ramp and rage)
Then folk do long to go on pilgrimage,
And palmers to go seeking out strange strands,
To distant shrines well known in distant lands.
And specially from every shire's end
Of England they to Canterbury went,
The holy blessed martyr there to seek
Who helped them when they lay so ill and weak.

Word-up, Homeboys!

Essentials for Chaucer's Medieval England

VIRTUES &VICES: Countering the Deadly Vices with Godly Virtues

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IV
COUNTERING THE "DEADLY" VICES WITH VIRTUES

"Therefore put on the full armor of God, so that when the day of evil comes, you may be able to stand your ground, and after you have done everything, to stand" (Eph. 6:13).

We need to see the deadly vices in the context of the spiritual warfare we are engaged in as Christians. We are in mortal combat with an enemy, Satan and his host of evil spirits, who seek to destroy us and to take from us the reward of heaven-an inseparable union with an all-loving and all-wise Creator. While the encounter with vices may be inevitable, we need not counter them unarmed. The virtues are like a warrior's armor and weaponry. At worst they blunt the blows of the deadly vices; but at their best they enable us to defeat the enemy decisively. The Apostle Paul exhorts us to "put to death, therefore, whatever belongs to your earthly nature" (Col. 3:5). He goes on to list a number of deadly vices: sexual immorality, impurity, lust, evil desires, greed, anger, rage, malice, slander, filthy language, and lies (Col. 3:5,8,9). He instructs us to "put on the new self, which is being renewed in knowledge in the image of its Creator" (Col. 3:10). This new self is characterized by virtue: compassion, kindness. humility, gentleness, patience, and love (Col. 3:12,14).

The necessity of countering the vices with virtues was long recognized by Christians. Francis of Assisi, a 13th century reformer, describes the power of the virtues in destroying vices in his poetic discourse on The Praises of the Virtues (Salutatio Virtutum)26

0 most holy Virtues, may the Lord protect all of you, from Whom you come and proceed. There is surely no one in the entire world who can possess any one of you unless he dies first. Whoever possesses one (of you) and does not offend the others, possesses all. And whoever offends one (of you) does not possess any and offends all. And each one destroys vices and sins. Holy Wisdom destroys Satan and all his subtlety. ...Holy Charity destroys every temptation of the devil and of the flesh and every carnal fear.

Writings on the seven deadly sins or vices can be traced back to the early church fathers, such as Cassian, a 4th century writer. Geoffrey Chaucer, a 14th century English writer, included a treatise on repentance and the nature of the seven deadly sins or vices in his book The Canterbury Tales (last chapter, "The Parson's Tale"). Chaucer used the image of a tree in describing the deadly vices as "principle sins because they are the chief sins and the trunk from which branch all others. And the root of these seven sins is pride, which is the general root of all evils; for from this root spring certain branches, as anger, envy, acedia or sloth, avarice (or coveteousness, for vulgar understanding), gluttony, and lechery. And each of these principal sins has its branches and its twigs..." Chaucer remarked that the visible acts of sin are indications of what is within a man's heart, just as the sign outside the tavern is a sign of the wine that is within the cellar. Chaucer identified a virtue for countering each of the deadly vices:

Seven Deadly Vices	Virtues
Pride	Humility
Greed, avarice, coveteousness	Liberality, mercy
Lust	Chastity, continence
Anger	Patience, meekness
Gluttony	Temperance, abstinence, self-control
Envy	Love of God, love of neighbor, love of enemy
Sloth	Fortitude, courage