2011년 11월 4일 금요일

#9. Reading Journal: Rita Hayworth and Shawshank Redemption

Ye Ji Park / 111053 / 6
Mr.Garrioch
English Composition
November 5 2011


 
Reading Journal: Rita Hayworth and Shawshank Redemption


 
“It's hard to win, easy to lose
We play a game we cannot choose
As steady as a rocking horse, as subtle as a bruise.”
This is an excerpt from Oi Va Voi's song titled "Waiting", which Mr. Moon gave us as a free essay topic. And I questioned myself; what is the “hard to win, easy to lose” game that I am playing? In Mr. Moon’s class, there was time constraint (25 minutes) and I wrote anything that came to my mind first. But later, as I read Stephen King’s Rita Hayworth and Shawshank Redemption, I was able to find my answer to the question.


One major motif in the novella is institutionalization. Red tells the prison walls are funny; “first you hate them, then you get used to them. And enough time passes, you get so used you depend on.” Prison life is scheduled, predictable, and monotonous; prisoners detest repetitious days of the prison, but actually, they are tamed to the repetitious and unchanging prison life. And once they get parole—permission to leave the prison—they hesitate and feel fear of entering the society. Brooks, in the story, was an important man in Shawshank; he was an educated librarian. However, back to society, he’s nothing but useless ex-con suffering from neuralgia. He, failed to adjust the society, ended up committing suicide. Even Andy dithered over breakout; Red explains the reason Andy did not escape right after finishing to dig the hole is that maybe Andy got scared, to leave from convenient prison life that “you are told when to eat, when you can write letters, when you can smoke”. Despite the institutional syndrome, Andy at last decided to escape, and he achieved freedom. Freedom to do something you want to do, not something the warder demands to do.

(Brooks, desiring to return Shawshank)

(Brooks committing suicide)


KMLA is similar to Shawshank. Students are accustomed to the repetitious schedule—morning exercise, advisor time, classes, self-study period, Honjung, bedtime—and tremendous workload of quizzes, presentations, midterm, final term, etc. I, institutionalized to KMLA, am busy every day to finish the homework which deadline is the very day.
But if I continue to do nothing more than works school gives, I would never be able to break out from institutional syndrome. I would not search about what I want to do; no effort to find my area of concern, or to participate in interesting activities. Only if I find extra time between school schedules, and use it to achieve something I want, I would be Andy who escaped from the institutionalized prison and achieved freedom. Remind Oi Va Voi’s lyrics; the “hard to win, easy to lose” game I’m playing is time management.

KMLA is not Shawshank itself; rather, it is an egg containing both Shawshank and Zihuatanejo. I, nine months ago, entered this egg; and right now, I’m floundering in the “Shawshank yolk”. To swim out of yolk—managing time effectively—is hard game to play. Still, once I succeed to thrust temptation of being institutionalized and satisfying at given schedule away, I would reach “Zihuatanejo albumen”. The place that I can care about my own activity and prepare my own soaring, like Andy did in Zihuatanejo.



#5-2. One Flew over a Cuckoo's Nest: Hero's Journey (Analysis Journal)

Writer's Comments

I promised myself to write series of essays on one book I was greatly impressed of (#5-1. Miscellaneous). Now I reveal; the book was One Flew over a Cuckoo’s Nest (Ken Kesey), and here comes my first essay! I’m not sure whether this can be called “review”, because this analysis journal is close to report about hero’s journey in the novel. This essay is quite informative; it lacks my opinion, and almost every paragraphs are merely explaining hero’s journey stage with quotations. Maybe in the next essay, I can combine my personal experience or impressions with this book =) Anyway, I spent a lot of time writing this “report”, so though it might seem quite long and boring, hope you enjoy it =) And if I don't forget, I will attach some pictures that will entertain you while reading the essay!


