VYTAUTO DIDŢIOJO UNIVERSITETAS Rita Varanauskaitė GROŽINĖS LITERATŪROS KŪRINIO VERTIMAS Į KINO NARATYVĄ

VYTAUTO DIDŢIOJO UNIVERSITETAS HUMANITARINIŲ MOKSLŲ FAKULTETAS ANGLŲ FILOLOGIJOS KATEDRA

Rita Varanauskaitė

GROŽINĖS LITERATŪROS KŪRINIO VERTIMAS Į KINO NARATYVĄ: ROMANO „ANGLŲ LIGONIS“ IR APSAKYMO „KUPROTAS KALNAS“ EKRANIZUOTŲ VERSIJŲ PALYGINAMOJI ANALIZĖ

Magistro baigiamasis darbas

Taikomosios anglų kalbotyros studijų programa, valstybinis kodas 621Q30002 Filologijos studijų kryptis

Vadovė e.prof.p.dr. Milda Danytė ______(parašas) (data)

Apginta prof. I. Dabašinskienė ______(Fakulteto dekanė) (parašas) (data)

Kaunas, 2012

TRANSLATING FROM ONE NARRATIVE MEDIUM TO ANOTHER: A COMPARATIVE ANALYSIS OF SOME ASPECTS OF THE FILM VERSIONS OF THE NOVEL THE ENGLISH PATIENT AND THE SHORT STORY “BROKEBACK MOUNTAIN”

By Rita Varanauskaitė

Department of English Philology Vytautas Magnus University Master of Arts Thesis Supervisor: Prof. Dr. Milda Danytė May 2012

TABLE OF CONTENTS

SANTRAUKA

SUMMARY

1 INTRODUCTION ...... 1

2 TRANSLATION OF PLOT FROM PROSE FICTION TO CINEMA COMPARING THE

ADAPTATION OF PLOT DURATION IN CINEMATIC VERSIONS “BROKEBACK

MOUNTAIN” AND THE ENGLISH PATIENT…………………………………………………..4

2.1 The Concept of Duration in Narratological Theory and Its Manipulation in the

Cinematic Translation of “Brokeback Mountain” and The English Patient ………..……...6

2.1.1 The Use of Summary in Prose Fiction and Film Narratives: How They

Function in the Cinematic Version of “Brokeback Mountain” ..………...…………....7

2.1.2 The Use of Scenes in Prose Fiction and Film Narratives: How They Function in

the Cinematic Versions of “Brokeback Mountain” and The English Patient …...... 11

3 USING THE CONCEPT OF ORDER TO ANALYSE CHANGES MADE IN

NARRATIVE FROM ONE MEDIUM TO ANOTHER …………..…………………………...18

3.1 The Concept of Order and its Application to the Prose and Film Versions of

“Brokeback Mountain” and The English Patient ………………………………………....19

3.2 Addition as a Procedure in Creating Cinematic Versions of Annie Proulx‟s

“Brokeback Mountain” and Michael Ondaatje‟s The English Patient …………………...24

3.3 Omission as a Procedure in Creating Cinematic Versions of Annie Proulx‟s

“Brokeback Mountain”….………………………………………………………………...33

4 STYLISTIC TRANSLATION: HOW CINEMATIC SOUND EFFECTS AND MUSIC

SUBSTITUTE FOR DESCRIPTIVE PROSE ……………………………………………….….35

4.1 Some Fundamental Terminology in Cinematic Music: Definitions and Analysis ……38

4.2 Use of Internal Music in The English Patient and “Brokeback Mountain” …………..45

4.3 Use of External Music in The English Patient and “Brokeback Mountain” ………….48

5 CONCLUSION ……...…………………………………………………………………………..50

6 APPENDIX A: Summaries of “Brokeback Mountain” and The English Patient ………....….…52

7 APPENDIX B: Tables of Episodes in the Four Texts .…………………………………………..53

LIST OF REFERENCES ………………………………………………………………………....82

SANTRAUKA Šiame magistro darbe nagrinėjami dviejų groţinės literatūros kūrinių, Annie Proulx apsakymo „Kuprotas kalnas“ bei Michael Ondaatje romano „Anglas ligonis“ vertimai į kino naratyvą. Amerikiečių rašytojos Annie Proulx (g. 1935) apsakymas “Kuprotas kalnas” pirmą kartą buvo išspausdintas jos apsakymų rinkinyje „Artimos prerijos: Vajomingo pasakojimai“. Apsakyme vaizduojama dviejų homoseksualių kaubojų, Ennie del Mar bei Jack Twist„o, sukaustytų to laikmečio socialinių normų, nelaiminga meilės istorija. 2005 m. tailandiečių kilmės reţisierius Ang Lee (g. 1954), remdamasis apsakymo motyvais, pastatė to paties pavadinimo filmą. Kito kūrinio autorius – Michael Ondaatje (g. 1943) - Šri Lankojo gimęs kanadiečių rašytojas. Jo romanas „Anglas ligonis“ (1992) vaizduoja keturių veikėjų, susitikusių antrojo pasaulinio karo Italijoje, likimus. Istorijos centre – dramatiška meilės istorija tarp Almasy - stipriai per karą apdegusio anglo ligonio, bei jo mylimosios, tragiškai ţuvusios Katharine. Šio darbo tikslas – palyginti du groţinės literatūros kūrinius su pagal juos pastatytais kino filmais. Šiame darbe remiamasi Mieke Biel bei Monika Fludernik naratologijos darbais apie kūrinio laiko traktavimą. Taip pat naudojamasi Seymour Chatman, Marshall McLuhan, Robert Stam, Bernard Dick, Brian McFarlane bei Karsten Lund moksliniais darbais apie groţinės literatūros kūrinių adaptavimą. Be to, remiamasi James Buhler, David Newmeyer, Rob Deemer, Kathryn Kalinak ir Lawrence MacDonald teorijomis apie kino filmų garso takelių funkciją. Šis magistro darbas yra sudarytas iš penkių dalių bei dviejų priedų. Pirmoje dalyje pristatomas darbo tikslas bei trumpai aptariama prozos vertimo į filmą terminologija. Antroje dalyje aptariamos groţinės literatūros kūrinių „Kuprotas kalnas“ bei „Anglas ligonis“ ekranizacijos. 2.1 skyriuje, padalintame į du poskyrius, aprašoma „laiko trukmės“ sąvoka: 2.1.1 poskyryje aptariama laiko santraukos, vartosena, o 2.1.2 poskyryje kalbama apie scenų reikšmę prozos bei kino kūriniuose. Trečia darbo dalis yra padalinta į tris skyrius. 3.1 skyriuje analizuojama kūrinio išdėstymo tvarka; 3.2 skyriuje kalbama apie kūrinio įvykių bei veiksmų papildymą, o 3.3 skyriuje – apie veiksmų praledimą. Ketvirta darbo dalis yra padalinta į tris skyrius. 4.1 skyriuje pristatoma svarbiausia filmo muzikos terminologija; 4.2 skyriuje analizuojama vidinė, filmo veikėjų atliekama arba girdima, muzika, o 4.3 aptariama išorinė, filmo veikėjų negirdima, muzika. Penkta darbo dalis – išvados. Taip pat, priede A yra pristatomi dviejų istorijų trumpi atpasakojimai, o priede B pridedamos keturios lentelės, kuriose pavaizduoti visų keturių, groţinės ir kino, kūrinių įvykiai chronologine tvarka, bei jų trukmė.

SUMMARY This thesis analyses how one narrative medium is translated into another, and compares Annie Proulx‟s short story “Brokeback Mountain” and Michael Ondaatje‟s novel “The English Patient” and their cinematic adaptations. Annie Proulx (b. 1935) is an American writer whose short story “Brokeback Mountain” was first published in 1997 in her collection of short stories Close Range: Wyoming Stories. The story describes the tragic love affair between two homosexual cowboys, Ennis del Mar and Jack Twist, who cannot be together because of the social norms of the period. In 2005 the short story was translated into the film by Taiwanese director Ang Lee (b. 1954). Michael Ondaatje (b. 1943) is a Canadian writer of Sri Lankan origin. His novel The English Patient tells about four different people who meet in an Italian Villa during World War Two. The story centres on the dramatic love affair between Almasy, also known as the English Patient as during the war he gets badly burned, and Katharine, who dies tragically. The goal of this thesis is to compare how two prose fiction works are translated into films. The study uses narratological theory about the treatment of time by Mieke Bal and Monika Fludernik. Further, adaptation studies by Seymour Chatman, Marshall McLuhan, Robert Stam, Bernard Dick, Brian McFarlane and Karsten Lund are described. In addition, this thesis also uses the theories about the function of film music developed by James Buhler, David Newmeyer, Rob Deemer, Kathryn Kalinak and Lawrence MacDonald. The present work is divided into five sections and has two appendices. Section One introduces the purpose of the analysis and provides some information about the main objects of the study. Section 2 deals with the translation of plot from prose fiction to cinema in terms of plot duration in the cinematic versions of “Brokeback Mountain” and The English Patient. Subsection 2.1, which is divided into two sub-subsections, presents the concept of duration: 2.1.1 analyses the use of summary, as one aspect of the duration, while 2.1.2 deals with the use of scenes in prose fiction and cinema. Section Three is divided into three subsections. Subsection 3.1 analyses the concept of order and its application in cinematic versions of the stories; Subsection 3.2 explains the procedure of addition, while Subsection 3.3 deals with omission, as a procedure of cinematic creation. Section Four is divided into three subsections: Subsection 4.1 provides some fundamental music terminology; Subsection 4.2 analyses the use of internal music, and Subsection 4.3 deals with the use of external music. Section Five of this thesis, the conclusion, summarizes the main ideas presented in this work. Appendix A provides the summaries of the stories, while Appendix B includes four tables, which represent the actions of the four works and their duration.

1. INTRODUCTION

Inter-media studies look at how cultural works are moved from one medium into another, and what happens in this process. Currently the term “translation” is often used for what is also often called adaptation. The reason for preferring the term translation is that adaptation has the connotation that the source work is somehow more original and superior to the target work. Linda Hutcheon, who does use the word “adaptation” in her studies, admits that

The desire to transfer a story from one medium or one genre to another is neither new nor rare in Western culture. Re-mediation, in this sense as translation, has accompanied the use of media throughout history and, correspondingly, has been a frequent point of discussion or even sharp debate. Different terms are conventionally employed in different discursive contexts, e.g. the term “adaptation” is often used to discuss the transposition of a literary source to film and the word “reproduction” is typically used to describe the translation of an artwork via photographic means for publication in print media; but in the study of media these processes can effectively be approached as instances of translation. (Lund)

Karsten Lund, a specialist on inter-media studies points out that the word translation does not necessary refer only to movement from one language to another: “the most widely recognized definition of translation may be, “the process of turning one language into another,” but the Oxford English Dictionary also provides the definition, “the expression or rendering of something in another medium or form, e.g. of a painting by an engraving or etching” (Lund). She also refers, as media-studies often do, to the work of Marshall McLuhan, for, as she writes, “media are not merely sites of translation (as in linguistic translations), or, alternately, the paired origin and destination of a trans-formative process (as in the expression of one form in another), but are in fact translators themselves” (Lund). The topic of this thesis is one of the kinds of inter-media studies which have received the most scholarly attention: the creation of a film narrative based on a prose fiction narrative. In Understanding Media McLuhan argues that cinematic and book narratives are very similar media in their effect on their audiences: “Typographic man took readily to film just because, like books, it offers an inward world of fantasy and dreams. The film viewer sits in psychological solitude like the silent book reader” (McLuhan 292). However, McLuhan is very aware of the different technologies of media and goes to assert that “film is not really a single medium like song or the written word, but a collective art form with different individuals directing colour, lightning, sound, acting, speaking” (McLuhan 292). There are a great number of books on film theory and comparisons of novels and films. This thesis, however, is not concerned with whether a film is or should be faithful to the prose 7 fiction narrative it is based on. A film narrative is treated as an original work, just as a novel based on a fairy tale or historical event is still considered an original work. Very often film adaptation is looked at as either being faithful or not faithful to the written work, mostly because the prose work tends to be created first. However, what is more interesting to examine is the media differences which are evident when the same narrative is used. This thesis draws a comparative analysis between the cinematic translations or adaptations (the words are treated as synonyms in this study of two prose fiction works). In part, the two stories under analysis were chosen because of their thematic similarities. “Brokeback Mountain” and The English Patient are both stories of forbidden and tragic love. Both stories were also critically acclaimed and very popular with readers and viewers. Finally, both films have won awards for their soundtracks, which are analysed as a type of a stylistic translation of prose features. “Brokeback Mountain” (1997) is a short story written by the American author Annie Proulx (b. 1935). The short story has won many awards, and was highly acknowledged by the readers. As a result, in 2005 the Taiwanese American film director Ang Lee, from the screenplay by Diana Ossana and Larry McMurtry, adapted the story to the screen. The actors who play the main characters in the film, Heath Ledger and Jake Gyllenhaal, for their roles in the film won the Golden Lion at the Venice Film Festival, a Golden Globe Award, and the Academy Award. The action of the story starts in Wyoming 1963. Two cowboys, Ennis del Mar and Jack Twist meet on Brokeback Mountain and fall in love. The action of the story spans a period of twenty years. Ennis and Jack, who during that time both get married and have children, are forced to hide their love for each other from the rest of the world, as at that time homosexual relationships were considered to be perverse. At the end of the story, the two men are separated not by social norms but by Jack‟s sudden death. Although many readers and viewers refer to “gay literature” or “gay film”, according to Annie Proulx, hers it is “a story about two inarticulate, confused Wyoming ranch kids in 1963 who have left home and who find themselves in a personal sexual situation they did not expect, understand nor can manage” (Proulx in Testa). The English Patient is a novel by the Sri Lankan Canadian writer Michael Ondaatje (b. 1943). The novel was published in 1992 and was also greatly praised by the critics and by its readers. In 1996 the American director Anthony Minghella, fascinated by the novel, wrote a film script and created a very successful film. The film won nine Academy Awards, including one for Best Picture. The story centres on four characters: the Canadian nurse Hana (played by Juliette Binoche), an unknown, badly burned patient that everyone, because he has apparently lost his memory but has a British accent, calls the English patient (Ralph Fiennes), a former spy for the Allies, the Italian Canadian Caravaggio (Willem Dafoe), who had his thumbs cut off during a Nazi 8 interrogation, and an Indian sapper Kip (Naveen Andrews), who neutralizes German bombs and mines in the Italian countryside. The characters meet in an Italian villa in Tuscany, and are joined by love, hatred, friendship, and their pasts, which they want to run away from. The action takes place in 1945, at the end of the Second World War; however, a significant part of the story is told through the flashbacks which reveal the past secrets of these characters. In the film, on the other hand, the main focus of the story is on the tragic love between Almasy and Katharine, a young English woman whose jealous husband crashes the plane they are in. She is still alive but dies alone in a cave because Almasy caught by the beginning of the war, cannot return with help in time. Although the director and the screenplay writer Anthony Minghella and the producer Saul Zaentz, in Minghella‟s words, “both were inspired to make [the film] by the vivid images Ondaatje painted in his novel”, they at first did not know how to make it work on screen (Minghella). The differences in the film and novel media and their requirements, such as the more limited length of the film, influenced the final version of the film. The last reason for the choice of the specific works is that, though both are prose fiction, one is a short story and the other a novel, which influences the way they are presented on the screen. The short story “Brokeback Mountain” is only 35 pages long. Due to its brevity, the short story‟s adaptation required additional material to be included in the film, which means that the narrative had to be expanded to make it into a full-length film. The director Ang Lee had to create more episodes and dialogues, and to expand the role of the minor characters. The novel The English Patient, on the other hand, with its four plot lines, had to be cut in order to fit into the usual length of a feature film. There are two different kinds of theoretical sources used in this analysis. Narratological concepts used to analyse the treatment of time in any kind of narrative are very useful for comparing the prose fiction and cinematic narratives in a precise way: the main critics used are Gerald Prince, Mieke Bal, and Monika Fludernik. Furthermore, theoretical work and terminology more specifically on cinema as a medium, based on the ideas of James Buhler, Seymour Chatman, Kathryn Kalinak, and Bernard Dick, are also very important. Methodologically, the preliminary task was to break down the four narratives into episodes and establish not only their content but also their length. Prose fiction was counted by the number of lines or pages, while the film narratives were counted by the time an episode or scene fills. This material is presented in total in the Appendix B. This thesis is divided into five sections and two appendices. Section 2 deals with the translation of plot from prose fiction to cinema in terms of plot duration in the cinematic versions of “Brokeback Mountain” and The English Patient. First, Subsection 2.1 defines the concept of duration from the perspective of narratology theory and provides some examples of the 9 manipulation of duration in the two cinematic works under analysis. Then, 2.1.1 discusses the use of summary in the prose fiction and film narratives, providing examples from “Brokeback Mountain” and The English Patient. Further, Subsection 2.1.2 describes the use of scenes in the prose fiction and its equivalents in cinema and gives the examples from the works under analysis. Then, Section 3, which is divided into three subsections, discusses the concept of order, and analyses the changes that are made when translating from one medium into another. First, Subsection 3.1 deals with the concept of order and its application to the prose and film versions of “Brokeback Mountain” and The English Patient. Subsection 3.2 explains how the procedure of addition works when creating cinematic versions of a short story. Subsection 3.3 deals with the concept of omission as another procedure used to create a cinematic version, working from a novel that has too much material. Further, Section 4 deals with cinematic sound effects and music as a substitute for descriptive prose. Subsection 4.1 provides some definitions and terminology in regards to cinematic music. Then Subsection 4.2 analyses the use of internal music in both films under analysis, while Subsection 4.3 explains the use of external music in “Brokeback Mountain” and The English Patient.

2. ADAPTATION OF PLOT AND CHARACTERIZATION FROM PROSE FICTION TO CINEMA IN BROKEBACK MOUNTAIN AND THE ENGLISH PATIENT

As a narrative genre, film has certain advantages in comparison to prose fiction. First, it presents visual images which have an immediate and powerful effect on the audience. Their effect can be strengthened with music, lights, camera work or the director‟s and actors‟ interpretations. Although prose and cinematic narratives are very different in form and in representation since they belong to different medias, in Bryce Moore‟s words, “people have been comparing novels to film ever since the first adaptations were made” (Moore). Adaptations are also often called a „translations‟, as Moore asserts, because “a director and his actors translate the story from the written page into a visual presentation” (Moore). The result of such a translation depends on the interpretations by many people who work together. The interpretation of a work of prose fiction, on the other hand, depends on two people, a writer who shapes and structures a narrative and a reader who is guided to a certain kind of understanding of the text. For this thesis, it is also necessary to briefly refer to the specific features that distinguish a short story from a novel. The genre of short story differs from other prose fiction genres in length

10 and in the number of characters who have roles in it. According to Arlen Hansen, the short story is briefer than the novel and has fewer characters. What is more, as Hansen states, this brevity “encourages economy of setting, concise narrative, and the omission of a complex plot; character is disclosed in action and dramatic encounter but is seldom fully developed” (Hansen). However, although it has many limitations, Hansen states that short story fiction still offers the possibility of “the complete or satisfying treatment of its characters and subject” (Hansen). Another important aspect of the genre, as Geoffrey Grimes suggests, is the relation between the major characters and the minor characters; major characters “control the action, events, and decisions” while minor or supporting characters “respond to or receive the effects of the major characters” (Grimes). This also means that the main characters get much more attention than the secondary characters in the short story and the action is usually centred on them. Grimes adds that a specific short story, setting, or where and when a story takes place, may also be essential to the action and its conflict, or may play only a supporting role (Grimes). In comparison to the short story, a novel is a much longer narrative which can have many characters, more than one plotline, and action that moves from one setting into another. Considering genre specificities, there are some major problems that a film director has to face while adapting a story to the screen for a full-length film. In order to translate any prose narrative into a feature film, some scenes, characters, or plot elements normally have to be added or deleted. Very often it happens that the adaptation has few similarities to the original work. This is important if the prose narrative source is well-known, for a film is often assessed as being a faithful or unfaithful adaptation of the original novel. As Brian McFarlane states, fidelity to the novel is considered because the book comes prior to the film. He adds that written literature is still traditionally considered as being more respectable than cinema (McFarlane 8). Nonetheless, the general tendency now is that the literary and cinematic works should be evaluated and appreciated on their own, regardless of connections to a work in another media. Michael Ondaatje‟s The English Patient is 301 pages long and a very detailed novel so that Anthony Minghella had to make certain decisions of what to include into a 180-minute-long film and what could be cut out. For example, in the novel four characters get almost equal attention, while the film centres its story line on the English patient, with other plot lines being merely supportive. Nonetheless, The English Patient can be considered being a faithful adaptation of at least a central part the novel which, due to the limitations of the film genre format, had to be reduced. According to Robert Stam, such essential changes are common. He states that usually adaptations concentrate on plot events and central characters, as the film makers “tend to sacrifice “extra” characters from the novels” or sometimes even add extra characters; the characters could be 11 also “subtly changed” (Stam 71).This is why Kip, whose story takes approximately a quarter of the novel, in the film plays only the secondary role of a man who helps Hana to recover and to believe in love again; all the sections of the novel about his experiences as an Indian treated with disrespect in a British army run by whites are eliminated. There are many ways to analyse a film adaptation. This part of the thesis concentrates on an aspect of the story, concerning the treatment of time, duration. Subsection 2.1 deals with the concept of duration and analyses how it is manipulated in the cinematic versions of “Brokeback Mountain” and The English Patient. Subsection 2.1.1 speaks about the use of summary of the narrative events; then Subsection 2.1.2 analyses examples of the type of duration called scene.

