A boy's best friend isaac asimov questions and answers pdf

The plot begins with the desperate and shell-shocked Willard being given the assignment to seek out and kill Kurtz, to “terminate with extreme prejudice,” and then fol- lows Willard on his journey as he encounters a variety of strange and surreal people, sights, and activities [Figure 6.43]. In one sense, the plot’s logic is linear and progres- sive: for Willard, each new encounter reveals more about the Vietnam War and about Kurtz. At the same time, the plot creates a regressive temporal pattern: Willard’s journey up the river takes him farther and farther away from a civilized world, returning him to his most primitive instincts.

The mostly first-person voiceover narration of Apoca- lypse Now focuses primarily on what Willard sees around him and on his thoughts about those events. At times, the narration extends beyond Willard’s perspective, showing actions from the perspective of other characters or from a more objective perspective, while still representing the other characters and events as part of Willard’s confused impressions. Bound mostly to Willard’s limited point of view, the narration colors events and other characters with a tone that appears alternately perplexed, weary, and fascinated. As a function of the film’s narration,

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plot and Narration in Apocalypse Now ( 1979 )

See also: The Deer Hunter (1978); Platoon (1986); Full Metal Jacket (1987)

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To watch a video about narration in Apocalypse Now, see the Film Experience LaunchPad.

6.43 Apocalypse Now (1979). Toward the end of his journey and the film, one of many shots that approximate the point of view of Willard, the film’s narrator.

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Wes Anderson’s Fantastic Mr. Fox uses stop-motion animation to bring a much-loved Roald Dahl children’s book to life. The tale pits three ruthless farmers against Mr. Fox’s thrill-seeking thievery, pull- ing an array of animals into the fray in the process. Taking Ander- son’s predilection for telling stories through mise-en-scène to its extreme, the film sets its largely underground action within an elab- orately textured design. Since characters, props, and sets are all constructed, the film relies on the coordination of figure movement and lighting to direct the viewer’s attention to narrative elements.

A scene depicting the displaced animals’ new home in Badger’s Flint Mine opens with Mole playing the piano in a relaxed manner reminiscent of 1950s Hollywood [figure 2.39a]. The space is large and tastefully lit by candles and a garland of what appears to be fruit and fake flowers entwined with twinkling lights. Even in this first im- age, however, the storage racks in the background indicate that the gracious living of Badger’s home is being challenged by an influx of refugees and the hoarding of stolen supplies.

The camera tracks right to a kitchen area [figure 2.39b]. Bright, cheery lighting highlights Rabbit chopping ingredients for a commu- nal meal, and the cramped space and detailed abundance of food (like the roasting rack of stolen chickens) indicates both the large number and the camaraderie of the refugee animals.

The camera moves right again to Mr. Fox and Badger, strolling past the opening to a bedroom where the feet of an exhausted ani- mal can be seen lying on a top bunk [figure 2.39c] and discussing the sustainability of the group’s current living arrangement.

The scene ends at a punch bowl [figure 2.39d], beyond which the makeshift aspects of the living arrangements are evident: stolen cases of cider, bags of flour, and chicken carcasses are stored in the background. It is at this point in the shot that Ash, Mr. Fox’s son, believing decisive action is needed to restore Mr. Fox’s honor, asks his cousin Kristofferson to help him retrieve his father’s tail from the ferocious Farmer Bean.

Production design by Nelson Lowery richly colors this tale in which animals dress and act more human than the humans hunting them.

mise-en-scène in Fantastic Mr. Fox (2009)

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To watch a video about the mise-en-scène of Fantastic Mr. Fox and a clip from the film, see the Film Experience LaunchPad.

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f o u r t h E d i t i o n

t h E f i l m E x p E r i E n c E An Introduction

Timothy Corrigan University of Pennsylvania

Patricia White Swarthmore College

Bedford/St. Martin’s Boston  •  New York

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For Bedford/St. Martin’s

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