                                                                                                                                   

Ye Ji Park / 111053 / 6
Mr.Garrioch
English Composition
November 4 2011

Hero’s Journey: One Flew over a Cuckoo's Nest

     Whenever my grandmother and two uncles—who all are devout Christians—talk about how Jesus Christ sacrificed himself for mankind, one question always pops in my head; Was Jesus courageous all the time? Didn’t Jesus feel lonesome and fear, and crave escape from his responsibility sometimes? Well, Jesus lived more than two thousand years ago, and there is no way to ask him how he felt during his hero’s journey – but I have no doubt that Jesus may had yearned for running away at least once. Not only external obstacles, such as the persecution of Rome, but also internal hardships including believers’ doubt upon him would had driven him to question what the objective of his heroic journey is. Still, despite the temptation to stop the journey, Jesus completed his journey; this was because he had a clear answer to the objective question. He had done this journey not for himself, but for the mankind. Meeting the gazes of people in hope, he had to accomplish his journey and actualize the promise of hope.
     R.P. McMurphy, the protagonist of One Flew Over a Cuckoo’s Nest (Ken Kesey), is the Jesus in an Oregon psychiatric hospital. The protagonist grasped the existence of invisible violence and totalitarian state in this hospital as soon as he joined the patients group, and also that the main culprit was Miss Ratched, the “Big Nurse”. The novel vividly depicts how McMurphy behaved, thought, and felt in each stage—the sacrifices he made for the other patients, despite he himself was getting tired and exhausted.
      McMurphy was a criminal; he committed various offenses, including “leading an escape from a Communist prison camp, … a history of street brawls and barroom fights, … drunkenness, assault and battery, disturbing the peace, repeated gambling, and … rape.” When he was given a chance to decide whether to stay – psychiatric hospital or the prison, Pendleton Farm – he followed the public view that few months with insane people is better than in prison. When he voluntarily chose to enter the mental hospital, it was McMurphy’s original world.
But as he arrived in the hospital, his ordinary world started to shatter. When McMurphy laughed, patients “looked spooked and uneasy”, and when he offered hand to Ellis, one of the patients, Ellis “looks down … in pure surprise”. Slight suspicion upon this world turned into conviction as Big Nurse publicized Harding’s sense of inferiority upon his wife in the meeting, and the patients insinuated him by shooting offensive questions. McMurphy titled the meeting “peckin’ party”; he said “the flock gets sight of a spot of blood on some chicken and they all go to peckin’ at it, till they rip the chicken to shreds, blood and bones and feathers”. Then McMurphy pointed out the Big Nurse as the first chicken to peck. Harding unwillingly admitted McMurphy’s point, still showed no volition to revolt, since he viewed himself as someone who “can’t adjust to rabbithood, and need a good strong wolf like the nurse to teach their place”. This is the moment McMurphy is called into the adventure; he could not accept the fact that every patient were underestimating, self-denouncing, and obeying themselves to the Big Nurse’s domination. He promised to “put a betsy bug up that nurse’s butt within a week”. Still, until this stage, McMurphy did not consider the adventure any more serious than usual gambling he enjoyed playing.
McMurphy, as he promised, started to arouse trivial revolutions to make the Big Nurse lose her temper. He sang, wandered the dorm with only underpants on, gambled at cards, proposed to change the regular schedule so that patients can watch the baseball Series. Some of his efforts were successful; especially the last action was provocative enough to agitate Big Nurse, “hollering and squealing about discipline and order and recriminations”. However, as McMurphy heard that a committed patient, such as him, could not leave the hospital without the Big Nurse’s permission, he decided to stop his little gambling. At the meeting, when Cheswick argued the patients should be free to possess cigarettes by themselves, instead of being distributed from nurses, he asked for McMurphy’s support. And McMurphy kept silence, “didn’t even look up”. This clearly shows McMurphy, afraid that he might not be able to leave the hospital, is refusing the call.