2.1 The Concept of Duration in Narratological Theory and Its Manipulation in the Cinematic Translation of “Brokeback Mountain” and The English Patient

According to Mieke Bal, the events that occur in a literary or cinematographic work can be defined as a process that changes, develops, and therefore “presupposes a succession in time or a chronology” (Bal 208). In a text the events occur at a certain point in time and in a particular order (Bal 208). What is more, each episode takes a certain amount of time, which is called its duration. The issue of duration is an interesting one in terms of its importance to the narrative structure. The episodes which last longer, or are of longer duration, are usually treated as being of greater importance to the overall story, while those which are of shorter duration, can often be interpreted as being of lesser significance, and have less effect on the reader or audience. To analyse duration and other features of the use of time, the theory of narratology distinguishes two different concepts: story and discourse. The term story refers to all the events in their chronological order, while the writer‟s choice variations in which these events are told, not all of them and not necessarily in their true chronological order (Chatman 19). The discourse is the text or film itself. As for duration, Chatman states that it “concerns the relation of the time it takes to read out the narrative to the time the story events themselves lasted (Chatman 68). He suggests five types of possibilities for duration:

1. Summary, when discourse-time is shorter than story-time. 2. Ellipsis, or omission, when discourse-time is shorter than story-time, but discourse-time equals zero. 3. Scene, when discourse-time and story-time are equal. 4. Stretch, when discourse-time is longer than story-time. 5. Pause, when discourse-time is longer than story-time, but story-time equals zero, as in a description of a place that interrupts the events. (Chatman 68)

The first type of story duration, summary, is normally used to present the general idea of the events, while scene represents the dialogues and actions that occur in a full way. The two most common types of duration used in both the prose and film “Brokeback Mountain” and The English Patient are summary and scene. This subsection of the thesis analyses the duration of certain events in the short story “Brokeback Mountain” and its visual adaptation by Ang Lee, as well as in the novel The English Patient and its cinematic adaptation by Anthony Minghella. In order to analyse the duration of certain scenes in the novel and in the film, the events in them have been listed in terms of time, setting and duration (see Appendix B). The duration of the scenes is determined by the number of the lines and/or the pages in the literary works, and in terms of the seconds and/or minutes in the films. The results of the analysis are presented in the form of percentages.

2.1.1 The Use of Summary in Prose Fiction and Film Narratives: How They Function in the Cinematic Version of “Brokeback Mountain”

According to Seymour Chatman, a summary is a type of time relation between the discourse-time and story-time, when “the discourse is briefer than the events depicted” (Chatman 68). For example, an event, which in the story may last for 3 years, is described in only a few sentences. Normally, certain words and especially time references are used in order to indicate a summary. For instance, in “Brokeback Mountain” readers are told that “In December Ennis married Alma Beers and had her pregnant by mid-January” (Proulx 293). The time references used “in December” and “by mid-January” indicate that the time which passed between the marriage and the pregnancy is about a month; however, it is described in half a line. In “Brokeback Mountain”, although the time span of the story is approximately twenty years, events are told in only thirty-five pages (pp. 283-318). As a result, the action and the plot of the story are very concentrated. Some elements of the story, like the beginning of the love affair between the two main characters, Ennis and Jack, or the events which took place during the summer in 1963 are more fully described and defined, while most later events are more briefly mentioned. Table 1 illustrates the events that occur in the period of four years after Ennis left Brokeback Mountain and Jack, until he received a postcard from him.

Table 1. The Duration of Events in Annie Proulx’s Short Story “Brokeback Mountain” Time Setting Event Duration 1963 Riverton, Episode 5A. Ennis and Alma. Ennis and Alma get 0.5 line December Wyoming married. 1963 Riverton, Episode 5B. Alma gets pregnant. 0.5 line Wyoming 13

1960s Riverton, Episode 5C. Ennis works in the ranch 1 line Wyoming 1964 Riverton, Episode 5D. Ennis‟s first daughter is born. 1 line September Wyoming 1960s Riverton, Episode 5E. Ennis and his family move to a small 1 line. Wyoming apartment. 1960s Riverton, Episode 5F. Ennis gets a new job on the highway 1 line Wyoming crew. 1960s Riverton, Episode 5G. Ennis‟s second daughter is born. 1 line Wyoming

As this table shows, during those four years, Ennis gets married, changes his job twice, moves, and has two children. These are major events in his life but they are described and summarized in one page. This brevity indicates that these events are not considered to be of great importance within the narrative to the love story between Ennis and Jack. In addition, it can be stated that Annie Proulx creates the illusion of time passing very quickly when the two lovers are not together. In the film Brokeback Mountain, summary of events is less common, as the film is of greater length than the short story. Nonetheless, sometimes duration is manipulated in order to achieve the same effect as Annie Proulx, that is, to create the illusion of time passing quickly when the two men are apart, in contrast to the times when they are together. The same period of Ennis‟s life listed in Table 1 is represented in Table 2 for the film: Table 2. The Duration of Events in Ang Lee’s Film Brokeback Mountain Time Setting Event Duration 1963 Riverton, WY Episode 12A. Ennis and Alma. Ennis and Alma [0.44.02- play in the snow. 0.44.29] 1963 Riverton, WY Episode 12B. Ennis works at the road company. [0.44.30- 0.44.47] 1963 Riverton, WY Episode 12C. Ennis and Alma watch a film in the [0.44.48- car. Alma is pregnant. 0.45.06] 1960s Riverton, WY Episode 12D. Alma and Ennis‟s daily life. They [0.46.41- have two children. 0.48.00] 1960s Riverton, WY Episode 12E. Alma wants to move to the city. [0.48.01- Ennis and Alma have sex. 0.50.23] 1960s Riverton, WY Episode 12F. Ennis and his family celebrate [0.52.02- July 6 Park Independence Day. He gets into a fight. 0.53.30] 1960s Riverton, WY Episode 12G. Ennis brings the children to the shop [0.58.04- The shop where Alma works. 0.59.35]

The scenes from Ennis‟s life with Alma in the film are very short, lasting about 30 seconds and they are interchanged with the scenes from Jack‟s life. According to Chatman, such a “montage-sequence” of a number of shots normally shows some “selected aspects of an event or sequence” and are usually “integrated by continuous music” (Chatman 69). In the illustrations below, the same events described in Table 2, are given.

Illustration 1. Ennis and Alma married [Lee, 0.43.51] Illustration 2. Ennis and Alma playing [Lee, 0.44. 06]

Illustration 3. Ennis works on the roads [Lee, 0.44.31] Illustration 4. Alma is pregnant [Lee, 0.45.00]

Illustration 5. Ennis has two children [Lee, 0.47.53] Illustration 6. Ennis’s family in the park [Lee, 0.52.17]

Visual indications, such as the changing appearance of the characters (Alma‟s pregnancy), the age of the children, and growing number of children that Ennis and Alma have indicate the passage of time. Further, images of the time of the year (spring, summer, autumn, or winter) also help to show time passing. The connection between the scenes is kept with the use of the same music theme, a technique which will be discussed in Section 5. Proulx‟s “Brokeback Mountain” is the love story of two people who cannot be together because they are homosexuals in a society that condemns the love of two men. The length of their love affair (20 years) is an indication of the strength of their relationship so that the indication of the time continuity of their love affair is an important aspect of the story. Other parts of the story, when Ennis and Jack are not together, as has been stated, are most often summarized:

Table 3. The order of events in Annie Proulx’s short story “Brokeback Mountain” Time Place Episode Duration 1967 Riverton, Episode 7A. Ennis and Jack’s Reunion. Jack comes 23 lines Wyoming to visit Ennis. 1967 Riverton, Episode 7B. Alma sees Ennis and Jack kissing. 7 lines Wyoming 1967 Riverton, Episode 7C. Ennis introduces Jack to Alma. All three 32 lines Wyoming speak about their families 1967 Riverton, Episode 7D. Jack and Ennis go to a motel and have 5 lines Wyoming, sex. Motel Siesta 1967 Riverton, Episode 7E. Jack and Ennis speak about their years 5 pages Wyoming, apart and discuss their future plans. Motel Siesta Late Riverton, Episode 8. Alma’s Knowledge. Alma and Ennis are 20 lines 1960s Wyoming growing apart. Late Brokeback Episode 9. Jack and Ennis meet at least twice a year. 1 lines 1960s- Mountain early 1970s 1973 Riverton, Episode 10. Ennis’s Divorce. Alma and Ennis get 1 line Wyoming divorced. 1970s Riverton, Episode 11. Thanksgiving. Ennis has Thanksgiving 47 lines Wyoming dinner at Alma‟s home. She reveals her knowledge of (1.5page) Alma‟s Home Ennis and Jack‟s affair. 1970s Brokeback Episode 12A. Ennis and Jack’s meetings. Jack and 15 lines Mountain Ennis keep meeting each other. 1970s Childress, Texas Episode 13. Lureen’s Inheritance. The father of 10 lines Jack‟s wife, Lureen, dies. She inherits his ranch. 1983 Brokeback Episode 12B. Jack and Ennis meet again. 5.5 page May Mountain 1963 Brokeback Episode 13. Remembering Summer 1963. Jack 30 lines Mountain remembers their last morning together on Brokeback (1page) Mountain in 1963. 1983 Riverton, Episode 14A. Jack’s Death. Ennis receives his 3 lines Wyoming postcard to Jack back with a stamp “deceased”.

As can be seen from Table 3, the events after Ennis and Jack reunite in 1967 until Jack‟s death in1983 are described in about 16 pages. The longest episodes are those when Ennis and Jack are together, Episode 7, which covers five pages, and Episode 12A and 12B, which together take up about six pages. The rest of their lives are summarized in, on the average, half a page per episode. The use of summary in the short story for those scenes when Jack and Ennis are not together is partly determined by the genre: certain events in a short story have to be omitted or summarized, especially when the story covers twenty years. In contrast, the technique of summary is used less often in the film, where instead the film director has to expand the events of the short story into the film. 16

2.1.2 The Use of Scenes in Prose Fiction and Film Narratives: How They Function in the Cinematic Versions of “Brokeback Mountain” and The English Patient

Another type of duration distinguished by Seymour Chatman is scene. The term itself suggests an episode on stage where the audience sees the events as they happen. As Chatman states, scenes normally include dialogues and “physical actions of relatively short duration” (Chatman 72). An example of this type of duration in “Brokeback Mountain” is one of the most dramatic episodes in both the story and film. After he finds out about Jack‟s sudden death, Ennis visits Jack‟s parents. He wants to ask for their son‟s ashes, in order to fulfil Jack‟s last wish that his ashes be scattered on Brokeback Mountain. The parents refuse to give him their son‟s ashes; however, they allow Ennis to visit Jack‟s old room in the house. The action in the scene in Annie Proulx‟s story, in which Ennis goes to Jack‟s room, can be broken down in the following manner:

1. Ennis goes up to Jack‟s bedroom. [1 line] 2. Ennis looks around the room. [10 lines] 3. Ennis notices Jack‟s old shirt from the Brokeback days in the closet. [10 lines] 4. Ennis remembers day when the shirt got blood on it. [6 lines] 5. Ennis notices his own shirt hanging inside Jack‟s one. [6 lines] 6. Ennis tries to smell Jack in the old shirt. [6 lines]

In total, the scene is described in 39 lines or approximately one page. Since the whole story is told in 30 pages, it can be said that this scene in Jack‟s room takes about 3% of the overall story, a significant amount. This scene is one of the most moving in the short story, and shows Ennis‟s deepest feelings, those which he was never able to express clearly to Jack. Still the duration of the scene is short, though within this page, many details are given: The closet was a shallow cavity with a wooden rod braced across, a faded cretonne curtain on a string closing it off from the rest of the room. In the closet hung two pairs of jeans crease-ironed and folded neatly over wire hangers, on the floor a pair of worn packer boots he thought he remembered. At the north end of the closet a tiny jog in the wall made a slight hiding place and here, stiff with long suspension from a nail, hung a shirt. He lifted it off the nail. Jack‟s old shirt from Brokeback days. (Proulx 312) The narrator describes the room with much attention to the details as Ennis is looking around it. This attention to detail demonstrates Ennis‟s need to know his lover, who once lived in the room, better, although he knows it is too late now. This is why all the small details, such as the “narrow boy‟s bed”, “an ink stained desk”, “rack-whittled rack over the bed”, “an ancient magazine photograph of some dark-haired movie star”, “a pair of worn boots”, and “faded cretonne curtain on 17 a string” are noticed by Ennis (Proulx 312). Moreover, the fact that Jack had hung Ennis‟s shirt inside his own is kind of symbolic way of showing their closeness, and the depth of his love as well. In the film Brokeback Mountain the scene is similar to the text created by Annie Proulx. The actions in the scene take place in this way: 1. Ennis climbs up the stairs [1.58.45-1.59.01] 2. Ennis comes to the room, looks around, and touches Jack‟s things. [1.59.02-1.59.30] 3. Ennis opens the window and looks through it. [1.59.31-1.59.53] 4. Ennis notices Jack‟s closet, and touches his shirts [1.59.54-2.00.09] 5. Ennis notices Jack‟s boots and touches them [2.00.10-2.00.23] 6. Ennis notices Jack‟s shirt, hidden in the corner of the closet. Inside the shirt he finds his own old shirt. [2.00.24- 2.00.53] 7. Ennis holds Jack‟s shirt closer to him and smells it. [2.00.54-2.01.15]

The scene lasts for about 3 minutes, which, in a 128-minute film, constitutes about 2.3% of the total time. This shows that the director‟s view of the importance of the scene is very similar to that of Proulx. Instead of the verbal description of the actions that take place in the short story, in the film every detail of the room is depicted through medium and close-up camera shots that show the character inside the room, often concentrating on his facial expression.

Illustration7. Ennis Examines Jack’s Room [Lee, 1.59.51] Illustration 7, an eye-level medium shot, shows Ennis sitting in Jack‟s room, looking through the window. The character tries to identify with Jack who once lived there in order to feel close to him. Ennis‟s hunched posture and the way his hands lie on his knees suggests how unhappy he is: he has lost everything of importance in his life and is now sitting by the window, seeking some answers for the future. What is more, Ennis looks uncomfortable in the position that he is sitting in, as if he feels out of place. The visual scene of the furniture is limited to essential things, though there is one

18 object, a little toy cowboy on a horse that can be seen lying on the table, showing that Jack lived there when he was a child, which is not in Proulx‟s description Another moment in the scene, depicted in Illustration 8, is an example of a close-up shot which, in comparison to the earlier medium-shot, concentrates the viewer‟s attention only on the character and his facial expression. This shows Ennis‟s inner feelings that in the short story are put into words: He pressed his face into the fabric and breathed in slowly through his mouth and nose, hoping for the faintest smoke and mountain sage and salty sweet stink of Jack but there was no real scent, only the memory of it, the imagined power of Brokeback Mountain of which nothing was left but what he held in his hands. (Proulx 312)

This action, described in four lines of the short story lasts just about 4 seconds in the film. In the literary work, though, it has to be put into words, so that the readers can create the image of the scene in their heads. In the film everything depends on the director‟s and the actor‟s interpretation of action in the scene, along with camera work and editing.

Illustration 8. Ennis smells Jack’s shirt [Lee, 2.01.12]

In Illustration 8, the action of smelling makes it seem that Ennis is trying to bring to life something about Jack. The actor‟s closed eyes show the strength of his emotions. This is a good example of how a strong director can translate a major episode from its prose original very successfully, using the specific features of cinema rather than words. The novel The English Patient presents different problems for the film director, since it contains a great variety of scenes of different lengths and details. For example, Michael Ondaatje gives a very detailed description of certain actions carried out in the novel. This is especially true concerning Kip, one of the four main characters in the novel. The readers are introduced to his background in India through flashbacks. The film director, however, chooses to present the story line of the English patient, Almasy, much more prominently than those of the other major

19 characters. As a result, Kip‟s character has much less time on screen than the other characters, especially Almasy. Still, one aspect of Kip‟s life, his work during the war, is used by Anthony Minghella in the film. Kip is a sapper trained to deactivate bombs during World War II. Two characters are highlighted in one such scene in the novel, Kip and his helper, the English sapper Hardy. As is shown in Table 4, the scene lasts for 7 pages, which takes about 2.3% of the novel. It is a dramatic and suspenseful scene which plays a major role in the depiction of Kip‟s character. At this point Kip, though accepted into an elite group of sappers and valued by their chief, Lord Suffolk, is not really accepted by English soldiers because he is a dark-skinned Indian.

Table 4. The Scene of “Deactivation of the Bomb” in the Novel The English Patient Time Setting Episode Duration 1941 Westbury, Episode 24M. Kip remembers how he was lowered into the 7 pages England pit to disarm the Esau bomb. [210-216] 1. Kip is lowered into the shaft (4 p.m.) 2. Kip lays his cheek to the bomb while thinking about the powerfulness of the device. 3. Hardy passes the tools to Kip. 4. Kip hums the song that he has heard Hardy singing before. 5. Kip starts working on the bomb. a. He wipes the area of fuze dry. b. He begins moulding a clay cup around the dry area. c. He opens the jar and pours some liquid oxygen into the cup. d. He taps the cap securely onto the metal. e. He starts waiting for the temperature to change. 6. Kip thinks about the closeness between him and the bomb. 7. Kip continues working on the bomb. (5p.m.) a. He dips cotton wool into the water and touches it to the casing near the fuze, to check whether it is already frozen enough. b. He pours more oxygen into the cup. 8. Kip waits. He thinks about the morning. 9. Kip continues pouring oxygen into the cup. 10. Kip freezes the fuze so that he can continue working on deactivating it. 11. Kip runs his hand down the bomb to make sure it is safe to continue working. 12. Kip and Hardy discusses what kind of bomb it is. 13. Kip asks Hardy to give him a microphone and leave. 14. Kip continues working on the bomb. He tells Hardy what he is doing: a. Kit begins removing the locker ring using a quilter key. b. Kip whistles and make jokes about Buckingham Palace. c. Kip pulls off the locking ring and the locating ring and lets them sink into the water. He has to wait another four minutes. d. Kip sings loudly in order to stay warm. 15. Kip‟s hand slightly slips because it is frozen and the head of the fuze breaks away. 16. Kip asks Hardy‟s advice. Hardy suggests they should leave but Kip asks for more oxygen to help continue his work. 17. Kip is angry with himself but he continues working: a. He pours more oxygen. b. He begins to shear metal off with a chisel. c. He pours more oxygen, waits, and continues chiseling. 20

d. He keeps cutting sideways into the metal around the lost fuze head, although his fingers are frozen. e. Kip continues working for another five minutes. 18. Kip sees the contact. 19. Kips cuts the contact. The bomb is deactivated. 20. Kip is pulled out of the shaft. He sees a crowd of soldiers surrounding him and Hardy now, watching. 21. Kips sits down exhausted.