Not soon, however, McMurphy decided to return to adventure. This is due to Cheswick’s suicide; Cheswick, disappointed at Mack’s indifference, killed himself by clutching the grate of the swimming pool so firmly, thereby drowning. McMurphy learned that his attitude can greatly influence patients, regarding even their life. This lesson made him realize his responsibility as a leader, thus the confrontation of Cheswick’s suicide can be titled the meeting with a mentor.
To interpret the meeting with a mentor stage in another perspective, it could be the moment when McMurphy grasped how to lead the patients. Once, McMurphy questioned others, “Why should it be me goes to bat at these meetings over these piddling little gripes about keeping the dorm door open and about cigarettes in the Nurses’s Station?”, and blamed that the patients should not use him, but act by themselves. Then Billy screamed that patients including him are not big and tough enough to revolt, while McMurphy can. In other words, Billy again underestimated him as a rabbit. And here, the goal of his leading is defined; inspiring self-confidence to the patients, so that they can recognize themselves as “good strong wolves”, not “rabbits”. This experience determines McMurphy’s destination on the hero journey—that is, it plays the mentor’s role.
While realizing the heavy responsibility and setting the objective of revolution, McMurphy first decided to rise a big disturbance that can show patients change can occur in the hospital. When the Big Nurse tried to exert her authority by taking away the privilege of the tub room in where patients played card games, McMurphy “ran his hand through the glass (of the Nurses’ Station), got one of the cartons of cigarettes with his name on it and took out a pack”. As Cheswick once criticized, patients were not allowed to get the cigarettes except when the nurses distribute them. Thus, McMurphy’s act of breaking the glass and taking out a cigarette shows a clear sign of revolt against the nurses’ authority and regulations. Once such obvious challenge is happened, McMurphy can no longer cancel his volition to revolt, which is definitely the crossing the threshold stage.
Afterwards, McMurphy started activities inducing patients’ participation, such as organizing basketball team or planning fishing trips. The Big Nurse tried to disturb McMurphy, for example, by “bringing in clippings from the newspapers that told about wrecked boats and sudden storms on the coast” so that patients would think fishing trip is dangerous. Still, McMurphy took a firm stand, persuaded people that two aunts accustomed in sea voyage will go with, and kept gathering participants. He also made allies; representative is Chief Bromden, whom he encouraged to grow again to his original grand size—in other words, to regain his masculinity. All of these are definitely about Tests, Allies, and Enemies.
The inmost cave McMurphy approached is the fishing trip. When McMurphy and patients stopped by the oil station, the staffs mocked them. Staffs were going to sell the “weak and dirty and watered down and cost twice the usual price” gas and unnecessary items such as “new oil filters and windshield wipes and sunglasses”. Patients knew the staffs were belittling them, but could do nothing except approving at everything staffs say. Then McMurphy brought a wind of change; he threatened the staffs, saying that he and his companions are “lunatics from the hospital up the highway, psycho-ceramics, the cracked pots of mankind”. Previously, patients’ identity as psychopaths made them to believe they are abnormal and inferior to the general public. However, McMurphy turned this flaw into strength, thereby gave patients self-confidence. To illustrate, on the remaining way to the sea, Billy, Harding, Chief Bromden, and all the other patients “sit up straight and strong and tough-looking” every time people gaze green uniforms of mental hospital eerily.
McMurphy’s attempt to plant strong identity to the patients is even more emphasized on the board. When four poles started to whip over, patients did not know what to do and called McMurphy for help. However, McMurphy just “laughed and stood at the cabin door, not even making a move to do anything”. At last, when they caught the fish, it was their achievement, not McMurphy’s. Also, on their way back to the shore, it was Billy who volunteered to take off his life jacket for the girl, not McMruphy. This shows that Mack yielded the position of hero to others, thereby making them feel valuable and proud of self. Such transfer of leadership from McMurphy alone to his followers is what McMurphy set as his goal; this implies Mack’s success in the inmost cave.
However, McMurphy was slowly feeling tired and exhausted in his role as the leader. To fight against the Big Nurse, and simultaneously, to motivate patients to follow the way he lead, must gave him grand mental stress. Chief Bromden mentioned he saw from McMurphy’s face—“dreadfully tired and strained and frantic, like there wasn’t enough time left for something he had to do…” This clearly shows McMurphy’s exhaustion, additionally foreshadows that maybe McMurphy would, in the end, be completely fatigued, losing or barely winning in the battle with the Big Nurse.
After the trip, the Big Nurse decided to plant seed of suspicion among patients toward McMurphy. She pointed out that everyone’s account balance was going down except McMurphy’s, and questioned them to think about McMurphy’s objective of being a leader. As the Big Nurse planned, patients, including Harding and even Chief Bromden, started to suspect about Mack “always winning things”, and maybe the purpose of him leading is to gain money. This ordeal is, however, turned into reward in near future. In the shower room, when George firmly refused to cleanse himself but black boys forced him to do so, McMurphy stopped the boys. As a result, he was sent to the Disturbed, and this heroic action returned patients’ faith toward McMurphy as a reward.
McMurphy suffered from the Disturbed; he was given four electric shocks—which was called “treatment”—one week. As soon as he recovered from the shock, he received another one. This definitely made him tired; “the muscles in his jaw went taut and his whole face drained of color, looking thin and scared”, every time he was called for treatment. Still, McMurphy did not forget his responsibility as leader—he consolidated Chief, who also received treatment once, to “Don’t holler”. He also did not forget sense of humor he used to irritate the Big Nurse (he’d tell her “she could kiss his rosy red ass before he’d give up the goddam ship”) and insisted EST wasn’t hurting him. When McMurphy returned to the ward, he postponed his breakout until Billy’s date with a prostitute; this date is the last adventure on the road back, to let Billy confront a girl and thereby establish his identity as a man – what McMurphy tried to do during his whole journey.
McMurphy decided to run away after the party is over, but he fell in asleep and when he woke up the Big Nurse was already in the hospital. As the Big Nurse inspected what had happened last night, she found Billy Bibbit and the girl together on one mattress. Bibbit first responded proudly to the Big Nurse’s shaming, but as the Nurse threatened him with his weak point—mother—Bibbit returned to a weak mental patient from last night’s man. Rabbit Bibbit confessed what and by whom the party was done, and after, he committed suicide, ashamed of his own modification.
Throughout the harsh journey, McMurphy succeeded in changing Billy into a man, and the Big Nurse had returned Billy into a rabbit within few seconds. McMurphy had to do something about Billy’s death, maybe a shockingly revolution stronger than any previous ones, to prevent the other patients modifying like Billy did and the hospital returning to totalitarian state. This is why he strangled the Big Nurse to eliminate her voice, her tool of giving orders to the patients, the symbol of her authority. He knew that he will be lobotomized by attacking the Nurse, thus lose his future days, still he put into his action for the patients. This last sacrifice is the resurrection, the revival of journey that could be stopped by the Big Nurse’s disturbance.
Patients realized that it was them themselves, not McMurphy’s gambling nature or the Big Nurse, who drove McMurphy to sacrifice his whole life. Chief Bromden reviewed that they could not stop McMurphy crying over Billy because the patients “were the ones making him do it” and it was their “need that was making him push himself slowly up from sitting, … obeying orders beamed at from forty masters”. Chief, thus, feels responsibility to repay McMurphy for his heroic acts. This is why Chief suffocated McMurphy after he returned to the ward, lobotomized. By killing McMurphy, Chief stopped the Big Nurse from using Mack as “an example of what can happen if you buck the system”. McMurphy would be remembered to people in hero’s image eternally—which is, unquestionably, return with the elixir.
If McMurphy performed the journey for entertainment—gambling nature—or material greed, he would never be able to overcome the exhaustion and mental stress. Just because he had worked for patients, like Jesus did for the mankind, he was able to put forth every ounce of his energies. Considering this noble motivation, and all the obstacles that McMurphy so hardly conquered, McMurphy deserves to be reminisced as the evermore hero in the minds of patients.