Based on the references to the time given in the novel, the duration of the bomb deactivation takes over an hour. The detailed description of the actions in the scene shows how complex an operation this is. Kip works persistently because every small detail is important in order to deactivate the bomb without exploding it. It is mentioned several times that Kip whistles during the operation, which shows he knows what he is doing and, most importantly, sounds as though he is confident. Time references, such as “it would be another four minutes”, “six more minutes of frost”, and “it took 5 more minutes” (Ondaatje 212), build up suspense. Kip compares the bomb deactivation to surgery: “hoping the freezing would accept this kind of surgery” (Ondaatje 212). The situation changes when Kip‟s hand slips slightly because of the coldness and the fuze of the bomb breaks away. Kip, who up to then has been very sure of what he is doing, now feels less sure: “He could hardly keep his fury back at what had happened” (Ondaatje 212). The pace of the scene is very slow until this moment, and it quickens noticeably when Kip loses his sense of control. Now he asks Hardy what he should do, and his assistant suggests that they leave at once. It is clear that the situation has turned very dangerous. Yet Kip shows courage, determination and will in continuing, and the crowd of soldiers that gather at a safe distance is a tribute to these qualities. Instead of being an alien, for a short time Kip is a hero to his fellow soldiers. In the film the same kind of scene about Kip, defusing a bomb, is dealt with quite differently. First, the whole scene is transferred to Italy, to a place near the Villa where the four main characters are living. Then, in addition to Kip and Hardy, Hana appears as another character in the scene, along with the participants in a victory parade, people in the tanks, and other sappers. The chronological order of the events that happen in the film is presented in Table 5

Table 5. The Scene of “Deactivation of the Bomb” in Anthony Minghella’s Film’s The English Patient Time Setting Episode Duration

1945 The Episode 26A. Deactivating the Bomb. Hana and Kip sleep [1.54.37- Villa, naked in his bed. Hardy knocks on the door to say they have 1.55.34] Italy found a bomb. Kip has to leave. Stables 1945 Italy. Episode 26B. Kip works on a bomb in a shaft full of water, [1.55.35- Bomb below the viaduct. 1.56.01] 21

shaft 1945 Italy. Episode 26C. Hana rides a bicycle towards the shaft. [1.56.02- Road to 1.56.09] viaduct 1945 Italy. Episode 26D. Kip works on the bomb. [1.56.10- Viaduct 1.56.24] 1945 Italy. Episode 26E. Hana sees tanks and jeeps driving towards the [1.56.25- Road to viaduct. 1.56.34] viaduct 1945 Italy. Episode 26F. Kip tries to remove the cover of the fuse. [1.56.34- Shaft 1.56.43] 1945 Italy. Episode 26G. Hana watches the American tanks passing her. [1.56.44- Road to 1.56.50] viaduct 1945 Italy. Episode 26H. Tanks are going over the viaduct. Kip cuts the [1.56.51- Shaft bomb wires. 1.58.51] 1945 Italy. Episode 26I. Everyone celebrates the end of war. Hana and Kip [1.58.52- Viaduct kiss and embrace. 1.59.34] 1945 Italy Panoramic view of the hills and forests near the Villa. Storm. [1.59.35- 1.59.37]

The scene lasts for five minutes in the film (3.2%). There are no clear references to the passage of time but the camera shows the detailed and very precise work that Kip does on the bomb. The pace of the scene is much quicker than in the book, as the director adds a sub-plot to the scene by having a number of tanks driving towards the viaduct, under which the bomb is located. Like a typical action hero, Kip has to deactivate the bomb in time; otherwise, it will detonate and kill all these soldiers in the tanks. Short cuts from Kip to the scene outside the shaft are also a means to create suspense, as is Hana‟s riding a bicycle close to the viaduct. The main difference which can be noticed in Table 4 and Table 5 is the issue of time in the novel and in the film. As is shown in the novel, the action of this scene takes place in the middle of the war, while in Minghella‟s film the deactivation of the bomb is made to symbolize the end of World War II, as the action happens in 1945. The film director places this scene as one of the major action scenes near the climax of the film, while in the novel it is earlier and more significant as a deeper portrait of Kip. In the film scene of the bomb deactivation, the most common camera shots are close-ups which show what Kip sees at that moment, and high-angled shots, which also represent the setting of the scene. The process of the deactivation is filmed using mostly close-ups and extreme close- ups. During those shots the camera moves up to the bomb mechanism which Kip is working on with such precision. What is more, the camera is placed at such an angle that it creates the illusion that the bomb is seen through Kip‟s eyes. This produces an effect of intimacy between the viewers

22 and the character, as that the audience can identify with Kip. It also shows what precise work this is, as every detail matters, and increases the suspense.

Illustration 9. Kip freezes the detonator. [Minghella, 1.56.11] The focalizer of the scene is Kip, so that the camera shows the fuze as it is seen by him. Its close-up can be compared to the detailed description provided in the novel. Every detail of the shot is visible to the eye of the viewer. Another interesting technique that Anthony Minghella practices in his adaptation is the creation of longer scenes from short allusions in the novel. For example, in Ondaatje‟s The English Patient, there is no scene showing Katharine and Almasy as lovers in his room in Cairo, only a number of brief allusions. The first of the these is vague: In the desert the most loved waters, like a lover‟s name, are carried blue in your hands, enter your throat. One swallows absence. A woman in Cairo curves the white length of her body up from the bed and leans out of the window into a rainstorm to allow her nakedness to receive it. Hana leans forward, sensing his drifting, watching him, not saying a word. Who is she, this woman? (Ondaatje 141; italics in original)

Hana, who is listening to the English patient, notices this reference to “a woman in Cairo” and interprets her as Almasy‟s lover. Another allusion to days in Almasy‟s room appears in Part Five of the novel:

From Groppi Park they are out into the old city, South Cairo, markets, where few Europeans go. In his rooms maps cover the walls. And in spite of his attempts at furnishing there is still a sense of base camp to his quarters. They lie in each other‟s arms, the pulse and shadow of the fan on them […] Sometimes when she is able to spend the night with him they are wakened by the three minarets of the city beginning their prayers before dawn. He walks with her through the indigo markets that lie between South Cairo and her home. (Ondaatje 153-154)

In the film, based on such allusions, Anthony Minghella creates a coherent episode. After the sandstorm when Almasy and Katharine spend the night trapped in the car, they come back to Cairo. 23

Almasy goes to his hotel and falls asleep immediately. Later in the day he is woken up by Katharine who comes to visit him, and they make love for the first time [Lee 1.11.48-1.16.08]. This episode is a significant one because the lovers finally decide not to hide their feelings from each other and, despite the fact that Katharine is married, start their affair. During this film scene, Almasy and Katharine talk about the concept of ownership, using the same words as in Michael Ondaatje‟s novel: “She picks up a cushion and places it onto her lap as a shield against him […] “What do you hate most?” he asks. “A lie. And you?” “Ownership,” he says. “When you leave me, forget me” (Ondaatje 152). This short dialogue helps to show Almasy as an independent man, who puts his freedom above all. What is more, he feels sure that Katharine will eventually leave him and come back to her husband. In his film scene Minghella shows Almasy and Katharine together. Almasy is so passionate that he even rips Katharine‟s dress in taking it off her. Later, after they have made love, he is seen sewing the dress, a comic moment. None of this is in Ondaatje‟s novel, but it is true to the book in spirit. The love affair begins with passion and hope and only later becomes bitter. From these examples, chosen from many in the films, it can be seen what options film directors have in treating narrative material from prose texts. They may remain very close to the source text, as Ang Lee does with the last scene of the film, may use narrative from one episode in the source in another place in the time line, as Minghella does with Kip‟s deactivation of a bomb, or they may take scattered references out of chronological order in the source and put them together in a longer scene at different point in time sequence, as Minghella does with the Cairo love scene in The English Patient.

3. USING THE CONCEPT OF ORDER TO ANALYSE THE CHANGES MADE IN NARRATIVE FROM ONE MEDIUM TO ANOTHER

Another significant narratological concept that can be used in the analysis of narrative and the translation of a prose medium to a cinematic medium is order. The events in a narrative are given in an order chosen by the writer so that the choice made by the writer can be compared to the original choice. Annie Proulx‟s “Brokeback Mountain” is a story which is told mostly in chronological order, while The English Patient is developed by intertwining the present and past events in the lives of the four major characters. This section of the thesis deals with the concept of order as a tool for analysis in cinematic adaptation. First, in Subsection 3.1 the concept of order is discussed; then,

Subsection 3.2 discusses the use of addition of events in the two films; finally, Section 3.3 considers the use of omission in the film versions of “Brokeback Mountain” and The English Patient.

3.1 The Concept of Order and Its Application to the Prose and Film Versions of “Brokeback Mountain” and The English Patient

Order is the sequence of the events as they are presented in the narrative. According to Seymour Chapman, who quotes Gerard Genette, two types of story sequences can be distinguished: normal sequence, where story and discourse follow the same order, which is chronological, and anachronous sequence (Chapman 64). Chapman explains that when the discourse “breaks […] the story-flow to recall earlier events,” the anachrony is called a flashback (analepsis); a flashforward (prolepsis) appears when “discourse leaps ahead, to events subsequent to intermediate events” (Chapman 64). It is easy to spot flashbacks as they are often marked with a change in verb tense in a literary work, or, if it is a film, the memories can be indicated as Monica Fludernik explains “by dissolves, or sometimes by a switch to black-and-white photography” (Fludernik 34). In contrast, another kind of anachrony would be a flashforward, which, in Fludernik‟s opinion, is quite rare nowadays (Fludernik 34). This kind of technique could be used in order to create suspense as “concrete events are anticipated,” and the reader wants to know what happens next (Fludernik 46). For example, an episode may begin: “Bill did not realize that the events of this day would be critical”. “Brokeback Mountain” starts with two paragraphs which describe how the main character Ennis del Mar wakes up in the early morning, after having a dream about Jack Twist: “Ennis del Mar wakes up before five, wind rocking the trailer, hissing in around the aluminium door and window frames. […] He is suffused with a sense of pleasure because Jack Twist was in his dream” (Proulx 283). The story could be treated from two perspectives concerning the issue of time. The introductory part could be treated as the narrative present; then the rest of Proulx‟s story would be seen as the past. On the other hand, the introduction could be viewed as a kind of flashforward, or prologue, while the rest of the story is in the narrative present. This initial passage is clearly isolated from the rest of the story. First, it is written in italics. Second, it is also distinguished from what follows by the fact that mainly the present tense is used: “wakes”, “gets up”, “shuffles”, “is boiling”, and “strikes” (Proulx 283-284). Only one of the sentences is written in the past tense: “If he does not force his attention on it, it might stoke the day, rewarm that old cold time on the mountain when they owned the world and nothing seemed wrong” (Proulx 283-284). From this perspective, then, the story could be treated as Ennis‟s memories,

25 triggered by his dream about Jack. On the other hand, this initial, italicized passage could be viewed as a technique used in order to arouse interest in the readers and make them realize that the story will be concerned with the relationship between Ennis and Jack. Another indicator that this part differs from the rest of the story is Ennis‟s appearance and another reference to his age: “He gets up, scratching the grey wedge of belly and pubic hair”; “he might have to stay with his married daughter until he picks up another job” (Proulx 283). The total story time, thirty-five pages, spans twenty years. The flashforward which starts the story takes twenty-five lines of the story (approximately a page). The last image mentioned in this passage, however, is about “that old, cold time on the mountain”. This image creates a circular structure in the story; that is, it seems as if the story does not have a clear ending or beginning. On the other hand, the structure of a circle can be also seen as one of the main images of the story: a situation without any solution or exit. Both men love each other, and although they feel they cannot be together because of social pressure on homosexuals, they keep secretly meeting. They believe this is the only solution, as neither of them wants to end the relationship. Eventhough at the end of the whole story it seems that death has separated them, Ennis is still haunted much later by the image of Brokeback Mountain and Jack in his dreams. For him, Jack‟s death is not a solution or ending. In Ang Lee‟s cinematic adaptation this circular version of order in not kept, as the prologue about Ennis having dreams about Jack years later is entirely omitted. However, another significant flashback happens in both versions of “Brokeback Mountain”, in Episode 13 of the short story and Episode 34 of the film. During their last time together on the mountain, Jack and Ennis get into a fight. Jack wants them to spend more time together, while Ennis feels obliged to provide for his daughters, and thus cannot leave his job. As a result, Ennis drives away, while Jack follows him with his eyes, and remembers their last moment together:

What Jack remembered and craved in a way he could neither help nor understand was the time that distant summer on Brokeback when Ennis had come up behind him and pulled him close, the silent embrace satisfying some shared and sexless hunger. […] Later, that dozy embrace solidified in his memory as the single moment of artless, charmed happiness in their separate and difficult lives. Nothing marred it, even the knowledge that Ennis would not then embrace him face to face because he did not want to see nor feel that it was Jack he held. And maybe, he thought, they‟d never got much farther than that. Let it be, let it be. (Proulx 310)

The past tense verb “remembered” indicates that Jack is thinking about one of the best moments of his life. In the story, Jack is always the one who wants the two men to live together, while Ennis is always resistant. This memory gives a perspective on why Jack keeps coming back to Ennis. What is more, it is revealed that Jack always knows that he is more active in their relationship; thus the 26 repeated “let it be” signifies that Jack has lost hope that he will be able to change their relationship into something more open. The very next section of the text reveals to Ennis that Jack has died so that Jack‟s memory also serves as a summary of Jack and Ennis‟s relationship. After this, the story continues to the end through Ennis‟s mind and his feelings of deep sadness at the loss of Jack. In the film, this flashback to the summer on Brokeback Mountain starts when the shot of the present fades out into the past. The only indication that it is the past is the much younger appearance of Ennis and Jack, who, by this time, are about 40 years old.

Illustration 10 . Jack hugs Ennis in present [Lee, 1.48.19] Illustration 11. Fade out from present to past [Lee, 1.48.33]

Illustration 12. Ennis hugs Jack in flashback [Lee, 1.48.46] Illustration 13. Ennis leave (flashback)[ Lee, 1.49.29]

Illustration 14. Jack watches Ennis leave (flashback) [Lee, 1.49.36] Illustration 16. Ennis leave (present) [Lee, 1.49.39]

Illustration 17. Jack watches Ennis leave (present) [Lee, 1.49.47] Illustration 18. Scene fades out [Lee, 1.49.50]

Illustrations 10-18 show the order of the events of the scene under analysis, as they are presented in the film. Ennis and Jack get into a fight. Ennis starts crying, but Jack wants to hug him. Ennis seems to resent it, but Jack does it anyway, which is why, as seen in Illustration 10, they both fall on their knees. Then the scene fades away (Illustration 11), and a sleepy Jack, with Ennis hugging him from behind, is seen. It is revealed that this is their last morning on Brokeback Mountain, which means that the action took place in 1963. When Ennis rides away (Illustration 13), Jack follows him with love in his eyes (Illustration 14). Then, when the camera angle turns around, Ennis is seen in the present time driving away (Illustration 16). This time, when the camera moves to Jack again, the older present-day Jack is seen with bitterness on his face (Illustration 17), while he watches Ennis leave. Illustration 18 shows how the scene ends with a fade out. The present-day actions of the scene interchange with those of the past, though there is no clear indication of time change when the camera moves from Ennis to Jack, then turns to Ennis again. Only the changes in characters‟ appearances and the fact that in 1963 Ennis left on a horse, while in 1983 he leaves in a car, indicates the end of the flashback. In the short story, on the other hand, the flashback scene and the present are clearly separated with a white space between the two paragraphs (Proulx 310). It can be stated that the film director wanted to draw a clear parallel between the two times: Ennis is always the one who leaves, while Jack is the one who is left behind. The changes, though, are Jack‟s appearance and his facial expression, which is much more bitter in the later period than before. In the narratives, flashbacks are normally triggered by something. Sometimes, as in the previous example, it is a physical action like a hug, or familiar object, or the sound of a familiar song or story, as in The English Patient. For example, in the novel The English Patient, which is told mostly through flashbacks, one of the common memory triggers is Almasy‟s copy of the Greek writer Herodotus‟s Histories. There are two scenes in the film when the past and the present merge between each other. Episode 6 (“Katharine and the Story”) and Episode 7 (“Hana and the story”) intertwine when both 28 characters read the same story from Herodotus. When Hana starts reading the story, the patient immediately remembers the time he had heard Katharine reading it and he fell in love with her. Similarly, at the end of the film (Scene 36, “Fatal Dose”), Hana reads Almasy Katharine‟s letter, which she wrote before her death. Hana‟s voice in the narrative present intertwines with Katharine‟s voice reading the same letter. This scene reflects one of the main ideas of both the film and the novel, which is that there are no clear boundaries between the past and the present. What is more, Almasy hears the voices of both women that who cared about him before he dies. Though the present intertwines with the past in both versions of this narrative, an analysis of each episode shows whether the cinematic or prose stories concentrate more heavily on present events, or are more about the past. The film lasts for 2 hours and 36 seconds (156 minutes without the credits). Only about 60 minutes of the events happen in the present (38%), while 96 minutes (62%) depict events that happen in the past. Very similar results can be seen in the original work by Ondaatje. About 120 pages of the book (40%) are about present events, while 182 pages are about past events (60%).

Figure 1. The Relative Weight of Figure 2. The Relative Weight of Past and Present Events in the Past and Present Events in the Novel The English Patient Film The English Patient

Past Events Present Events Past Events Present Events

38% 40% 60% 62%

This leads to the conclusion that from the relative balance of past and present events, the film The English Patient is a faithful adaptation of the original novel, as visualized in Figure 1 and Figure 2. The main reason for differences in focus on past and present in the novel and film version of The English Patient is quite different than in Proulx and Lee‟s works. While in both versions of “Brokeback Mountain” only two characters can be considered main ones, The English Patient is a story which centres about the lives, past and present, of four characters. Further, in Ondaatje‟s novel, each of these four characters get nearly the same attention. In the film, though, only one storyline is highlighted, that of Almasy, the English patient, while Hana, Kip and Caravaggio play supporting roles, and their pasts are reduced: they appear predominantly in the narrative present of the last episodes of Almasy‟s life in the Italian Villa. 29

3.2 Addition as a Procedure in Creating Cinematic Versions of Annie Proulx’s “Brokeback Mountain” and Michael Ondaatje’s The English Patient

There are some major problems that any director has to face while adapting prose fiction to the screen. Very often film adaptations make changes in time as well. An event which is briefly presented in the novel could be amplified or shortened. For example, in the novel The English Patient, half of Part 4 (Episode 15A-F) describes Almasy‟s work in the desert before he met Katharine. In the film, however, this period, does not appear at all. However, the film makers can add events to their story. Robert Stam suggests that the director might want to exploit the actors‟ talent, “to suggest contemporary relevance”, or he or she might also want to make changes due to aesthetic reasons (Stam 5). In the film The English Patient only a few such elements were added. In the novel, Hana grieves the loss of her father, and always remember him with longing: Her father had taught her about hands. About a dog‟s paws. Whenever her father was alone with a dog in a house he would lean over and smell the skin at the base of its paw. This, he would say, as if coming away from a brandy snifter, is the greatest smell in the world! A bouquet! Great rumours of travel! (Ondaatje 8)

Hana remembers her childhood as a happy period, when father had taught her things about life, and helped form her personality. At the end of the novel, when Kip leaves the Villa, Hana writes a letter to her father‟s family, informing them about his death in the war (Episode 32). This event also signifies the beginning of a new life for Hana. In the film, however, the death of Hana‟s fiancé replaces this equivalent part in her life (Episode 2B), while her father is never mentioned. This shows that the creators of the film want to add a more romantic note to Hana‟s story, one that fits in with the predominantly romantic tone that the film, centred on Almasy‟s love for Katharine, has. A very striking example of addition from the novel to the film The English Patient occurs in the episode in which Caravaggio‟s thumbs are cut off. In the cinematic Episode 20B “Caravaggio in Tobruk”, it is indicated that these events happen in June 1942, in the British army headquarters in Tobruk. The city was attacked by the Germans who also captured military equipment and British troops. Caravaggio was accused by the Germans of collaboration with the Allies. He was interrogated and in the process, his thumbs were cut off. This event strongly affects his character and the further development of his story. In the novel, however, the exact date is not given. Here Caravaggio describes the process of how his thumbs were cut off in seven lines (Episode 8C, “The Lost Thumbs”):

They found a woman to do it. They thought it was more trenchant. They brought in one of their nurses. My wrists handcuffed to the table legs. When they cut off my thumbs my hands slipped out of them without any power. Like a wish in a dream. But the man who called her in, he was really in charge – he was the one. Ranuccio Tommasoni. She was an innocent, knew nothing about me, my name or nationality or what I may have done. (Ondaatje 55)

Caravaggio speaks in short, broken, staccato-like sentences. He refers to his torturers as “they”, as in the film, where they are not named, either. However, one name he gives, Ranuccio Tommasoni, shows that this man, said to be in charge, is a fellow Italian, and not a German Nazi as in the film. Although the passage is very short, the dark atmosphere of the interrogation room is created through the use of simple syntactical constructions. Caravaggio becomes more emotional when he mentions the name of the officer, speaking in longer sentences. In the film, on the other hand, the scene of interrogation takes almost four minutes (Episode 20F). It is more detailed; with the process of interrogation shown, as well as the moment when the nurse cuts off his thumbs. The visual (the process of cutting) and audio effects (Caravaggio screaming from pain) help to heighten the cruelty of the scene, which is depicted in a more restrained and minimalistic way in the novel.