2011년 11월 3일 목요일

#8-2. Life Lesson: Leadership

Leadership ≠ Violence

When I was in seventh grade, I became the class president. I believed that my responsibility as a class president is controlling the class well. Our class was composed of friends with bright and active personality, but sometimes this personality acted negatively, especially during the class time. If a teacher who does not care much about the class attitude comes in, friends started to chat and play with each other, so loudly that the teacher could not even continue the class. As I viewed this as a serious problem, I decided to “control” the class to keep quiet during the class time. I wrote down names of friends who made much clamor, and gave the list to the homeroom teacher. Our homeroom teacher was a member of student guidance, and his cane was well known for making girls burst into tears and leaving bruises. He caned students in the list, and the effect was immediate. At the very next class, everybody kept silence so that the teacher asked me in surprise, “What had you done?” I was very proud of myself.


But my pride did not continue so long. I once heard some boys in our class talking about me, the class president, by accident. They complained that I was acting like a totalitarian, trying to manipulate the class by beating up. The moment I heard it, I was so angry to them, thinking how well I created calm atmosphere over the class. However, as I thought about it more and more, I had to admit the boys were right; violence should not be method for rule. The class members would see me in fear and hatred, which will bring out intimidating discordance in the group. I changed my method; if there was a friend talking too loudly during the class, I would stare at him in anxious gaze or write a short message asking him to hold off talking until the break time. Class members followed my recommendation, as they understood how much I was trying to keep the class silent, and also appreciated me for using much more peaceful and conciliatory way. As a result, I succeeded in achieving nice class atmosphere as I first planned, and also kept the amicable relationship between class friends.

And this was one of my most valuable experiences as a leader; I learned that violence, though it seems to have an instantaneous and powerful effect, should not be the way to lead the group. Instead, it should be persuasive communication that makes both sides understand each other.



2011년 11월 2일 수요일

#8-1. Life Lesson: Sir Nubi


Don't judge the book by its cover.

     February 2011, before I entered the dorm. Assuming the winter in Gangwon-do would be harsh, especially for KMLA students who wear hanbok as their school uniform, I packed my bags with sweaters, stockings, and winter coats. However, when I arrived at school, teachers told me wearing coat except the one given from the school is not allowed. The school coat, which students called Nubi because of its cotton-wool substance, was far from what I expected. Its color was deep purple and the shape was far from trendy trench coat I brought. Disappointed, for the first few days, I did not put on Nubi, no matter how chilly it was.

     One day, however, on my way to the gym for morning exercise, I submitted to the freezing weather and get dressed Nubi. It was surprising; this flimsy-looking coat was superior for keeping warm. As I started to wear Nubi every day, I found out even more functions. It could be used as blanket to cover my legs. During the short break of the class, I used rolled Nubi as a pillow. And few minutes before getting out from dorm during lunch time, when I had no time to climb to bed, I spread out Nubi and slept on it. Its color, once I considered ugly, had advantages in that it screened almost every strains (even coffee strain, in my case). The shape, exactly down to my knees, was long enough to keep almost every part in my body warm. Now, me and my friends call Nubi as “Sir Nubi”; Nubi deserves to be titled Sir.











      So few months later, when 17th wavers enter the school, I will tell them not to ignore something with its appearance... I will recommend them not to abandon Nubi because of how it looks, but to love it a lot. Nubi who taught me the life lesson, Don’t judge a book by its cover.

2011년 10월 31일 월요일

#7. Reading Journal: The Body

Ye Ji Park / 111053 / 6
Mr.Garrioch
English Composition
October 30 2011

Reading Journal: The Body

Wallace Stevens, one of America's most respected poets in 20th century, wrote "Death is the mother of beauty" in his poem, Sunday Morning. Once writing a short essay about this quotation, I interpreted that death is beauty’s mother due to its presence. To illustrate; people fear death because they don’t know what is after death. That is, the ordinary days of living is ended once dead. Thus, confronting death makes people treat life much more seriously and valuable than before – in other words, their attitudes toward life becomes matured.
These are my rough impressions after reading few pages of The Body, the third novella in Stephen King’s Different Seasons. On the way to find the dead body of Ray Brower, a kid of their age hit by a train, four boys experience maturation; mainly two kinds, emotional maturity and relationship maturity.
First, what emotional maturity means is the process of changing aptitude in expressing own emotion. When the boys first hear about the dead body, they “grinned” over the adventure, and excited that they can “find the body and report it, and be on the news”. Nevertheless, in each one’s heart, sprout of fear also had existed. When Vern suggested the travel, the boys “all looked at him for a long second, no one saying anything” because this sprout was telling boys to keep away from such troublesome, gossipy issue. To add, Gordie, the narrator, confessed he “felt funny—both excited and scared” and this “mixture of emotions made him feel heatsick and headachy”. Still, boys do not discuss any kind of these feelings; this is because they’re bluffing. That is, they’re trying to be shown brave and strong, thus not to be mocked by others as coward.
However, as they continue their travel, boys start to express their emotions much more frankly. In chapter 13, Vern admitted that he “sometimes get nightmares”, and when he wakes up during nightmares, “it seems like there’s somethin under the bed and if he dangled a hand over the side, that thing might grab him”. Vern hesitated on continuing the travel, because if the dead boy is “really bad”, he will have “nightmares about him and wake up thinkin it’s him under the bed, all cut up in a pool of blood”. And Chris indirectly agreed to Vern’s fear, that “it shouldn’t be no good time”. The boys, now, are discussing about the fear and terror they considered as a shame previously. In other words, the boys start to admit own weakness, and sympathize at others’ instead of mocking them for being weak. Acknowledging their emotional vulnerability and understanding others’ sentiments is definitely a sign of maturity, compared to the previous pretentious acts. 
Second maturity boys experience is titled relationship maturity, especially relationship with family and friends. One common point four boys share is that they have a family flaw. Chris has a “really mean” father, and Vern “hated Billy [his brother] like the Arabs hate the Jews”. Teddy had an odd father who made him use glasses and hearing-aid by “shoving … Teddy’s head down against one of the cast-iron burner plates”, and now in “Togus, which is a VA hospital”. For Gordie, he lost his brother recently, and his parents were floundering in the wave of sadness, indifferent to Gordie. All boys, except Teddy, seem to feel hatred rather than affection to their family. For example, Gordie said about Stud City that it was “the first story I ever wrote that felt like my story—the first one that really felt whole”. This infers that Gordie resembled himself to the protagonist of story, Chico, who did not reconcile with his stepmother (who drove his brother to death) and his father (who knows nothing about the truth) to the end.
Maybe such violence and indifference boys received from their parents is what made the boys collaborate. Teddy was the dumbest guy among four, and did crazy actions such as “truck-dodging”. Still, the friends do not ignore or ostracize Teddy; actually, the opposite. They care about Teddy. When Teddy tried train-dodging, Gordie grabbed and pushed him over to save Teddy from being hit the train, by even risking his life. Also, when Teddy cried over Milo’s mockery over his father, Chris calmed him, persuading his father is still a great man no matter what Milo said. Such attitudes toward Teddy shows friends are looking after him, not walking over a dumb boy. This affectionate relationship is contrasted with their callous relationships with parents. Because the boys know how it feels when neglected and ignored by a related person, they don’t do so, instead concern and gather together, even with a dull, slow member.
Only first thirty pages and I already found out boys’ traces of maturation, in emotional and relationship aspect. I expect to find larger and deeper signs of maturity in the rest parts of the book; for example, extending the positive relationship that boys are forging, from friends to family. And I hope the boys finish their travel of maturation safely, until the final moment of confronting the dead body.