Illustration 19. The Nurse Cuts off Caravaggio’s Thumbs [Minghella, 1.40.13]

In Illustration 19, the close-up of Caravaggio‟s hand and the nurse‟s knife cutting off his thumb, already bleeding can be seen. This close-up affects viewers more than the description in the novel, because it shows the process itself in detail, while in the novel much is left to the reader‟s imagination. Furthermore, the description of this scene in the novel appears in its first pages when Caravaggio is introduced. In the film, however, it is shown only in the second part of the story. Until then, the audience is not informed about what happened to Caravaggio‟s thumbs. The later 31 appearance of the scene in the film can also be interpreted as lessening the importance of what happened to Caravaggio, as the story is more about the English patient. One of the most interesting points of comparison that highlights the differences between prose fiction and cinema is the differences between the beginnings and ends of the novel and the film version of The English Patient. Ondaatje‟s novel begins with a precise and realistic description centred on a man who is badly burnt and the young woman who takes care of him. This first part is called “The Villa”, and readers learn a good deal about this almost empty place in Italy at the end of World War II. The Villa has a name, it is the Villa San Girolano, but neither the man, just called the Englishman, or the woman have names at this point. There are many flashbacks to her life in Canada and his work and airplane crash in the African desert, but still there are many questions left unanswered. Actually, it could be said that the novel starts with an earlier mysterious reference, given as an epigraph to the novel and said to be from the “minutes of the Geographical Society” in London “November 194-” (Ondaatje [V]). This refers to the death of Geoffrey and Katharine Cliffton in 1939 during a desert expedition. This seems to be connected with the references to the African desert in Part One, but it is not clear how. In a way, Anthony Minghella uses cinematic means to create the same effect in the opening of the film in which images that are hard to understand are shown along with the credits. Minghella explains this himself: The film is constantly redefining and saying „This is not what you think.‟ So it begins with what looks like some sand, then you realize it‟s a bit of canvas. Then you see a paintbrush appear and that paintbrush starts to make a hieroglyph -- but no, it‟s not a hieroglyph, it‟s a body. Then that body starts to move and it seems to be with other bodies. Then you realize it‟s not a body, it's the desert....It‟s constantly re-defining the image. (Minghella)

The director has interpreted the style of Ondaatje‟s opening to his novel and decided to produce opening scenes, using visual arts.

Illustration 20. The Opening Scene of The English Patient

In these opening moments, when the credits are still on, the image of a hand painting on a piece of cloth is shown. This engages the viewers, who want to know whose hand it is, what kind of picture it is painting, why only the hand, and not the rest of the body, is shown. In this way, the opening images involve the audience into a mystery, which is solved only in the middle of the film (Episode 12C), when the expedition finds the Cave of Swimmers and Katharine can be seen painting the figures that are on the walls in her notebook. The film director combines this with the introduction of the film actors and other people who have worked on the film, which is always an essential part of a film. This introductory part takes 2 full minutes, which, in comparison to some other scenes in the film, is a significant period of time. When translating a short story to cinema, the main problem is the length of the original literary work: in order to create a feature film, some additional action has to be added. Addition is a technique which is used by Ang Lee in order to adapt the short story “Brokeback Mountain” into a full-length film. The director Ang Lee takes the following actions:

1. Expands the role of the secondary characters; 2. Adds more scenes and dialogues.

In the case of the film Brokeback Mountain, the changes are mostly made with the characters. That is, some secondary characters, like Ennis‟s wife Alma, who gets only a couple of paragraphs in the story, is given extra scenes in the film. Depicted by the actor Michelle Williams, Alma is shown as a suffering wife, who by accident learns about her husband‟s homosexual relationship, and cannot deal with this. The actor does not get many more lines to speak than the Alma from the short story, but in the film, she is often shown with a suffering look on her face.

Illustration 21. Alma realizes her husband is having an affair with another man [Lee,1.03.45]

The character of Alma Beers is firstly introduced when Ennis tells Jack about his fiancé, who is waiting for him at home (Episode 1D). Although Ennis is engaged, and later on married to Alma, at the same time he has an intimate relationship with Jack. From this perspective, Alma can be seen as a victim. Nonetheless, even when she finds out her husband is having an affair with another man, Alma does not confront her husband right away, but rather remains silent. In the film, as the following shots show, Alma is depicted in the roles of a wife, a mother, a housewife, a lover, and also a family economic provider.

Illustration 22. Alma as a housewife [Lee, 0.47.48] Illustration 23. Alma as a wife. [Lee, 0.48.24]

Illustration 24. Alma as a family supporter [Lee, 58.24] Illustration 25. Alma as a housewife2 [Lee, 1.18.22]

Illustration 26. Alma as a mother.[Lee, 1.08.50] Illustration 27. Alma as a lover [Lee 1.19.01]

Alma is presented as a typical working-class woman. She marries young, has two children, and a job. She seems to be managing all the aspects of her life well. However, if at the beginning of the film, she is depicted as being a happy bride (Section 2, Illustrations 1, 2, 6), by the end of her

34 marriage with Ennis she seems to be suffering most of the time. Her happy marriage ends when she finds out her husband is being unfaithful to her with another man. From this moment on, she starts questioning the role of Ennis as the family provider and head. Illustration 27 shows the scene, in which Alma refuses to have unprotected sex with Ennis because she does not want to have any more children. Ennis is very unhappy about that, which is why Alma states that she would want more children if Ennis could support them. As a result, Ennis and Alma get divorced. As the film lasts more than two hours, the additional development of only one character would not be enough. While in Proulx‟s text, Jack‟s wife Lureen is only mentioned and practically never appears, in the film she gets approximately fifteen minutes of screen time in a number of scenes that have no equivalent in Proulx‟s story. Like the development of Alma‟s character, hers does not make her a major character, yet her image as a cool-headed business woman is a successful incorporation to the film‟s plot. Lureen is first seen in Episode 14A, when Jack participates in a rodeo, and sees a girl who is also a rodeo rider.

Illustration 28. Lureen meets Jack[Lee, 0.54.14] Illustration 29. Lureen flirts with Jack [Lee 0.55.56]

Illustration 30. Lureen and Jack have sex [Lee, 0.57.55]Illustration 31. Lureen becomes a mother [Lee, 1.00.05]

At first sight, Lureen seems to be a confident, carefree, wealthy young woman. This is emphasized by her appearance in a flashy red costume and from her confident posture. She is not only the first one to approach, but also has sex with him the same evening in his car. Jack seems to be attracted to the girl, especially since, being poor himself, he realizes that she is rich: Lureen is the daughter of a rich ranchman. She seems to be very close to her “daddy”, something she mentions during this first

35 night with Jack: she states that she is in a hurry to have sex with him because she promised to be home by midnight. Over the years, Lureen becomes a more serious business woman. In contrast to Alma, who knows about her husband‟s affair with Jack, Lureen does not seem to know or suspect anything. Finally, she is also shown as a strong, grieving widow. When Ennis calls her to find out about Jack, she announces his death.

Illustration 32 Lureen tells Ennis about Jack’s death [Lee, 1.54.57]

As shown in Illustration 32, she does not cry or show any other emotion on her face. Only the tone of her voice indicates that Jack‟s death has affected her. In addition to the two wives, Ennis‟s daughters also get much larger roles than in the original version. First, they serve as visual signs to show the passage of time; as they are older in each scene, one can assume that a certain period of time has already passed. What is more, although in the original Ennis only mentions that he “might have to stay with his married daughter until he picks up another job” (Proulx 283), in the film Alma Junior tells her father about her plans to getting married soon, and he asks whether the man loves her (Lee, 2.05.06). This also shows how love is important to him, although he was not able to show it when there was still time with Jack. His older daughter, Alma Junior, plays an important role at the end of the film. When Ennis finds a girlfriend, Alma Jr. seems to be jealous. As the child of the divorced parents, she seeks his love and attention.

Ilustration33. Alma Jr. sees father with his new girlfriend [Lee, 1.37.34] At the end of the film, Alma Jr., who is about twenty at this time, comes to visit her father and to invite him to her wedding. This action presents her as an attentive daughter who, being adult herself, does not merely require his time, but also wants to take care of him Another character who is added to the film as a full-fledged character and who plays a significant part in Jack‟s life is his father-in-law, Lureen‟s father. In the film he is presented as a strong and powerful figure. His influence in Lureen and Jack‟s life is also highlighted. First, he does not approve of Jack. This is noticeable in the hospital after Lureen has a baby. When her parents come to visit her, the father throws his car keys to Jack, asking him to park it, as though he was a servant. A few years later, though, during Thanksgiving dinner, Jack challenges him, which leads into a conflict.

Illustration 34. Lureen’s father visits during Thanksgiving [Lee, 1.24.34]

As seen in Illustration 34 above, Lureen‟s father looks like a typical wealthy ranchman. This is indicated by his clothes, which seem to be of good quality, and his hair style. The side whiskers and the tie he is wearing indicate that he is also stylish.

Still another character whose role is an addition in the film from a very brief reference in the prose version is Ennis‟s girlfriend later in his life.

Illustration 35. Ennis’s girlfriend [Lee, 1.38.29]

The film character adds scenes about her that are not in Proulx‟s story. She is a young beautiful Southern girl, who meets Ennis in a bar, and asks him to rub her feet. While Ennis, after his divorce with Alma, and his continued secret affair with Jack, seems to be resistant at first, later on they start dating. Ennis‟s girlfriend plays two roles in Ennis‟s life. First, as expected of a single man, he dates her, in this way keeping his image of a heterosexual man. Further, he seems to need her because he is lonely. In addition to characters, Ang Lee adds events to the film that never appear in Proulx‟s story. In Proulx‟s story, the time when Ennis and Jack are apart is described in only one page (2.3% of the story), while in the film it lasts for about 16 minutes (12.5%). The sequence of the scenes and their duration can be listed in the following manner. Italics show those scenes that depict Jack‟s life during his break with Ennis:

1. Ennis and Alma‟s wedding [0.43.37-0.44.03] 2. Ennis and Alma play in the snow [0.44.04-0.44.28] 3. Ennis works. [0.44.29-0.44.47] 4. Ennis and Alma go to the movies. [0.44.48-0.45.05] a. Jack goes looking for job [0.45.06-0.46.37] 5. Alma is hanging out the washes. She sees Ennis coming back home. [0.46.38-0.46.58] 6. Alma is doing laundry. The babies are crying. Ennis goes to calm them down. [0.46.59- 0.47.56] 7. Ennis and Alma prepare for bed. Alma wants to move to town. They have sex. [0.47.57- 0.50.22] b. Jack participates in the rodeo. [0.50.23] c. Jack goes to a bar. He flirts with another man but the latter one turns him away.[0.51.59] 8. Ennis spends July 6 with his family, watching fireworks. Ennis gets into a fight. [0.52.00- 0.53.31] 38

d. Jack sees a woman in the rodeo. He rides a bull in a rodeo. [0.53.32-0.55.16] e. Jack goes to a bar. He sees a woman from the rodeo there and finds out she’s rich. They dance. [0.55.17-0.57.00] f. Jack and the woman have sex in her car. [0.57.01-0.58.03] 9. Ennis brings his children to the shop where Alma works as he has to work. Alma is unhappy. [0.58.04-0.59.35] g. Jack is already married and has a baby with the woman. Her parents come to visit them. [0.59.36-1.00.23] 10. Ennis comes back home. Alma tells that he had received a postcard from someone named Jack. Ennis tells her that Jack and he used to be fishing buddies. [1.00.24-1.01.37]

None of these scenes in italics are mentioned in Proulx‟s story. Several reasons for these additions can be seen. The first one is genre differences, which influence the length of the work: the film needs to be longer. Second, while the short story is told through Ennis‟s point of view, in the film, the time is almost equally divided between the two men. In this scene, both characters appear on screen for exactly 6 minutes each (both 50%), while in the short story, one hundred percent of scenes are about Ennis: “In December Ennis married Alma Beers and had her pregnant by mid- January”, “he picked up a few short-lived ranch jobs”, “Ennis got on the highway crew”, “Ennis had a general delivery letter from Jack Twist” (Proulx 294). When Ennis finally gets a letter from Jack, he is surprised because, he has been concentrating on his own life for such a long time. Ennis knows little about Jack‟s life during their time apart, except for a few things that Jack tells him. As the story is focalized by Ennis, the reader does not know anything about Jack, either. In the film, on the other hand, the viewers have more information than Ennis because Jack‟s life is shown in parallel to Ennis‟s.

3.3 Omission as a Procedure in Creating the Cinematic Version of The English Patient

If in the case of Brokeback Mountain addition is the procedure used to make a short story long enough for a film, Anthony Minghella had to do the opposite. The English Patient is a complete and densely written novel of 302 pages. This means that the director of the film had to omit some parts of the original story in order to produce a normal feature film. The following techniques are used:

1. The omission of the characters that are not central to the story; 2. The omission of a number of events;

Although The English Patient is a fair adaptation of the novel, the most obvious difference is the loss of certain main story lines. In the novel all four characters, Almasy, Hana, Kip, and Caravaggio, play significant roles. They meet in an ancient Italian Villa, which was turned into a hospital temporarily by the Allies; 39 when they leave, Hana, a nurse, and her mysterious, fatally burnt English patient (really, Count Almasy, a desert explorer) decide to stay behind so he can die in peace. Caravaggio, an Allied spy, is searching for a man who collaborated with the Germans, and thinks it is the English patient: he comes to the Villa and is surprised to find Hana, whom he knew from Canada. Finally Kip, a sapper with the British army, temporarily sets up his home base here, too while disarming bombs, left by the Germans. All of them are united by similarly complicated and unhappy lives. The Villa, then, serves as a shelter for them from the outside world and the past, which enter only through flashbacks. Ondaatje‟s novel is divided into ten parts with sub-titles based on the setting (e.g. “The Villa”, “The Cave of Swimmers”), the time (South Cairo 1930-1938, August), or the central character (Katharine). What is more, different parts in the novel also signify a focus on different story lines. For example, Part One, “The Villa”, centres around Hana and her time here. The second part, “Near Ruins”, already introduces another character, Caravaggio, while Part Four is about Almasy and Africa. Not all the parts remain in the film. For example, Part Seven, which is about Kip and his past, is omitted in the film. In the film, however, the main focus is on the central relationship between Almasy and Katharine, while Kip‟s part is almost completely omitted. Kip is an Indian, who, at the end of World War II, disarms dangerous bombs and mines that were left in Italy by the Germans as they retreated.

Illustration 36. Kip washes his hair [Lee, 1.33.32]

In the book, Kip is one of four main characters of the story, which means that he gets about one quarter of the book time. In the film, however, he plays only a supportive role. He helps Hanna to fall in love again. Some of the secondary characters in the novel are also taken out: this includes the British Lord Suffolk, who trains Kip, and his secretary, Miss Morden, who becomes a friend of his. More important, Kip‟s family in India is not shown in the film. Neither Kip‟s brother, who fights against

British imperialism in India, nor the family that Kip creates after he returns to India, are in the film. This means that a major theme in The English Patient, the anti-war and anti-imperialism theme, disappears. In Ondaatje‟s novel Kip comes to accept his brother‟s opinion that he cannot support British imperialism by being in the army, and he leaves Hana to marry an Indian girl. This is connected to Almasy‟s decision that his love for Katharine is more important than loyalty to the Allied forces during the war. In addition to characters, the number of pages in the novel devoted to expeditions in the North African desert and quotations from many books are also omitted. This is mostly due to the fact that it is difficult to transfer such intellectual material to the cinema genre. In general, Anthony Minghella was forced from the very start of creating his film to plan major cuts in Ondaatje‟s novel. He does this trying to keep to the spirit and atmosphere of the novel and by not completely removing Hana, Kip and Caravaggio from the script.

4. STYLISTIC TRANSLATION: HOW CINEMATIC SOUND EFFECTS AND MUSIC SUBSTITUTE FOR DESCRIPTIVE PROSE

In general, the major way in which the film version of a prose narrative compensates for the loss of descriptive passages from the text is through visual effects. For example, the desert in The English Patient is described many times in the novel, while in the film Anthony Minghella shows the desert visually in many episodes. In other cases, the problem arises with translating a character‟s thoughts in a visual medium. Brian McFarlane also makes a distinction between „narrative‟, the elements of which can be transferred, and „enunciation‟, which cannot be transferred (McFarlane 23). For example, among enunciation is a good deal of what characters are thinking about. The novel is focalized by different characters: at certain points, the prose states what they see, hear, feel or wonder. For example, when Hana looks at her patient, her thoughts are easily given in prose:

She looks in on the English patient, whose sleeping body is probably miles away in the desert being healed by a man who continues to dip his fingers into the bowl made with the joined soles of his feet, leaning forward, pressing the dark paste against the burned face. She imagines the weight of the hand on her own cheek. (Ondaatje 35)

Hana can only guess what Almasy is really dreaming of, as he does not tell her. Based on her observations and their previous conversations, she imagines what he might be dreaming of. This

41 element of the story cannot be transferred easily into the film, unless a voice-over of the character in the scene would be used. This however, would be odd in the middle of an episode. A good actor may convey some of the emotions a character might be feeling, but not such very precise details as are given here. Descriptive passages in prose fiction serve complex purposes: they may describe a place or action but at the same time suggest a character‟s mood, thoughts, or feelings. In films, sound effects and music often compensate for the loss of such very important descriptive passages. Long before synchronized sound was introduced into cinema, music was already used. Some silent films had a specific music score already integrated with the visual scenes, while in other cases, an orchestra would be invited into the film theatre to accompany the images on the screen (Dirks). With the invention of film with sound, very often music is used in order to add or strengthen the meaning intended by the film director for the scene. In addition, in recognition of the importance of music, the American Academy Awards for the Best Original Score and the Best Original Song, first introduced in 1934, are still presented to this day. Although several types and functions of music in cinema can be distinguished, this thesis focuses on only some aspects of a film soundtrack, such as sound, internal music, and external music. Music is a significant part of film creation because, as Kathryn Kalinak states, it guides the audience‟s “response to the images” and its connection to them (Kalinak xiii). The public‟s emotional reaction to certain images in the film is highly influenced by the sound and music that can be heard during that shot. For example, in The English Patient, a scene that shows people‟s happiness that the war is over (Episode 26I) is accompanied by a cheerful, carefree song in the background. Thus, the combination of image and sound guides the audience towards a similar emotional reaction, relief that the war is over. In other cases, music can strengthen the drama and tragedy of the scene. In one of the final scenes of this film, when Almasy carries Katharine‟s dead body from the Cave of Swimmers (Episode 35E), loud dramatic music mirrors the emotional suffering the actor displays in the scene and helps the audience to understand Almasy‟s feelings, since his thoughts are not given and he does not speak. Another aspect of film music to be considered is its function in the film. First, as Kalinak states, “it can establish setting, specifying a particular time and place” (Kalinak 2). This function is prominent in both The English Patient and in Brokeback Mountain. The introductory scene with the opening credits (0.01.00-0.03.00) in The English Patient showing the North African desert starts with an exotic-sounding folk song. Later in the film (Episode 16H), Almasy explains that this song, which, because of the desert scene, is assumed by viewers to be in Arabic, is actually in Hungarian. Thus, this melody does not only present a setting (an exotic country with an Eastern flavour) but also introduces the character of Almasy, who is Hungarian. As nationality and origin are major 42 themes in the novel, and somewhat less in the film, the introductory part also introduces a theme of the film. Although the discussed time is not as prominent in these opening shots as place, the music track‟s folk song also sounds as if it were ancient. What is more, some of the images on the screen (a hand painting symbols) also suggest an archaic origin. In Ang Lee‟s Brokeback Mountain, music is also used to refer to the authenticity of the time period and place of the action. It is set in the American West of the 1960s and the 1970s, in Wyoming and Texas where the main characters live, and especially the rural parts. At the beginning of the film, the two men who are the main characters are introduced as cowboys, so it is not surprising that country music and its elements are noticeable throughout the film. Kalinak also suggests that film music “can unify a series of images that might seem disconnected on their own and impart a rhythm to their unfolding” (Kalinak 2). This is more prominent in The English Patient, in which the events are often given out of chronologic order. In almost every case music unites a scene in the present with one scene in the past, or it triggers characters‟ memories of the past. Two main types of the film music are considered in this section: internal music, which is produced within the narrative and is heard by the characters, and external music, composed to accompany the scenes. This section analyses the use of music in Ang Lee‟s film Brokeback Mountain and Anthony Minghella‟s film The English Patient. The film composer Gabriel Yared won the Academy Award for Best Music (Original Dramatic Score) in 1997 for The English Patient, while in 2006 Gustavo Santaolalla also won the Academy Award for “Best Achievement in Music Written for Motion Pictures, Original Score” for his work in Brokeback Mountain (Academy of Motion Picture Arts and Sciences). As both films include music and scores that have been highly praised, it was decided that it is interesting, out of many possible cinematic elements, to discuss some parts of the film soundtracks and their function in Brokeback Mountain and The English Patient, and how they substitute for descriptive prose. The three subsections that follow discuss how sound and music are used in the two films, often referring to how the written texts deal with a certain scene, character or mood. As terms used by cinematic specialists are explained, significant examples from the films are analysed. Subsection 5.1 defines major terms, including speech, sound effects, background music, music theme, leitmotif, and internal and external music. In Subsection 5.2, the focus is on the use of internal music, while in Subsection 5.3, it is external music that is analysed.

4.1 Some Fundamental Terminology in Cinematic Music: Definitions and Analysis

According to Kathryn Kalinak, two basic types of film sound tracks can be distinguished: music that already exists and is “expressly chosen to accompany motion pictures” or original music that is composed for a specific film (Kalinak xiii). Directors have to decide if they want to use existing music scores or songs, or an original score. To be sure, even if the basic external soundtrack is original, existing songs or tunes may be used as internal music. In order to analyse various aspects of soundtrack in a film, some main terms and concepts will be explained. James Buhler and his colleagues suggest three major elements in a sound track: music, speech, and sound effects. They also state that these elements can be combined. For example, the combination of music and speech (partly music, partly speech) would be singing with lyrics; music and sound effects (partly music, partly sound effects) can be heard in humming or whistling, while the combination of sound effects and speech can be used to create the noise of a crowd (Buhler et al. 10). As these specialists state, speech would be “the most obvious element” of a sound track, as it “supplies a great deal of information that we either cannot get from the image track or could get only with considerable difficulty” (Buhler et al. 10). The specific manner in which the characters speak also helps the audience to understand their emotions, which may confirm or contrast with the information that is provided by their facial expressions and the body movements of the characters (Buhler et al. 11). For example, Ennis from Brokeback Mountain is characterized through his lack of speech. When he says something, it is always brief and straight to the point. The words are pronounced through the side of his mouth and with a stiff jaw. He does not speak about his feelings to Jack or to his wife Alma; he is also more passive in his relationship with Jack, as the latter initiates their meetings, travels from Texas to meet him, and even suggests their living together. In this case, Ennis‟s manner of speech also helps define his character as a homosexual who behaves more like a stereotypically masculine man, finding it very hard to express his deepest emotions. In The English Patient, the accent in which a character delivers a speech is related to one of the key themes of the story. When Almasy is badly burned and states that he does not remember his name, everyone calls him the English patient because he has an upper-class British accent, while in fact he is Hungarian. In this case, through his speech Almasy delivers information about himself, which could not have been transferred in any other way, as he says he has lost his memories. The truth is that he pretends to have lost his memory, as during the war Almasy was considered a German collaborant. In the novel, Hana keeps asking the patient about his identity: “Who are you? 44

– I don‟t know. You keep asking me. – You said you were English” (Ondaatje 3). As cinema has the advantage of having both sound and visuals, Almasy‟s identity is hinted at by his way of speaking. In the novel, as an accent is harder to transfer, Almasy has to explain his identity. Buhler and his colleagues also suggest that, because of its importance, the lack of speech in a scene with two characters creates a very specific atmosphere (Buhler et al. 12). In these cases, the absence of speech is often used to increase the tension of a scene. For instance, in Brokeback Mountain, silence is used in order to show uneasiness between Jack and Ennis after they have sex for the first time. Both feel confused and do not know how to communicate with each other anymore, so that their not speaking helps to communicate their emotional state. Here the director is creating a mood that Annie Proulx emphasises through a descriptive passage: They never talked about the sex, let it happen, at first only in the tent at night, then in the full daylight with the hot sun striking down, and at evening in the fire glow, quick, rough, laughing and snorting, no lack of noises, but saying not a god damn word […] There were only the two of them on the mountain flying in euphoric, bitter air, looking down on the hawk‟s back and the crawling lights of vehicles on the plain below, suspended above ordinary affairs and distant from tame ranch dogs barking in the dark hours. (Proulx 291)

The poetic metaphoric language of the second part of this text “flying in euphoric, bitter air, looking down on the hawk‟s back”, and the new intimate relationship between the characters (“there were only the two of them on the mountain”) is translated through the lack of speech or any sound in the film scene. In other cases, lack of speech can also be used for dramatic effect. When Almasy and his expedition in the film The English Patient find the long-unknown Cave of Swimmers with its ancient signs on the walls, the characters become literally speechless because they are mesmerized by the importance of their discovery and the beauty of the place. In the novel, on the other hand, the discovery of the Cave of Swimmers is not described directly; it is only mentioned that Almasy found the Cave in one of his expeditions. In this case, Minghella created the film scene for its dramatic effect, as well as to make the audience visually familiar with the place. Later in the film Almasy and Katharine have their first scenes alone together on their expedition to the Cave, so that it becomes the symbol of their new found feelings. When Almasy carries the badly injured Katharine to the Cave after her husband deliberately crashes his plane, and she dies there, a scene that appears in both the novel and the film, it is more dramatic to end their love story in the place where it all started. Another element of the sound track, sound effects, as specialists explain, can either be onscreen, when the source of the sound can be seen, or off-screen, which means that the audience does not see the source of the noise, but can identify it (Buhler et al. 11). In this way sound effects 45 can provide new information. For example, when, in the film The English Patient, Almasy falls burning from his airplane, the level of his pain is highlighted through sounds like heavy breathing and moaning (Episode 1B, 1C). He is so badly burned that he cannot move or provide any information through facial expressions, but the onscreen sound effects show that, despite his shocking condition, he is still alive. In Ondaatje‟s novel, Almasy describes this experience to his nurse Hana, when she wants to know how he got burned: I fell burning into the desert. They found my body and made me a boat of sticks and dragged me across the desert. We were in the Sand Sea, now and then crossing dry riverbeds. Nomads, you see. Bedouin. I flew down and the sand itself caught fire. They saw me stand up naked out of it. The leather helmet on my head in flames. They strapped me onto a cradle, a carcass boat, and feet thudded along as they ran with me. [...] I was perhaps the first one to stand up alive out of a burning machine. A man whose head was on fire. They didn‟t know my name. I didn‟t know their tribe. (Ondaatje 5)

The first-person narration (“I fell burning”, “my body”, “made me boat”, “I flew down”, “they saw me”, “on my head”, “strapped me”, “ran with me”, “I was the first one”, and “I didn‟t know”) helps readers to feel empathy with Almasy. Notably, in the novel he does not speak about the pain or other emotions that he must have felt, but rather distances himself from the experience. The verbs that are used (“fell”, “found”, “were”, “flew down”, “saw”, “strapped”, “didn‟t know”) also give the story in chronological order. They are very short and simple, as if Almasy wants to distance himself from the pain he felt. In this case, the film director Minghella decided to depict the scene differently, showing visual images and highlighting Almasy‟s suffering with sound effects. Human pain can be also shown with another onscreen sound effect, when a character is crying. For example, when in the film Brokeback Mountain Alma sees her husband Ennis kissing Jack and then leaving for a fishing expedition, she holds her daughter and cries. This sound shows how badly she feels shocked and betrayed that her husband is having an affair with another man and is also lying about it (Lee 1.09.06-1.09.16). In this case, however, the character‟s facial expressions and her bodily movements (she holds her daughter closely in her arms) are other elements that, together with the sound effects, show Alma‟s feelings. In the short story, Anne Proulx describes the same scene from a somewhat different perspective: […] their mouths came together, and hard, Jack‟s big teeth bringing blood, his hat falling to the floor, stubble rasping, wet saliva welling, and the door opening and Alma looking out for a few seconds at Ennis‟s straining shoulders and shutting the door again […] She had seen what she had seen. Behind her in the room lighting lit the window like a white sheet waving and the baby cried (Proulx 295)

The meeting between Jack and Ennis is described in detail, while Alma‟s reaction to it is given by her shutting the door abruptly. It can be stated that, as the short story is very concentrated and 46 focuses only on the two lovers, it does not say much about Alma‟s feelings. In the film, though, the secondary characters have to be given a much longer role so that Ennis‟s wife‟s reaction to her husband‟s cheating is emphasized more, and Alma herself becomes a more sympathetic character. In addition, as film specialists explain, ambient sounds or background noises contribute to create the general atmosphere of a scene in both films; as Buhler and his colleagues suggest, they help to “extend or confirm the physical environment of the scene and to identify the actions, objects, or events important to the narrative” (Buhler et al. 15). In Brokeback Mountain, a number of sound effects, such as singing of the birds, blowing of the wind, river water running, or thunder roaring are used very often during the time when Ennis and Jack spend their summer on the mountain. These create a very natural, isolated setting for them falling in love. Even, for example, when the two men are in the tent and the natural surroundings are not visible, these sound effects suggest their location on a mountainside far from other people. In Proulx‟s text, nature also plays an important role, as the greatest part of the action in the short story happens on Brokeback Mountain. In prose fiction, the sounds of nature have to be described, often using metaphoric language: The meadow stones glowed white-green and a flinty wind worked over the meadow, scraped the fire low, then ruffled it into yellow silk sashes, blowy hailstorm, The mountain boiled with demonic energy, glazed with flickering broken-cloud light, the wind combed the grass and drew from the damaged krummholz and slit rock a bestial drone. (Proulx 294)

In these cases, nature is personified. What is more, in order to create the illusion of the sound, Proulx uses familiar comparisons, such as “wind combing the grass”, which means that the wind was blowing low and hard, as it was touching the grass; as a result, it had to be loud as well. Another interesting point of comparison between the prose fiction and the film appear when Almasy and Katharine, in the cinematic version of The English Patient, are caught in a sand storm and close themselves inside a car; the wild sound of blowing wind is used to emphasize the dangerousness of the storm and also reminds viewers of Almasy‟s explanation about African winds (Episodes 13E, 13F). In the novel, no such scene exists but the material for it is provided. Hana reads about different types of winds in Almasy‟s copy of Herodotus‟ Histories; pages about winds are glued in by the patient: There is a whirlwind in southern Morocco, the aajej, against which the fellahin defend themselves with knives. There is the africo, which has at times reached into the city of Rome. The aim, a fall wind out of Yugoslavia. The arifi, also christened are/or rifi, which scorches with numerous tongues. These are permanent winds that live in the present tense. (Ondaatje 4)

In another part of the novel, the danger of being trapped in a sandstorm is described (Ondaatje 136- 137). The film director Anthony Minghella created episode using different fragments from the novel. In order to produce a more dramatic and romantic episode, he set up a scene with the two characters in a small space, with the sandstorm all around them. Here sound effects create the power of the winds, which Ondaatje‟s novel refers to. The last element of a sound track, according to Buhler and his colleagues, is music. Some terms, such as music theme, a leitmotif, sound lag, external and internal music, need to be discussed. As was mentioned before, in The English Patient music is very often used to link the present narrative time with the memories of the characters, and to make the transition smoother. When sound, as Buhler and colleagues state, “lingers from one scene over into the next”, it is called a sound lag. The critics add that “the continuation of the sound across a scene change makes a connection between the scenes, to be sure, but it seems to force us to retain the old scene even as the new scene appears, creating a sense of nostalgia for the “lost” scene” (Buhler et al. 94). The song which most prominently lags in The English Patient is “Cheek to Cheek”. The first time that it is heard is when Almasy and Katharine are walking in the market (Episode 16J), as external music. Then the song lingers into another scene, where Katharine‟s husband can be seen spying on his unfaithful wife in his car, listening to the song on the radio (internal music), and finally the song lingers into the narrative present of the film, when the English patient can be seen in his bed, listening to the same song on the gramophone (internal music). In this case the song links a number of scenes together and helps to create a sense of nostalgia for that time in the past, when Almasy and Katharine were together. The same song can be heard again when the characters celebrate the end of the war, which also adds to the continuity of the overall story. In the novel, on the other hand, scenes from different narrative times are separated with blank space on the text. Cinema can also use music in ways that in prose action would be part of narrative structure, or for which no exact parallel exist. Two other common terms in a music sound track are “theme and “leitmotif”. According to James Buhler and his colleagues, “when a music theme (usually short) is created for a film and then developed (varied, re-orchestrated) within that film, the theme acquires some of the properties of a word or symbol, with independent meaning or associations that can be called up when the theme is repeated” (Buhler et al. 200). This suggests that a music theme can help to create associations with a certain element of the film: for example, a love story. A leitmotif, then, according to the experts, is a music theme which consistently refers to a character, place, thing, or idea (Buhler et al. 200). In addition, as the specialists state, a leitmotif also can move or transfer transitions into a more dramatic mode, and thus can highlight a more dramatic situation. For example, in the film The English Patient, the leitmotif theme for Almasy is heard for the first time during the introductory scene (Episode 1A “Desert”). Almasy is piloting a 48 plane, which is then hit by the Germans. The music theme is firstly heard when the image of the desert appears on screen; then the plane with Almasy comes on the screen. As a result, this music theme, which can be also called a leitmotif, as it is heard several times during the film, represents the main character of the film (the English patient, Almasy) and his love for Katharine, who in this brief image can also be seen on the plane. For the composer, Gabriel Yared, in the original soundtrack album, this audio track is called “The English Patient”. The music theme is first combined with the sound of guns firing; then shouts in German can be heard; finally, the sound of the plane that has been hit is combined together with the music to make it more dramatic. The same musical leitmotif can be heard during Episode 12 (“Cave of Swimmers”). This background music is soft and quiet, which works as a contrast to the dramatic music that was heard during the first scene. The leitmotif is heard again during the episode 13A (“The Sand Storm”), when the main characters are entrapped in a car during the sand storm. Almasy tells some stories about the type of winds in Africa, while the wind (sound effect) can be heard whistling in the background. The leitmotif then lags to the next scene, years later where the face of the English patient, lying in bed, can be seen. Then the same music lags back to the narrative past, the next morning after the storm, when the characters realize their tracks are not visible in the sand, and they feel guilty they spent the night together. In this case, the leitmotif represents Almasy‟s love for Katharine, and can also be treated as their love theme. The music lag combines the scenes and suggests the scene‟s importance to Almasy years later, for as the English patient, he still remembers it so clearly. Finally, the same leitmotif can be heard in the episode 14B, during which Katharine finds Almasy‟s notes, in which he refers to “K” as his love object. In this scene Katharine realizes for the first time that Almasy is in love with her. The same music theme can be heard when Katharine asks him whether she is “K” in his notes, and Almasy touches her face softly. It can be also heard when they are bathing together and speaking about their feelings (episode 16A), and also when they have passionate sex during the Christmas party (episode 16D). During all these scenes the love theme is mostly soft and silent, while at the end of the film (as in the first scene), the love theme is much more dramatic. The music reaches its climax during Episode 31B, when Almasy carries the badly

49 hurt Katharine to the Cave of Swimmers, and she confesses her love to Almasy.

Illustration 37. Almasy and Katharine (Minghella, [2.11.26]) As is seen in the Illustration 37, Almasy starts crying when he hears her words. The loud and dramatic love theme also symbolizes the climax of the story. It is also related to the drama of the first scene, which suggests that Katharine has not survived the plane crash. The drama of the scene, represented in Illustration 1, is now highlighted by the musical leitmotif that has become familiar to the audience by this point of the film. At the end of the film, though, the same love theme can be heard when Hana is leaving the Villa, and then lags to the opening/closing scene of the plane flying over the desert. This implies that Hana has become part of Almasy‟s love story, which she has heard from the patient. The film ends, however, with Hana‟s own theme (soft piano music), which shows that the director has chosen to finish the film with the more optimistic reference to Hana, though her lover Kip is also gone. In the novel, the drama of the scenes between Almasy and Katharine, or Hana and Kip, is represented through detailed descriptions. For example, the patient describes the scene of how he left Katharine in the cave after her husband tried to kill them in the following manner: “I crossed the dry bed of the lake towards Kufra Oasis, carrying nothing but robes against the heat and night cold, my Herodotus left behind with her. And three years later, in 1942, I walked with her towards the buried plane, carrying her body as if it was the armour of a knight” (Ondaatje 174). In order to translate the high drama of the scene, the character uses metaphorical language: “carrying her body as if it was the armour of the knight”. The film Brokeback Mountain, on the other hand, starts and ends with the same music theme. At the beginning of the film, it is soft and silent, while at the end of the film the same leitmotif theme is much louder and more dramatic. Later, the same music leitmotif accompanies

50 images of the setting and can be heard throughout the film, when the characters are on the mountain or when they remember their summer of love there. There is much less to analyse in the way a leitmotif function in the film Brokeback Mountain, since here the story is told chronologically, and music is not needed to move the scene from narrative present to past and back again.

4.2 The Use of Internal Music in The English Patient and “Brokeback Mountain”

One of the most important distinctions that have to be made in relation to a music soundtrack is that of internal and external music. According to Lawrence MacDonald, source music or internal music is “produced within the film as part of the on-screen action or mise-en-scene”, while the off-screen music that can be heard by on-screen characters is also called source music (MacDonald 4). As Buhler and his colleagues suggest, “onscreen” refers to “the part of the film world that is within the camera‟s frame at any particular moment”, while “offscreen” is whatever part of that “filmic world that we cannot see in the frame but may already have seen or may imaginatively project from the part that we can see” (Buhler et al. 429). In this analysis the terms internal and external music will be used. As was mentioned before, one of the most memorable songs in the film The English Patient is “Cheek to Cheek”. This song is presented both as part of the internal and the external music. The song itself was first appeared in 1935 in the musical film Top Hat, where it was performed by the actors of the film (Internet Movie Database); it was nominated for the Academy Awards as the Best Song in 1936 (The Academy of Motion Picture and Arts). The “Cheek to Cheek” version performed by the American jazz singer Ella Fitzgerald can be heard in The English Patient.

Illustration 38. Katharine and Almasy walk together (Minghella, 1.30.48)

The title of the song “Cheek to Cheek” refers to a style of dancing in the thirties when two people hold each other so closely that their cheeks are touching: it is a very romantic and intimate form of dance. The song can be heard on several occasions during the film The English Patient. The first time it is heard is when Almasy and Katharine, after an intimate day together, walk through the market, while Almasy is leading Katharine back to her hotel (Minghella, [1.30.44], Episode 16J). The quiet words of the song, as if from further away, can be heard off-screen, in the background, while the characters are walking closely together, flirting with each other: “Oh, I love to climb a mountain/and reach the highest peak/But it wouldn‟t thrill me half as much as/dancing cheek to cheek” (Fitzgerald). The lyrics of the song illustrate the couple‟s feeling for each other, as they are very much in love with each other. When Almasy and Katharine part, in the next scene the camera shows a close-up shot of Katharine‟s husband Geoffrey‟s troubled face. He has been waiting for Katharine in the car, hoping to celebrate their anniversary together. When she does not come back to the hotel, Geoffrey sits impatiently, smoking, obviously suspicious. While in the previous scene it was not absolutely clear whether the song was internal or external, this time it is heard on the radio in Geoffrey‟s car, and is internal music.