2011년 10월 29일 토요일

#5-1. Miscellaneous

     Once you gaze at the title of this post, it's obvious that the post is minor writing; it is numbered 5-1, not 5, and the title itself is "miscalleneous". Yes, it is minor; I didn't plan to write this post before five minutes. I just suddenly felt strong obligation to leave my trace, on my process of writing 5th main piece.
     My fifth main piece of writing is not about the class assignment. Last week, as the midterm was over, I came back home without any kind of book or material to study. I planned to play the whole weekend, but going to the cinema, eyeshopping, eating with friends, all these outside activities were soon fed up. Lingering at home, I asked for an interesting book to read to my older sister, and she recommended me one book. I won't reveal the title of this book yet, for your curiosity and expectation. =)
     Anyway, the book fascinated me. It was three hundred page; quite long for a capricious girl who is easily wearied like me, but I did read the entire book in three days. And every time I ran to its climax, I felt myself understanding, admiring, sympathizing to the protagonist. As I finally reached the last sentence of the book, I found myself crying. I was so deeply into the protagonist.
     It was definite that I have to write something about this book, so I can keep this first impression forever. I was encouraged even, when I saw Mr.Garrioch's post to write freely, unlimited from class assignments. I took out white papers and pen, and readied myself to plan an outline. Ten minutes later, the papers were still blank, and I was stuck; okay, I know I have to write. So what can I write about?
     And again ten minutes passed, papers were filled with black letters. I decided to write an analysis journal about the book; I divided the contents into the stages of Hero's Journey. Two hours later, I was still writing the "call to adventure" stage. Then I stopped writting. Something was wrong here.
     I read this book very impressively. But it was nothing more than first reading. No matter how much I enjoyed reading, it was definite that I missed some details, some analysis I could make, some questions I could ask myself. It was like this; couples, fell in love for the first sight, still need to learn more about each other before they promise marriage.
     And so here is my conclusion; maybe it would need a long time for my #5 writing to be posted. Maybe it will be #5-2, #5-3, #5-4... I guess it would be series of writing. I searched for some critics over this novel during last few minutes, and even by doing so, I realized this novel is worth my first impressions. It can be interpreted this way, that way... Few hours ago, I had no idea what to write about. Now, my brain is full of perspectives to write. Those include; simple analysis of hero's journey (which I had done a little), analysis based on the physical/chronological setting, comparison with a historical figure, etc, But only before I start writing about these whole ideas I have in my mind, I need to read the book s-l-o-w-l-y again, so I can fully grasp these different perspectives and details supporting them.
     Actually, as I'm writing this post, I'm afraid that I would disappoint Mr.Garrioch by updating one essay barely, or maybe, even forget about this project and post none. Still, I gamble myself with hope. It would take a long time to read the book again (during the harsh schedule of KMLA), and write these essays, but well, it's worth a try. Maybe this can be my term paper or first clumsy thesis =) (though I'm feeling very embarassed at calling few essays "thesis").
     Hope I don't forget about this "trace" - the promise to myself that I won't forget about this book and return with few essays to post. Wish me good luck!