Illustration 39. Geoffrey is waiting for Katharine [Minghella, 1.31.19] While the singer on the radio sings that she is in heaven (“Heaven, I‟m in heaven/and my heart beats so that I can hardly speak), as it is seen in Illustration 42, Geoffrey is suffering a very different emotion. In this case, the cheerfulness and romanticism of the song works as a contrast to Geoffrey‟s gloomy face. While Katharine and Almasy, who are having a secret affair, are, as the song states, “in heaven”, Geoffrey, whose wife is cheating on him, probably feels as though he is in hell. Finally, the same song lags to the next scene, the narrative present of the film. The English patient is seen lying on his bed, while Caravaggio plays the record “Cheek to Cheek” on the 52 gramophone, singing the lyrics at the same time. In this case, the song also works as a link between the past and present. What is more, the song is also used as a part of the story. Caravaggio is interrogating the patient, because he suspects he worked for the Germans and does not believe that he has lost his memory: Caravaggio: The real question is, who wrote the song? The English Patient: Irving Berlin. Caravaggio: For? The English Patient: Top Hat Caravaggio: Is there a song you don‟t know? Hanna: No, he sings all the time. (to the patient) Good morning. Did you know that? You‟re always singing. The English Patient: I‟ve been told before. (Minghella, Episode 19A)

The patient is very familiar with the song, so that when he hears it on the gramophone, he remembers Katharine. In addition, when he states that someone has already told him this before, he is also referring to Katharine; in Episode 13A of the film, Katharine tells Almasy that he sings all the time. In this case, this song not only connects the past and present episodes, but also works as a plot element. Internal music can not only be heard by the characters, but also produced by them. One of the examples that show this is noticeable in Episodes 11 and 12A. In Episode 11, the patient is seen lying in his bed, mumbling the lyrics of some song [Minghella, 0.48.06], then the sound lags to another scene in the desert, where Almasy, Katharine, and others are traveling back from the Cave of Swimmers. Here Almasy is singing the lyrics of the song: “Flat foot floogie with the floy floy” and then humming its melody. Once again, the music is used to connect episodes from different times, and provides the character of the English Patient/Almasy with the trait of a person who constantly sings. Similarly to “Cheek to Cheek”, this melody that Almasy hums is also incorporated in the plot of the story. When Katharine states that Almasy sings all the time, he does not want to agree: he is a man who guards his privacy. Almasy is forced to ask his Arab travel companion Al Alaf if that is true, which leads to the Arab‟s singing, and then Katharine‟s. The off-key singing by Katharine and Al Alaf adds a comic element to the scene. This pleasant moment is what the English patient remembers while he is lying in bed, years later, alone and in pain. Another case of internal music produced by the characters appears in Episode 16, the Christmas party. Christians in Cairo gather together to celebrate Christmas in Egypt. Almasy asks Katharine to pretend to be sick, as he wants her to leave the party. While the participants in the Christmas party sing “Silent Night”, Katharine and Almasy have passionate sex. The lyrics of the song, “Silent Night, Holy Night/All is calm, all is bright” are used as a startling contrast to the unholiness of Katharine and Almasy‟s love affair. The melody of their love theme merges with the 53

Christmas carol, and then overpowers it, while Almasy and Katharine kiss and make love. It can be stated that the couple‟s feelings for each other are so strong that they break all social norms and cannot bear to be apart. In the film Brokeback Mountain internal music is less common that in The English Patient. Jack shows his more relaxed and sensitive side when he plays the harmonica while he and Ennis are in the camp on Brokeback Mountain (Lee, 0.23.38). The melody that he plays is a simple one. It is also Jack who starts singing loudly about Jesus when he gets drunk: “I know I shall meet you on that final day/Water-walking Jesus, take me away”. This hymn leads to a discussion about religion between the two men: Jack: My mama, she believes in the Pentecost. Ennis: Oh yeah? What exactly is the Pentecost? I mean, my folks they was Methodist. Jack: Pentecost… I don‟t know, I don‟t know what the Pentecost is. Mom never explained it to me. I guess it‟s when the world ends… and fellas like you and me, we march off to hell. Ennis: Speak for yourself. You may be a sinner, but I ain‟t yet had the opportunity.

This conversation between Ennis and Jack illustrates their different attitudes towards religion. Although neither of them is traditionally religious, Jack believes that he may go to hell, while Ennis insists he has never sinned. In a way, Ennis is more concerned by rules and instructions than Jack, which also influences his future secret relationship with Jack. To conclude, internal music can be produced by the characters or can be heard by the characters. Very often it is used to represent a certain feature of the character, such as playfulness, carefulness, or religiousness. At the same time, internal music is also very often used to create a specific atmosphere and setting for a scene.

4.3 The Use of External Music in The English Patient and “Brokeback Mountain”

By contrast, external music, or background music, as is stated by Lawrence MacDonald, is produced from outside what is seen and provides an underscore to the events unfolding on the screen (MacDonald 5). Such music remains largely in the background, often goes unnoticed by the audience at a conscious level, and serves to enrich the meaning of the film‟s plot, the subtleties of its characterizations, the connotations of its events, and/or the significance of its narrative themes (MacDonald 5). External music is meant to create or strengthen the mood of a scene, but is often less noticeable than internal music, as it is not part of the physical world of the characters. While internal music contributes to the realistic effect of a scene, external music, as MacDonald states, “contributes to the dramatic development of the plot, characters, and other themes” (MacDonald 5). 54

The music leitmotif and music themes in the films are often used to create the connection between the characters and the audience. As music themes tend to get more complex during the film, they contribute to guiding the audience to the development of the story and the relationships between the characters. In such cases, prose fiction would use narrative links, such as phrases or structures. Hana‟s theme, which is heard for the first time when she tries to play the piano, is also an example of how internal music can become external. The most memorable scene when the theme is heard is when Kip takes Hana to a beautiful Italian church to see its frescoes.

Illustration 40. Hana looks at frescoes.

Hana‟s theme, which can be heard in the background, is soft and uplifting. First, only one violin is heard, while afterwards, another part of the string orchestra joins the playing. The music suits the sacred atmosphere of the church. Furthermore, the only source of light that Hana holds up to see the frescoes looks like a sigh of hope. A very similar scene to this one also appears in Ondaatje‟s novel. As a sapper who disarms bombs, Kip works in Italy. In one of the churches, Kip sees the frescoes of mythological characters, such as King Solomon and the Queen of Sheba: “Looking up with the service binoculars in the Gothic church at Arezzo soldiers would come upon their contemporary faces in the Piero della Francesca frescoes. The Queen of Sheba conversing with King Solomon” (Ondaatje 70). The image of the Queen of Sheba‟s face later helps Kip to forget the cold and wet while he is working: The young Sikh sapper put his cheek against the mud and thought of the Queen of Sheba‟s face, the texture of her skin. There was no comfort in this river except for his desire for her skin, which somehow kept him warm. He would pull the veil off her hair. He would put his right hand between her neck and olive blouse. He too was tired and sad, as the wise king and guilty queen he had seen in Arezzo two weeks earlier. (Ondaatje 70)

Kip becomes so fascinated by the face of the Queen of Sheba that he comes back to the church, bringing a British medievalist historian with him: The sapper signed out a Triumph motorbike, strapped a crimson emergency light into his arm, and they rode back the way they had come – […] the old man bundled up behind him hugging him, and down the western slope towards Arezzo. […] He helped the medievalist off, collected his equipment and walked into the church. […] He lit three flares. He slung block and tackle across the columns above the nave, then fired a rivet already threaded with rope into a high wooden beam. […] The young sapper circled him and knotted a sling across his waist and shoulders, taped a small lit flare to the old men‟s chest. He left him there by the communion rail and noisily climbed the stairs to the upper level, where the other end of the rope was. Holding onto it, he stepped off the balcony into the darkness, and the old man was simultaneously swung up. (Ondaatje 71-72)

The description of the scene is very detailed, with how Kip raises the historian up described very precisely. However, Anthony Minghella chooses to depict this scene in a different context. In the film Kip brings Hana with him, in order to cheer her up, while in the novel, the sapper brings a historian, who appreciates medieval objects as passionately as Kip himself. As the film director has limited screen time, the story of how Kip found the church is not given. What is more, in order to heighten general romantic atmosphere of the film narrative, Kip brings the woman he loves to see this image that has affected him. Further, due to the time limits of the film, the director chooses not to include the additional character of the historian, but rather develop Hana and Kip‟s love story. The same music theme that is heard in this scene can be heard during the last scene of the film, when Hana is leaving the Villa. Episode 37B, which shows a flying plane with Almasy and Katharine in it, is accompanied by their love theme; then, the scene shifts to showing Hana sitting in a car, and Almasy and Katharine‟s love theme combines with Hana, as if unifying the two storylines. In addition to Hana‟s music theme, the sound of a woman‟s voice singing, which was heard at the beginning of the film and which is part of Almasy‟s music theme, joins the melody.

5. CONCLUSION

This thesis analyses two prose fiction works “Brokeback Mountain” and The English Patient and their cinematic adaptations. As part of inter-media studies, it compares narrative works of different media, focusing on the treatment of time according to narratological concepts of order and duration. Further, this study looks at how film sound effects and music soundtrack can substitute for descriptive prose in short stories and novels. The general purpose of this thesis has been to describe and analyse what happens when one medium is translated into another. Although they are strikingly different as narrative media, both prose fiction and film offer narratives so that they can be discussed and compared using the theory of narratology. In this study,

56 aspects of how time is presented and manipulated is the focus of attention, specifically, the narratological concepts of duration and order. With these tools, it is possible to show how at times the prose work and the film are similar, while at others they are different. In Anthony Minghella‟s The English Patient the director made definite attempts to produce on screen what is very typical of Michael Ondaatje‟s novel, its complex intertwining of past and present. The analysis also reveals that differences in media influence the choices that film directors have to make in order to translate a literary work into a cinematic one. The film director of Brokeback Mountain, Ang Lee, had to expand the role of the secondary characters, and to include more episodes into the story in order to create a full-length feature film. As a result, the roles of Ennis‟s wife Alma and Jack‟s wife Lureen, which are very limited in Annie Proulx‟s story, are expanded. What is more, Ennis‟s daughter, Alma Junior, and his girlfriend, in addition to Jack‟s father in-law are also provided with additional screen time. In contrast, The English Patient, which is a long and complex novel, was translated into the film medium by omitting certain parts of the story, especially much of the story lines of all but one character, Almasy, the English patient. In addition, it was established that the soundtrack and sound effects are other cinematic aspects that can be considered in order to discuss cinematic adaptation. The results of the analysis suggest that a music soundtrack is a powerful tool that is used to establish the setting of the story, to represent the characters or their relationship, to connect the episodes, or to strengthen the mood of a scene. The lack of music, or lack of any background sound in the scene, also affects the mood of the scene. Furthermore, the use of music can create an emotional atmosphere, which makes up in part for the loss of descriptive prose and explanation of what characters are thinking or feeling. The results of the study suggest that several problems arise when one is translating from one medium into another. Nonetheless, cinema has audio and visual advantages in comparison to prose fiction, which often makes it more attractive to the current public. The present analysis confirms previous findings by critics, which suggest that there is more than one way and criteria to compare a prose work and its cinematic adaptation. Inter-media translation, especially when it concerns the creation of a film based on a work of prose fiction, is a time-consuming kind of analysis, because first the texts and films have to be broken down into episodes with a careful noting of their length on paper or in time. However, once this work is done, many very interesting features of these adaptations appear. When the two texts and the two films are all of high quality as is the case with the works discussed in this thesis, the analysis becomes fascinating and intellectually satisfying.

Appendix A. Summaries of “Brokeback Mountain” and The English Patient Annie Proulx short story “Brokeback Mountain” starts when Ennis wakes up after having the dream about Jack (in 1983). He then remembers his past, starting with the summer in 1963 when he met Jack. Ennis comes to Wyoming to start a new job. He and Jack meet in the parking lot near their boss‟s trailer. It is Jack‟s second summer at that job. Their boss, Aguirre, informs that they will have to tend the sheep: one of them will have to stay with them during the night as well, to make sure all the sheep are well. However, Jack fights against it, and often stays in the camp during the night as well. During the long evenings, the two men would sit near the fire, talk, and drink. One night they get very drunk. Ennis, who is sleeping outside the tent, by the fire, gets very cold, thus he goes inside the tent where Jack slept. Men have sex for the first time. Although they feel uncomfortable with each other at after, their intimate relationship continues. At the end of the summer, Ennis goes home, where he marries his long-time sweetheart Alma Beers. They have two little girls. Jack, on the other hand, often participates in rodeos, where he meets Lureen, a rich ranchman‟s daughter whom he marries. Two men meet after five years, and their love affair continues. Once, Ennis‟s wife Alma sees them kissing, but does not say anything. Through years Ennis and Jack come back to Brokeback Mountain for “fishing expeditions”. Jack wants them to live together, but Ennis is too afraid of people‟s opinion. Ennis divorces Alma, and starts dating another girl. He cannot meet Jack that often anymore as he has to work more and to pay alimony for his daughters, so Jack and Ennis get into a fight. Ennis learns about Jack‟s death (he gets accidentally killed when he wants to change his car‟s wheel, and it blows to his face) when he calls Lureen, as Ennis‟s letter to Jack is returned. Then he goes to visit Jack‟s parents, as Jack wanted for his ashes to be scattered on Brokeback Mountain; however, his parents disagree. The story ends when Ennis, years later, dreams about Jack Twist. Michael Ondaatje‟s story The English Patient centres on four characters: the Canadian nurse Hana, an unknown, badly burned patient that everyone, because he has apparently lost his memory but has a British accent, calls the English patient, a former spy for the Allies, the Italian Canadian Caravaggio, who had his thumbs cut off during a Nazi interrogation, and an Indian sapper Kip, who neutralizes German bombs and mines in the Italian countryside. The characters meet in an Italian villa in Tuscany, and are joined by love, hatred, friendship, and their pasts, which they want to run away from. The action takes place in 1945, at the end of the Second World War; however, a significant part of the story is told through the flashbacks which reveal the past secrets of these 58 characters. In the film, the main focus of the story is on the tragic love between Almasy and Katharine, a young English woman whose jealous husband crashes the plane they are in. She is still alive but dies alone in a cave because Almasy caught by the beginning of the war, cannot return with help in time: Almasy carries Katharine who is badly hurt to the Cave of Swimmers, and goes to find help himself. After three days he comes to the city, where Almasy is captures by the Americans, as, because of his name, they believe he is German. Almasy cannot get back to Katharine in time and she dies in the cave. Few years later Almasy sells all the maps of Africa to the Allies, and they give fuel for his plane instead. Almasy carries Katharine‟s dead body to his plane. When they fly above the desert, their plane is shot by the Germans; it bursts into flames, and Almasy gets very badly burned. The story ends with Almasy‟s death in the Italian Villa.

APPENDIX B: Tables of Episodes in the Four Texts

*Note: grey squares signify the events which are happening at present, i.e. 1945

Table1. The Chronological Order of the Events in Anthony Minghella’s film The English Patient

Time Setting Episode Duration Introduction. Signs are being painted on a piece of cloth. [0.01.00-0.03.00] Late The desert Episode 1A. Desert. A man and a woman fall from a plane and burst into flames. [0.03.01-0.04.14] 1942 1945 Train Episode 2A. Hospital. A nurse attends the patients. [0.04.19-0.05.13] 1942 The desert Episode 1B. The Bedouins find a badly burned man. [0.05.14-0.06.19]

1945 Hospital Episode 2B. A nurse, Hana, learns that her fiancé has been killed. [0.06.20-0.07.57] 1942 The desert Episode 1C. The Bedouins tend to the badly burned man. [0.07.58-0.09.04] Octob Italy. Near Episode 2C. The patient does not remember his name. He is called the English patient. [0.09.05-0.10.44] er hospital 1945 1945 On the road in Episode 3A. Italian Villa. Hana‟s friend, another nurse, dies from the mine on the [0.10.45-0.12.29] Italy road. 1945 On the road in Episode 3B. Two sappers explore the road for other mines. [0.12.30-0.14.13] Italy 1945 On the road in Episode 3C. The patients are being lifted off the trucks. Hana tends after the English [0.14.14-0.15.22] Italy patient. 1945 The Villa Episode 3D. Hana investigates the Villa. She decides to stay there with the English [0.15.23-0.18.01] patient. 1945 The Villa. Hana‟s Episode 3E. Hana removes her uniform and cuts her hair. [0.18.02-0.18.34] room 1945 The Villa. Episode 3F. Hana covers the gaps in the stairs with the books. She asks the patient [0.18.35-0.20.11] Patient‟s room about his book by the Herodotus and feeds him the plum. 1945 The Villa. Garden Episode 3G. Hana “showers” in the fountain. [0.20.12-0.20.32] 1945 The Villa. Episode 3H. The patient lies in his bed, looking at the Herodotus. He drops the book. [0.20.33-0.21.04] Patient‟s room Cards, pictures and sketches spill from it. 1938 The desert. Camp Episode 4A. The Cliftons. A man, Almasy, is talking with a Bedouin. Little plane [0.21.04-0.21.40]

lands nearby. 1938 The desert. Camp Episode 4B. A young couple emerges from the plane, Geoffrey and Katherine Cliftons. [0.21.41-0.22.26] Expedition members meet the new arrivals. 1938 The desert. Camp Episode 4C. Almasy makes introductions with the Cliftons. Almasy and Katherine [0.22.27-0.23.44] have a discussion. 1938 The desert. Camp Episode 4D. Almasy and his friend, Madox, prepare their plan for a flight. [0.23.44-0.23.54] 1938 The desert. In the Episode 4E. The expedition explores the desert from the air. Clifton takes pictures of [0.23.55-0.25.01] air the desert. 1945 The Villa. Episode 5A. Hana. Hana tucks the patient. He tells her that he used to work in the [0.25.01-0.26.15] Patient‟s room desert before the war. 1945 The Villa. Yard Episode 5B. Hana plays hopscotch in the yard. [0.26.16-0.26.44]

1938 The desert. Camp Episode 6A. Katherine and the Story. The expedition is sitting around the fire, [0.26.45-0.27.28] drinking, dancing, and playing. 1945 The Villa. Episode 7A. Hana and the Story. Hana reads a story from the Herodotus to the [0.27.29-0.27.50] Patient‟s room patient. 1938 The desert. Camp Episode 6B. Katherine continues telling the same story that Hana has started reading. [0.27.51-0.28.02] 1945 The Villa. Episode 7B. Hana continues reading the same story. [0.28.03-0.28.07] Patient‟s room 1938 The desert. Camp Episode 6C. Katherine continues telling the same story. After she finishes, everyone [0.28.08-0.29.35] applauses. 1945 The Villa. Episode 7C. Hana leaves the patient to sleep. [0.29.36-0.30.12] Patient‟s room 1945 The Villa. Garden Episode 8A. Caravaggio. Hana meets Caravaggio. He brings her eggs. [0.30.13-0.31.35] 1945 The Villa. Episode 8B. Caravaggio steals some morphine from Hana. He wants to stay in the [0.31.36-0.33.34] Kitchen Villa. 1945 The Villa. Episode 8C. Caravaggio introduces himself to the patient. They shortly discuss Africa. [0.33.35-0.35.02] Patient‟s room Caravaggio does not believe that the patient have forgotten his own name. 1938 Cairo. Market Episode 9A. Cairo. Katherine meets Almasy in the market. They argue. [0.35.03-0.36.14] 1938 Cairo. Hotel bar Episode 9B. The members of expedition are drinking in the bar. Clifton tells them that [0.36.15-0.36.44] his wife is waiting outside. 1938 Cairo. Hotel Episode 9C. Men join Katherine. The company discusses their lack of money for the [0.36.45-0.37.34] terrace expedition. 1938 Cairo. Hotel Episode 9D. Katherine and Almasy dance. [0.37.35-0.39.08]

ballroom 1945 The Villa. Episode 8D. Hana leans over the sleeping patient. He wakes up and asks her to move. [0.39.09-0.39.46] Patient‟s room 1945 The Villa. Episode 8E. Caravaggio finds Hana crying. They argue. [0.39.47-0.41.52] Kitchen 1945 The Villa. Episode 8F. The patient is lying in his bed. He listens to Hana and Caravaggio‟s [0.41.53-0.41.58] Patient‟s room conversation. 1938 The desert. Camp Episode 9A. Clifton’s departure. Clifton plans on to go back to England temporarily. [0.41.59-0.42.41] Katherine would stay in the desert. 1938 The desert. Camp Episode 9B. Clifton leaves. [0.42.42-0.42.55] 1945 The Villa. Library Episode 10A. Kip. Hana plays piano, which is lopsided, and half covered by a canvas. [0.42.56-0.44.14] 1945 The Villa. Episode 10B. Caravaggio injects some morphine into himself. The patient watches. [0.44.15-0.44.44] Patient‟s room 1945 The Villa. Library Episode 10C. A sapper, Kip, comes to the library. He finds an explosive charge in the [0.44.45-0.46.26] piano. 1945 The Villa. Episode 10D. Hana speaks with the patient. At the same time she is looking through [0.46.27-0.47.41] Patient‟s room. the window at Kip. 1945 The Villa. Garden Episode 10E. Hana looks at the sappers when they pass her on their motorcycles. [0.47.42- 0.48.05] 1945 The Villa. Episode 11. Memories. The patient lies in his bed, humming a melody. [0.48.06-0.48.15] Patient‟s room 1938 The desert. Episode 12A. The Cave of Swimmers. Almasy and Katherine drive in one car, [0.48.16-0.50.03] Caravan talking. Almasy wants to ride in silence. 1938 The desert. Cave Episode 12B. The expedition finds the Cave of Swimmers. [0.50.04-0.52.45] of Swimmers 1938 The desert. Cave Episode 12C. Katherine draws the figures from the walls. Expedition explores the [0.52.46-0.53.24] of Swimmers cave. 1938 The desert. Episode 13A. The Sandstorm. Two cars accidentally drive off the road. [0.53.25-0.54.39] Caravan 1938 The desert Episode 13B. Part of the expedition drives back to the camp. Katherine, Almasy and [0.54.40-0.56.18] three Bedouins stay behind. 1938 The desert Episode 13C. Katherine offers some of her drawings to Almasy. He refuses to take [0.56.19-0.57.53] them. 1938 The desert Episode 13D. Katherine sits on the top of dune, smoking. Almasy tells her the [0.57.54-0.58.41] sandstorm is coming.