2011년 10월 26일 수요일

#4. Comparison Journal: Shawshank Redemption, Novella and Film

Ye Ji Park / 111053 / 6
Mr.Garrioch
English Composition
October 26 2011

Comparison Journal: Shawshank Redemption, Novella and Film

     Once a novel achieves stupendous success, movie companies scramble to get the contract of filming the book. Considerable numbers of movies are filmed after books; representatives are Harry Potter Series, Twilight Saga, Lord of the Rings, etc. Still, quite many movies are evaluated to be weak, shabby, and inferior to original novels. Major reasons are time constraint and commercial viability. The failure of Harry Potter movies is a great example; for time constraint, the directors had to delete detailed scenes to finish the movie in two hours. The film, then, provided only general flow of the plot, thereby disappointing viewers who were memorizing even the specific lines of the book. In case of commercial viability, the directors added extra scenes emphasizing the love or sexual relationship between characters to arouse viewers. Likewise, since the directors pervert the novel’s original message by deleting or adding inappropriate scenes, movies are usually less influential than books.
     But the movie Shawshank Redemption, filmed after Stephen King’s novella Rita Hayworth and Shawshank Redemption, is an exceptional. Film producers modified the novella, but in proper way. They did grasp the theme of novella, and excluded or included scenes that could contribute in conveying the theme effectively, maybe more effectively than the book. Still, the film did not forget about entertaining elements; modified details created dramatic atmosphere.

     
     First, the theme. Before illustrating what specific scenes the movie added or omitted, the novella’s theme should be defined clearly. In Different Seasons, the collection of King’s four novellas, Rita Hayworth and Shawshank Redemption is introduced as the chapter “HOPE, SPRINGS, ETERNAL”. The first word of chapter title shows the novella’s theme evidently; hope. To be specific, it is a story about “patience, hope, survival, emancipation, and ultimate redemption and salvation”.1)
     There are three factors that contributed in bringing hope into relief. First is prison violence; prison’s harsh punishment given to deviated prisoners (representatively, breakout attempts) disturbs prisoners to keep hope. As more as the prison’s desolateness is emphasized, the hope Andy had kept so persistently is valued higher. The movie caught this point precisely, and modified the movie to emphasize prison brutality. In the introductory part – Andy’s first day in Shawshank – the film added a new character, fatty guy. On his first night, the fatty guy was mocked by other prisoners, cried out loud and made a great disturbance. Prison guards, maddened, exerted violence on this guy so harsh that he died next morning. This incident proved the severe violence in Shawshank. How Warden Norton dealt with Tommy is another good example; Tommy was a character who might be able to prove Andy’s innocence, but Norton did not wish to let Andy, a fine banker, leaves Shawshank. As solution, Norton compromised with Tommy and sent him to a better prison in the book, but in the film, Norton shot Tommy to keep his mouth shut. Without doubt, killing is a better way to show human brutality than compromising.
     Second factor emphasizing hope is “institutionalization”. Even though the environment is dreary (prison guards cussing and beating), prison has its routine schedule, and prisoners do not need to worry about their life. But once prisoners get parole and return to the society, they confront unpredictable events and miss monotonous prison life. The concept is emphasized in the movie as the paroled prisoner named Brooks fails to adjust to the society and commits suicide – that is, Brooks was so institutionalized that he voluntarily chose to die than to live in the society. Andy also suffered some institutionalization; he lingered after he completed digging, instead of immediate escape. Still, at the end, he broke out; this emphasizes his strong will toward hope to freedom, abandoning predictable, accustomed lifestyle.
     Final factor of showing hope is the direct presentation of hope’s consequence. The book finishes with Red’s monologue to hope meeting Andy, while the movie includes the scene Red and Andy meet. This direct scene shows the fulfillment of Red’s hope, and creates hopeful atmosphere.

     Entertaining aspects of the movie also deserve to be praised. While the book did not mention about the rock hammer’s whereabouts, the movie showed Andy hided it in the Bible. Such dramatic scene was shocking and surprising to the viewers. Similarly, the movie’s content that Andy took away Norton’s bribed money and revealed corruption in Shawshank was also a fresh shock. These fractions helped the viewers to enjoy the film.


In short, the film is a total success since it contributed in elaborating the theme, and also paid attention to entertaining purpose. It seems to me the directors of Shawshank Redemption are very intelligent and witty people; they precisely comprehend the message Stephen King tried to convey through the novella, and developed it by adding dramatic elements. It’s always happy to meet these directors and their films – those who are truly “after the book”, truly revere the original text, instead of those who sorts out improper scenes giving excuses of time constraint and marketability.