1938 The desert Episode 13E. Katherine and Almasy hide in one of the cars. [0.58.42-1.00.12] 1938 The desert Episode 13F. Almasy tells Katherine about different kinds of winds in Africa and tells [1.00.13-1.01.49] one of Herodotus‟ stories. 1945 The Villa. Episode 11B. The patient lies in the darkness, remembering his past. [1.01.50-1.01.58] Patient‟s room 1938 The desert Episode 14A. Rescue. Katherine and Almasy signal a driver, who does not see them [1.01.59-1.04.49] after the sandstorm. Almasy asks Katherine for her drawings to be paste into his Herodotus. They dig up the other car with the Bedouins. 1938 The desert Episode 14B. Katherine pastes her drawings into the Herodotus. She finds Almasy‟s [1.04.50-1.06.15] thoughts about her written in the book. 1938 The desert Episode 14C. Almasy shoots another flare into the sky. Katherine tells him that Clifton [1.06.16-1.07.50] works for the British Government. She asks him about her name in his book. They are finally rescued by the other members of the expedition. 1945 The Villa. Episode 15. The Condensed Milk. Kip reads to the patient. Hana comes to the room. [1.07.51-1.10.07] Patient‟s room The patient drinks the condensed milk that Kip had brought him. The sapper leaves to bring more condensed milk for the patient. 1938 Cairo. Hotel Episode 14D. Katherine and Almasy come back from the desert. Katherine invites him [1.10.08-1.11.25] entrance in. Almasy refuses. 1938 Cairo. Almasy‟s Episode 16A. Katherine and Almasy’s Love Affair. Katherine comes into Almasy‟s [1.11.26-1.13.03] room room. He rips her dress in passion. They have sex. 1938 Cairo. Almasy‟s Episode 16B. Almasy sits in the bathtub, sewing Katherine‟s dress, and sings. They [1.13.04-1.16.08] room argue. Katherine leaves. 1945 The Villa. Episode 17. “K”. Hana looks at the clippings in the Herodotus. She asks the patient [1.16.09-1.17.21] Patient‟s room what letter “K” stands for. He says “K” stands for “Katherine”. She finds a Christmas cracker wrapper in the book. 1938 Cairo. Episode 16C. Almasy asks Katherine to pretend to be sick and to leave the party. He [1.17.22-1.19.56] Ambassador‟s writes on the Christmas cracker wrapper. residence 1938 Ambassador‟s Episode 16D. Almasy and Katherine have sex. [1.19.57-1.21.29] residence. Storeroom 1938 Ambassador‟s Episode 16E. Clifton looks for his wife. Almasy pretends he does not know where she [1.21.30-1.23.28] residence is. Katherine asks Clifton to leave Africa and go home for good. 1945 The Villa. Episode 18A. Moose. Caravaggio interrogates the patient. He asks whether he [1.23.29-1.24.35]

Patient‟s room remembers anyone called “Moose”. 1938 Cairo. Office Episode 16F. Clifton intends to surprise his wife for their wedding anniversary. Moose [1.24.36-1.25.34] tells him that five year anniversary is called “Paper anniversary”. 1938 Cairo. Car near Episode 16G. Clifton sees Katherine leaving the hotel. [1.25.35-1.26.06] the hotel 1938 Cairo. Almasy‟s Episode 16H. Katherine and Almasy lie naked in his bed. They speak, laugh, and kiss. [1.26.07-1.29.35] room 1938 Cairo. Car near Episode 16I. Clifton is sitting in the car, drinking the champagne straight from the [1.29.36-1.29.56] the hotel bottle. 1938 Cairo. Spice Episode 16J. Almasy buys a silver thimble filled up with saffron for Katherine. [1.29.57-1.31.05] market 1938 Cairo. Car near Episode 16K. Clifton sees Katherine coming back to the hotel. [1.31.06-1.31.29] the hotel 1945 The Villa. Episode 19A. Hana and Kip’s Love Affair. Hana looks through the window at Kip. [1.31.30-1.32.26] Patient‟s room Caravaggio asks the patient to name the songs that are played on the gramophone. 1945 The Villa Episode 19B. Hana meets Hardy. They speak. She runs to the garden. [1.32.27-1.33.04] 1945 The Villa. Garden Episode 19C. Kip is washing his hair. Hana gives him a cup of olive oil for his hair. [1.33.05-1.33.52] 1945 The Villa. Episode 20A. Caravaggio in Tobruk. Caravaggio takes off the mittens. [1.33.53-1.34.33] Patient‟s room June Tobruk. British Episode 20B. Caravaggio/Moose walks through the corridors. He is asked to stay in [1.34.34-1.35.30] 1942 headquarters Tobruk, which is under German attack. The officer tells him about Madox‟s suicide. June Tobruk. British Episode 20C. Tobruk is under attack. [1.35.31-1.35.56] 1942 headquarters June Tobruk. Square Episode 20D. German officers catch Moose. [1.35.57-1.36.42] 1942 Nov Tobruk. Episode 20E. Moose/Caravaggio is being interrogated. German officer directs the [1.36.43-1.40.25] 13 Interrogation nurse to cut Caravaggio‟s thumbs. 1942 room 1945 The Villa. Episode 20F. Caravaggio shows the patient his thumb-less hands. [1.40.26-1.40.46] Patient‟s room March Cairo. Library Episode 21A. The End of Expedition. Almasy and Madox discuss the maps and the [1.40.47-1.41.34] 1939 expedition. The expedition might be canceled. March Cairo. Street Episode 21B. Almasy and Madox argue. Almasy asks him how the base of a woman‟s [1.41.35-1.42.16] 1939 throat is called.

April Cairo. Open-air Episode 22A. The End of Katherine and Almasy’s Affair. Katherine is crying. She [1.42.17-1.44.41] 1939 Cinema breaks up with Almasy. 1945 The Villa. Episode 23. The patient lies in his bed. Caravaggio lies on the floor, smoking. [1.44.42-1.45.11] Patient‟s room 1939 Cairo. Episode 22B. Almasy appears in the party being drunk. He insults everyone. Other [1.45.12-1.47.03] Ambassador‟s guests pretend to ignore him. residence 1939 Cairo. Episode 22C. Everyone is dancing. Almasy confronts Katherine and accuses her of [1.47.04-1.48.48] Ambassador‟s having an affair with other men. residence 1945 The Villa. Episode 24A. The patient lies in his bed, remembering the past. He asks Hana to leave [1.48.49-1.49.27] Patient‟s room his room. 1945 The Villa Episode 25A. The Church. Hana sees a little lamp on the ground, and then another. [1.49.28-1.50.34] She follows the track to the stables. Kip appears from the shadows. 1945 The Villa. Episode 24B. Caravaggio watches Hana through the window. [1.50.35-1.50.44] Patient‟s room 1945 Italy. Town Episode 25B. Kip and Hana ride on his motorcycle. They arrive to the church. [1.50.45-1.50.56] Square 1945 Italy. The Church Episode 25C. Hana and Kip enter the church. He shows her frescoes on the walls. [1.50.57-1.53.22] They kiss and hug. 1945 The Villa. Stables Episode 26A. Deactivating the Bomb. Hana and Kip sleep naked in his bed. Hardy [1.54.37-1.55.34] knocks on the door to tell they had found the bomb. Kip has to leave. 1945 Italy. Bomb shaft Episode 26B. Kip works on a bomb in a shaft full of water, below the viaduct. [1.55.35-1.56.01] 1945 Italy. Road to Episode 26C. Hana rides a bike towards the shaft. [1.56.02-1.56.09] viaduct 1945 Italy. Viaduct Episode 26D. Kip works on a bomb. [1.56.10-1.56.24] 1945 Italy. Road to Episode 26E. Hana sees tanks and jeeps driving towards the viaduct. [1.56.25-1.56.34] viaduct 1945 Italy. Shaft Episode 26F. Kip tries to remove the cover of the fuse. [1.56.34-1.56.43] 1945 Italy. Road to Episode 26G. Hana watches the American tanks passing through her. [1.56.44-1.56.50] viaduct 1945 Italy. Shaft Episode 26H. Tanks are going over the viaduct. Kip cuts the bomb wires. [1.56.51-1.58.51] 1945 Italy. Viaduct Episode 26I. Everyone celebrates the end of war. Hana and Kip kiss and hug. [1.58.52-1.59.34] Panoramic view of the hills and forests near the Villa. Storm. [1.59.35-1.59.37]

1945 The Villa. Episode 27A. The End of War. Hana tells the patient that it is raining. [1.59.38-1.59.47] Patient‟s room 1945 The Villa. Yard Episode 27B. The inhabitants of the Villa run through the yard in the rain. They are [1.59.48-2.00.21] carrying the patient on the stretcher. 1945 The Villa. Episode 27C. Caravaggio and Hana dance; Kip is looking at them. The patient lies in [2.00.22-2.00.40] Patient‟s room his bed, slightly swinging to the music. 1945 Italy. Village Episode 27D. The villagers also celebrate. Hardy, who is drunk, climbs up at the top of [2.00.41-2.01.31] square a statue. 1945 The Villa. Episode 27E. Kip hears the bomb explosion and runs outside. [2.01.32-2.01.42] Patient‟s room 1945 Italy. Village Episode 28A. The Death of Hardy. Kip comes to the square. He finds out that Hardy [2.01.43-2.02.42] square. was killed by the bomb in the statue. 1945 The Villa. Stables Episode 28B. Kip sits alone. [2.02.20-2.02.25]

1945 The Villa. Stables Episode 28C. Hana comes to the stables. Kip does not let her in. [2.02.26-2.03.12] Panoramic view of the Villa. [2.03.13-2.03.20] 1945 The Villa. Hana‟s Episode 29A. Caravaggio Prepares to Leave. Hana listens to Caravaggio and the [2.03.21-2.03.34] room patient‟s conversation. 1945 The Villa. Episode 29B. Caravaggio is preparing to leave the Villa. [2.03.35-2.03.46] Patient‟s room 1945 The Villa. Hana‟s Episode 29C. Hana listens. Caravaggio and the patient talk. [2.03.47-2.03.56] room 1945 The Villa. Episode 29D. Caravaggio tells the patient about Madox‟s suicide. [2.03.57-2.05.99] Patient‟s room 1939 The desert. Camp Episode 30. Madox Leaves Africa. Almasy and Madox talk. Madox leaves Africa. [2.06.00-2.07.48] 1945 The Villa. Episode 29E. Caravaggio asks the patient whether he had killed the Cliftons. [2.07.49-2.08.06] Patient‟s room 1945 The Villa. Hana‟s Episode 29F. Hana listens to their conversation. [2.08.07-2.08.14] room 1945 The Villa. Episode 29F. The patient answers Caravaggio‟s question. [2.08.08-2.08.39] Patient‟s room 1939 The desert. Camp Episode 31A. The Plane Crash. Clifton attempts to kill Almasy. His plane crashes. [2.08.40-2.10.32] near the Cave He dies. Katherine is badly hurt. Almasy takes her off the plane. 1939 The desert. Road Episode 31B. Almasy carries Katherine to the Cave of Swimmers. They speak. [2.10.33-2.11.40]

to the Cave Almasy cries. 1939 The Cave of Episode 31C. Katherine and Almasy speak. He leaves to find some help. [2.11.41-2.15.13] Swimmers 1939 The desert Episode 32A. Almasy travels the desert for three days. [The patient‟s voice over] [2.15.14-2.16.23] 1939 El Taj Episode 32B. Almasy reaches the town. He asks for help. The British officer asks his [2.16.24-2.18.17] name. Almasy shouts. He is knocked down. 1939 The Cave of Episode 31D. Katherine lies in the cave. She writes until the light in the flashlight [2.18.18-2.19.14] Swimmers fades away. 1939 El Taj Episode 32C. Almasy is captured. Everyone thinks he is German. [2.19.15-2.19.39] 1939 The desert Panoramic view. Train goes through the desert. [2.19.40-2.19.44] 1939 The desert. Train Episode 32D. Almasy knocks off the officer and jumps off the train. [2.19.45-2.21.55] 1945 The Villa. Episode 33A. Almasy and the English Patient. The patient tells Caravaggio that [2.21.56-2.22.20] Patient‟s room Katherine had died because of him and because of his wrong name. 1945 The Villa. Hana‟s Episode 33B. Hana listens and cries. [2.22.21-2.22.27] room 1945 The Villa. Episode 33C. Caravaggio and the patient speak. [2.22.28-2.22.35] Patient‟s room 1942 The desert Episode 33D. [the patient‟s voice over]. Almasy helps Germans by giving them the [2.22.36-2.23.00] expedition maps. German officers bring him to the plane. 1942 The desert Episode 33E. Panoramic view of Almasy flying the plane. [The patient‟s voice over] [2.23.01-2.23.16] 1945 The Villa. Episode 33F. Caravaggio tells that he does not want to kill the patient anymore. [2.23.17-2.24.06] Patient‟s room 1945 The Villa Episode 33G. Hana is listening to Caravaggio and the patient‟s conversation. [2.24.07-2.24.10] 1945 The Villa. Garden Episode 34A. Kip Leaves the Villa. Kip is undoing his tent. Hana and Kip talk about [2.24.11-2.25.49] his past. 1945 The Villa. Episode 33H. The patient lies in his bed. [2.25.50-2.25.57] Patient‟s room 1942 The Cave of Episode 35A. The Return to the Cave of Swimmers. Almasy returns to the Cave. He [2.25.58-2.27.01] Swimmers lies near Katherine‟s corpse and strokes her hair. 1945 The Villa. Episode 33I. Hana leans closer to the patient to check whether he is still breathing. She [2.27.02-2.28.10] Patient‟s room hears Kip motorcycle outside and leaves. 1945 The Villa. Yard Episode 34B. Hana goes to Kip. He drives away on his motorcycle. [2.28.11-2.29.06] 1945 The Villa. Episode 36A. The Fatal Dose. Hana brings morphine. The patient asks for more [2.29.07-2.31.14] Patient‟s room doses. Hana silently agrees. Hana cries. She starts reading for him.

1942 The Cave of Episode 35B. Almasy lies beside Katherine. [Hana‟s voice over starts reading [2.31.15-2.31.28] Swimmers Katherine‟s last letter]. 1945 The Villa. Episode 36B. Hana continues reading the letter. [2.31.29-2.31.51] Patient‟s room 1942 The Cave of Episode 35C. Almasy holds Katherine‟s hand. [Katherine‟s voice-over is reading [2.31.52-2.32.02] Swimmers letter]. 1945 The Villa. Episode 36C. Hana continues reading letter. [Katherine‟s voice-over continues] [2.32.03-2.32.21] Patient‟s room 1942 The Cave of Episode 35D. Almasy smudges Katherine‟s face with saffron from her thimble. [2.32.22-2.32.49] Swimmers [Katherine‟s voice-over is heard reading the letter] 1942 The Cave of Episode 35E. Almasy comes out from the Cave, carrying Katherine. [Katherine‟s [2.32.50-2.33.19] Swimmers voice over]. He is sobbing. 1945 The Villa. Episode 36D. Hana finishes reading the letter. The patient is dead. [2.33.20-2.34.02] Patient‟s room 1942 The desert Episode 37A. Almasy and Katherine. Almasy‟s plane rises into the air. [2.34.03-2.34.21] 1945 The Villa. Episode 38A. Hana Leaves the Villa. She grabs the Herodotus and runs outside. She [2.34.22-2.35.29] sits into the truck and leaves the Villa. 1942 The desert Episode 37B. The plane bursts into flames [Episode 1A] [2.35.30-2.36.05] 1945 Italian road Episode 38B. Hana is sitting in the back of a truck. She is smiling. [2.36.06-2.36.32] The end. Credits [2.36.33-2.41.44]

Table 2. The Chronological Order of the Events in Michael Ondaatje’s novel The English Patient

Time Setting Episode Duration 1945 The Villa. PART 1. “The Villa”. Episode 1A. The Villa. A woman works in the garden. ¼ pg [3] April Garden 1945 The Villa. Episode 1B. The woman washes a badly burned patient‟s body and feeds him the 1.5 pg [3-4] Patient‟s room plum. The patient tells the nurse about his past and the desert. 1942 The desert Episode 2A. Desert. The patient is found by Bedouins, who take care of him. ½ pg [5] 1945 The Villa. Episode 1C. The nurse and the patient talk. 3 lines [5] Patient‟s room 1945 The Villa. Episode 1D. The nurse reads to the patient when he cannot sleep. ½ pg [5] Patient‟s room

1942 The desert Episode 2B. The Bedouins take care of the burned man. 1 pg [6] 1945 The Villa. Episode 1E. The nurse reads to the patient and remembers her past. 2 ½ pg [6-8] Patient‟s room 1942 The desert Episode 2C. Bedouins take care of the English patient. 2 pg [8-10] Description of the Villa. ½ pg [12-13] 1945 The Villa Episode 3A. The Nurse. The nurse decides to stay behind in the Villa and to tend the ½ pg [13] Early English patient. April 1945 The Villa Episode 3B. The nurse sleeps in the rooms without walls because it is warm outside. 1 pg [13-14] April 1945 The Villa. Episode 3C. The nurse works in the garden. ¼ [14] Garden 1945 The Villa. Episode 3D. The nurse draws and plays hopscotch. 1 pg [14-15] Yard 1945 The Villa Episode 3E. The patient sometimes listens to the nurse playing hopscotch outside. 2 lines [15] 1945 The Villa. Episode 4A. The English Patient. The nurse takes the patient‟s book by Herodotus. ¼ pg [16] Patient‟s room It contains cuttings and pages from other books, glued to hold. She starts reading it. [in the Herodotus book] Description of the winds. 2 pg [19-23] 1945 The Villa. Episode 4B. The nurse sees the patient‟s eyes looking at her. He begins telling about 2 lines [17] Patient‟s room his past. 1942 The desert Episode 4C. The patient remembers the Bedouins. 1 ½ pg [18-19] 1942 The desert Episode 4D. The Bedouins take the patient through the desert. He is asked to 4 pg [19-23] recognize the guns. 1945 The Villa. Episode 4E. The nurse washes her hands and combs her hair. ¼ pg [23] Kitchen 1945 Rome. Military PART 2. Episode 5A. Caravaggio. A man with bandaged hands hears about the 3pgs [27-29] hospital nurse who is staying in the Tuscan villa with the burned patient. 1945 Train Episode 5B. The man is going to the villa in Tuscany. He thinks about his past. 1 pg. [29-30] 1945 The Villa Episode 5C. The man arrives to the villa. He silently walks through the rooms until he 1/2 pg [30-31] finds the nurse. 1945 The Villa Episode 5D. The man asks the nurse to see the patient. The man goes looking for a ½ pg [30-31] kitchen because he feels hungry. 1945 The Villa Episode 5E. The man is named Caravaggio. He goes on the roof of the villa and looks 1/3 pg [31]

at the panorama. 1945 The Villa. Episode 6A. Hana. The nurse is named Hana. She cleans the fountain while talking 2 pg [31-34] Garden with Caravaggio. 1945 The Villa Episode 6B. After the patient falls asleep, Hana goes looking for Caravaggio. 1 ½ pg [34-35] 1945 The Villa. Episode 6C. Hana looks at the sleeping patient. ¼ pg [35] Patient‟s room 1945 The Villa Episode 6D. Hana walks to her hammock to sleep. ¼ pg [35] 1940s Villa Cosima Episode 5F. Caravaggio follows a photographer. 3pg [36-39] 1945 The Villa Episode 6E. Caravaggio watches Hana eat and thinks. 1 pg [39-40] Early Santa Chiara Episode 6F. Hana sees white-marbled lion on top of battlements and is impressed. 1 ½ pg [40-41] 1945 Hospital, Pisa. She remembers how she has met the patient.

1945 The Villa. Episode 6G. Hana works in the garden. ½ pg [42-43] Garden 1945 The Villa. Episode 6H. Caravaggio comes into the kitchen and sees Hana crying. 1 ½ pg [44-45] Kitchen 1945 The Villa. The Episode 6I. Hana feeds the patient a plum. ½ pg. [45-46] patient‟s room 1945 The Villa. Episode 6J. Hana sleeps in a hammock outside most of the nights. ½ pg [47] Terrace 1930s Canada. Episode 7A. Hana’s Past. Hana remembers how Caravaggio used to come to her 1pg [47-48] Hana‟s home house. Early Santa Chiara Episode 7B. Hana sees the patient‟s face for the first time. ¼ pg [48] 1945 Hospital, Pisa 1945 The Villa Episode 7C. Hana lies in her hammock under heavy military blankets. ½ pg [48-49] 1930s Canada. Episode 7D. Caravaggio teaches Hana the somersault. 2 lines [49] Hana‟s home 1943 Women‟s Episode 7E. Hana trains to be a nurse. ¼ pg [49] College Hospital 1943 Women‟s Episode 7F. Hana cuts her hair. 10 lines [49-50] College Hospital 1943- The hospitals Episode 7G. Hana tends the patients. 2 pgs [50-51]

1945 Early The Villa Episode 7H. Hana decides to remain in the Villa with the English Patient. She 1 ½ pg [51-52] 1945 removes her nurse‟s uniform. She sees herself in the mirror for the first time. 1945 The Villa. Episode 8A. The Lost Thumbs. Hana and Caravaggio walk in the garden and 1 pg [53] Garden. remember their past. 1945 The Villa. Episode 8B. Hana asks Caravaggio how he had lost his thumbs and removes the 2 pg [53-55] Garden bandages. 1944 Italy Episode 8C. Caravaggio tells Hana that a German nurse cut his thumbs. 7 lines [55] 1945 The Villa. Episode 9A. The Dog. The patient starts shouting because a dog comes into his room. ½ pg [56] Patient‟s room. Caravaggio takes the dog. 1945 The Villa. Episode 7I. The patient tells Hana about the history of the Villa. 1 ½ pg [56-58] Patient‟s room 1945 The Villa Episode 9B. Caravaggio pours some water into a bowl for a dog and watches him ½ pg [58] drink it. 1944 Italy Episode 8D. Caravaggio remembers his interrogation and a period after the loss of his 1 ½ pg [58-60] thumbs. 1945 The Villa Episode 10A. The Sappers. Hana opens The Last of the Mohicans and writes on the 1/3 pg [61] Library blank page at the back. 1945 The Villa. Episode 10B. Hana plays the piano. 2 pgs [62-63] Library 1945 The Villa Episode 10C. Two Sikh sappers come into the villa. They listen how Hana plays. 1 pg ¼ [63-65] Library 1945 The Villa Episode 10D. Caravaggio finds Hana and two soldiers making sandwiches. 3 lines [65] Kitchen PART 3. Description of history. 1 ½ pg [69-70] 1945. Italy Episode 11A. Kip. The young sapper disarms bomb in the mud and saves a man‟s life 2 pgs [69-72] 2wks ago while thinking about the Queen Sheba. 1945 The Villa. Episode 11B. The Sikh sets up a tent in the villa‟s garden. He stays outside 1 pg [72-73] Garden 1945 The Villa Episode 11C. The Sikh sees Caravaggio wondering the Villa during nights. ½ pg [73] 1945 The Villa Episode 11D. Hana enjoys watching the Sikh work. ½ pg [74] 1945 The Villa Episode 11E.The Sikh whistles. ½ pg [74-75] 1945 The Villa Episode 11F. The Sikh came to the Villa out of curiosity about the music of Hana ½ [75-76]

playing. 1945 The Villa Episode 11G.Hana watches the Sikh. 1 pg [76] May 29, Italy Episode 11H. The Sikh remembers his mission. 3 ½ pgs [77-80] 1944 1945 The Villa Episode 11I. Hana and Caravaggio talk. 5 pgs [81-85] 1945 The Villa Episode 11J. Everyone got used to Sikh living in the Villa. 1 ½ pg [86-87] 1945 The Villa Episode 11K. The sapper‟s nickname is Kip. Caravaggio and Kip talk. ½ pg [87] 1945 The Villa Episode 11L. Kip comes to the patient‟s room. They become friends. 1 ½ pg [88-89] 1945 The Villa Episode 7I. Hana climbs into the fountain and waits while the water starts bursting. 3 pgs [89-92] Garden She thinks about her father. 1945 The Villa Episode 6J. Hana reads to the patient. 2 pgs [93-94] Patient‟s room 1944 The desert Episode 4F. The Bedouins save the burned patient and bring him to the British base. ½ pg [95] 1944 The British Episode 4G. The patient is being interrogated about his identity. 1 ½ pg [95-96] base, Siwa 1945 The Villa. Episode 6K. Hana reads the letters written in 1936 from the Herodotus. 1 pg [97-98] Patient‟s room. 1945 The Villa. Episode 12A. Deactivating the Mine. Kip finds a mine in a field north of the villa. 2 pgs [98-99] Mine field 1945 The Villa. Episode 12B. Hana brings a mirror to the patient. She hears Kip shouting outside. 1 pg [99-100] Patient‟s room. 1945 The Villa. Episode 12C.Hana helps Kip with the mine. 3 pgs [100-103] Mine field 1945 The Villa. Episode 13A. Hana and Kip’s Love Affair. Hana curls beside Kip and falls asleep. 2 ½ pgs [103- Mine field Kip thinks about her. She wakes up and they go inside. 106] 1945 The Villa. Episode 14A. The End of War. The inhabitant‟s of the Villa are having a party. They 3 ½ pgs [107- Patient‟s room drink and dance. 110] 1945 The Villa Episode 15A. The Death of Hardy. Kip smells cordite and runs outside. He finds out 3 pgs [110-112] that his friend Hardy is dead. 1945 The Villa Episode 15B. Kip comes back to the Villa and finds Hana sitting by the patient. He 3 pgs [112-115] puts his hand on her shoulder. 1945 The Villa Episode 14B. Caravaggio, Hana, and the patient talk. 1 ½ pg [116-117] 1945 The Villa. Episode 14C. Hana writes in a book. ½ pg [118] Library

1945 The Villa. Episode 14D. The patient asks Hana to give him the Herodotus. He falls into 1 pg [118-119] Patient‟s room memories. 1945 The Villa Episode 14E. Caravaggio, Hana, and Kip talk. 3 ¼ pgs [120- 123] 1945 The Villa. Episode 14F.The patient advises Hana about her garden. 1 ½ pg [124-125] Patient‟s room 1945 The Villa. Episode 13B. During the night, Hana goes to Kip‟s tent. They become lovers. 5 pgs [125-130] Garden PART 4. “South Cairo 1930-1938”. Historic description 2 pgs [133-135] 1945 The Villa. Episode 15A. The Expedition. Hana sits by the patient‟s bed. He starts telling about ¼ pg [135] Patient‟s room his journeys. 1930 Libyan Desert Episode 15B. The beginning of the expedition looking for The City of Acacias. 1 pg [135-136] 1930 The desert Episode 15C. First journey. 2 pgs [136-138] 1931 The desert Episode 15D. Almasy joins the Bedouin caravan. 1/3 pg [138] 1932- The desert Episode 15E. Expedition explores the desert. 1 pg [138-139] 1934 March 22- The desert Episode 15F. Expeditions finds broad wadi full of acacia trees. 2 ½ pg [139-142] May 5 1933/34 1936 Oxford Episode 16A. The Cliftons. Geoffrey Clifton meets a friend who tells him about the 4 lines [142] expedition. He flies to Africa with his wife. 1936 The desert Episode 16B. The Cliftons arrive. 1 ½ pg [142-143] 1936 The desert Episode 16C. Katherine Clifton recites a poem. He [the patient] gets up and walks ½ pg [144] away. 1936 Cairo Episode 16D. Katherine and the narrator waltz 1/3 pg [144] 1936 The desert Episode 15G. Expedition continues. ½ pg [145] 1936 Cairo Episode 16E. Almasy shows Katherine the city. 1/3 pg [145] 1936 Cairo PART 5. “Katherine”. Episode 17A. Katherine and Almasy’s Love Affair. 1 ½ pg [149-150] Katherine dreams of Almasy and wakes up screaming. 1936 The desert Episode 17B. Katherine always desires to slap Almasy when they talk. ½ pg [150] 1936 Cairo Episode 17C. Katherine asks Almasy to join her for a beer. He refuses. They talk. 2 pgs [151-152] 1936 Cairo Episode 17D. Almasy and Katherine speak naked. She slaps him. 1/3 pg [152] 1936 Cairo Episode 17E. Almasy looks at his bruise in the mirror every day. 6 lines [152-153]

1936 Cairo Episode 17F. Katherine and Almasy have an affair. ½ pg [153] 1936 Cairo Episode 17G. Katherine hits him. Everyone thinks he is clumsy. The affair continues. 3 pgs [153-156] 28 Sept. Cairo. Episode 17H. Katherine and Almasy talk. 1pg [156-157] 1936 Apartment 28 Sept. Botanical Episode 18A. The End of Katherine and Almasy’s Affair. Katherine and Almasy 1 1/3 pg [157- 1936 garden, near end their affair. 158] the Cathedral of All Saints 1945 The Villa. PART 6. “A Buried Plane”. Episode 19A. Almasy and the English Patient. Hana ¼ pg [161] Patient‟s room baths the patience and gives him some morphine. 1936 Cairo Episode 19B. The patient‟s memories of the city. 1 pg [161-162] March, Uweinat Episode 19C. Almasy asks his friend Maddox how the hollow at the base of a ½ pg [162] 1937 woman‟s neck is called. 1945 The Villa Episode 19D. Caravaggio tells Katherine that he thinks the patient is Hungarian 4 pgs [163-166] named Almasy, who worked for the Germans. He wants to give a Brompton cocktail to the patient and ask him a few questions. 1945 The Villa. Episode 20A. Brompton Cocktail. Caravaggio gives the patient the cocktail and 2 pgs [167-168] Patient‟s room. starts interrogating him. 3 P.M. 1945 The Villa. Episode 20B. Hana asks the patient about his identity. ½ pg [169] Patient‟s room. 3 P.M. 1942 The desert. Episode21A. The Return to The Cave of Swimmers. After four nights of walking, 2 pgs [169-171] Cave of Almasy reaches the Cave. Katherine is there, dead. He makes love to her dead body. Swimmers. He carries her to the plane which is buried nearby. 1939 The desert. Episode 22A. The Plane Crash. Katherine‟s husband crashes the plane in order to 1/3 pg [171] Gilf Kebir. kill all of them. He is dead. Katherine is seriously wounded. 1939 The desert. Episode 22B. Almasy carries Katherine to the cave. They speak. 4 lines [171] Cave of Swimmers 1937 The botanical Episode 18B. Katherine bangs her head against the gatepost in determination and fury 9 lines [171] garden [after their decision to end the affair]. 1938-39s Cairo Episode 18C. Katherine and Almasy avoid each other. He suspect Katherine has an ½ pg [172] affair with someone else.

1939 Desert. Gilf Episode 22C. Almasy waits while Clifton picks him up. Clifton tries to kill them all ½ pg [172-173] Kebir by crashing the plane to Almasy, 1939 The desert. Episode 22D. Katherine and Almasy speak. 1 pg [173-1974] Cave of Swimmers 1945 The Villa. Episode 20C. Caravaggio gives the patience some morphine. 3 lines [174] Patient‟s room 1939 The desert Episode 22E. Almasy walks towards Kufra Oasis looking for help. He had left his 3 lines [174] Herodotus to Katherine. 1942 The desert Episode 21B. Almasy carries Katherine‟s body towards the buried plane. 3 lines [174] 1942 The desert Episode 21C. Almasy dugs out the plane. They move into the sky. ½ pg [174] 1942 and The desert and Episode 21D. The plane gets on fire. The patient is lost between the past and the 1 pg [176] 1945 the Villa present. 1945 The Villa. Episode 23A. Condensed Milk. Hana watches how the patient and Kip drink 1 ½ pg [176-177] Patient‟s room condensed milk. 1945 The Villa. Episode 23B. Kip starts telling about his past. ½ pg [177-178] Patient‟s room 1945 The Villa. Episode 23C. Hana watches Kip. ½ pg [178] Patient‟s room 1940 Westbury, PART 7. “In Situ”. Episode 24A. Kip’s Past. Kip starts his training. 3 ½ pgs [181- England. 184] 1940 Westbury, Episode 24B. Kip goes in a car with Lord Suffolk, Mr. Harts, and Miss Morden. They 3 pgs [184-187] England. chat. 1940 Westbury, Episode 24D. Lord Suffolk befriends Kip. 3 pg [187-190] England 1945 The Villa. Tent Episode 24E. Kip tells Hana about the explosion in Erith. 2 lines [190] May 1941 Erith, England Episode 24F. The explosion kills Lord Suffolk, Mr. Harts and Miss Morden. 2 ½ pg [190-192] May 1941 Erith, England Episode 24G. Kip starts working on a new bomb. 4 ¼ pg [192-197] 1941 Italy Episode 24H. Kip escapes to Italy. 3 lines [197] May 1941 Erith, England Episode 24I. Kip figures out the bomb. 1 pg [197-198] 1941 Westbury, Episode 24J. Kip sends the description of how the new bomb works to other sappers. 1 pg [198-199] England 1945 The Villa Episode 24K. Kip tells Hana about his brother 2 pgs [199-201]

1941 Westbury Episode 24L. Kip remembers Miss Morden and Lord Suffolk. 1 ½ pg [201-203] England 1945 The Villa. PART 8. “The Holy Forest”. Episode 15A. Ladybird. Kip brings Hana a ladybird. 1 pg [207] Patient‟s room. Hana puts in on the patient‟s body. 1945 The Villa. Episode 15B. Caravaggio accidentally nudges off a fuse box off the counter. Kip ½ pg [208] Library catches it and saves them from explosion. 1940s The Villa. Episode 15C. Caravaggio tells a story of how he tried to rob a house which belonged 1 pg [208-209] Library to Indian family. 1945 The Villa. Episode 15D. Hana takes a random book from the shelf and writes on a blank page in ½ pg [209] Library it. 1941 Westbury, Episode 24M. Kip remembers how he was lowered into the pit to disarm the Esau 7pgs [210-216] England bomb. 1945 The Villa. Episode 13C. Kip washes his hair. Hana and Kip sit in the sun afterwards. They talk. 3 pgs [217-219] Garden 1945 The Villa Episode 13D. Hana and Kip play a game in the darkness. 5 ½ pg [220-225] 1945 The Villa Episode 13D. Kip and Hana enjoy lying close to each other. Hana scratches his back. 1 ½ pg [225-226] 1945 The Villa. PART 9. “The Cave of Swimmers”. The patient begins telling how one falls in love. 1 line [229] Patient‟s room. 1936 Oxford Episode 16F. Clifton meets a friend who mentioned about the expedition. ¼ pg [229] 1936 Cairo Episode 25A. Katherine. The patient remembers the moment he met Katherine for 1 pg [229-230] the first time. 1936 Cairo Episode 25B. Clifton praises his wife. Almasy does not say anything. 1 pg [230-231] 1936 The desert Episode 25C. Katherine asks Almasy to lend her the Herodotus. ½ pg [231] 1936 The desert Episode 25D. Almasy and Madox return from the expedition trip. Katherine brings ½ pg [231-232] him a cup of water. He lends her his Herodotus. 1936 The desert Episode 26A. The Story. The party begins. Katherine reads a story from Herodotus. 2 ½ pg [232-234] Almasy realizes he is in love with her. 1945 The Villa. Episode 26B. The patient tells Caravaggio that the words have power. 1 line [234] Patient‟s room 1937 Cairo Episode 17I. The patient tells of the time Almasy and Katherine ignored their desire 1 pg [234-236] for each other. 1937 Cairo Episode 17J. Katherine and Almasy become lovers. 2 pg [236-237] 1945 The Villa. Episode 17K. The patient talks to Caravaggio. 5 lines [238]

Patient‟s room 1937- Cairo Episode 17L. Almasy and Katherine‟s secret love affair. ½ pg [238] 1939 1939 Cairo Episode 18C. Katherine and Almasy brake up. 1 ½ pg [238-239] 1939 Cairo Episode 27A. Madox leaves Africa. Madox leaves Africa. 2 pg [240-241] July 1939 England, Episode 27B. Madox kills himself. ½ pg [242] Church 1945 The Villa. Episode 27C. The patient speaks about Madox 1 pg [242-243] Patient‟s room 1945 The Villa. Episode 20D. Caravaggio uses some morphine. 5 lines [243] Patient‟s room 1936- Cairo Episode 28A. Cairo. The patient remembers his year in Cairo ½ pg [243] 1939 1939 Cairo Episode 28B. Almasy comes drunk to Madox‟s farewell party. 2 pg [244-245] 1945 The Villa. Episode 28C. The patient remembers desert. ½ pg [246] Patient‟s room 1945 The Villa. Episode 20E. Hana washes the patient‟s body. ½ pg [246-247] Patient‟s room 1945 The Villa. Episode 20F. Caravaggio gives morphine to the patient. He reads the Herodotus. ½ pg [247-248] Patient‟s room September The desert. Episode 22E. Almasy carries Katherine to the cave. 1 pg [248-249] 1939 Cave of Swimmers 1939 The desert Episode 22F. Almasy walks through the desert to find help. 1 pg [249-250] 1939 El Taj Episode 22G. Almasy comes to El Taj. He tells the officers his name. They haul him 1 pg [250-251] up into a truck. 1939 The Villa. Episode 20G. Caravaggio interrogates the patient. 1 pg [251-252] Patient‟s room 1945 The Villa. Episode 20H. Caravaggio tells the patient/Almasy that he was being followed in the 3 pg [252-255] Patient‟s room desert. 1945 The Villa. Episode 20I. Caravaggio and the patient continue talking. ½ pg [255-256] Patient‟s room 1939 The desert Episode 22H. Clifton crashes the plane. Almasy carries Katherine to the Cave; the he 1 pg [256-257] buries Clifton‟s body.

1939 The desert. Episode 22I. Almasy and Katherine talk. 5 pg [257-261] Cave of Swimmers 1945 The Villa. Episode 20J. Caravaggio offers more morphine to the patient. 6 lines [261] Patient‟s room 1945 The Villa. PART 10. “August”. Episode 29A. August. Caravaggio and Hana talk. 1 ½ pg [265-266] Kitchen 1945 The Villa Episode 29B. Kip prepares dinner. They eat, drink, and talk. Hana sings. 3 ½ [266-270] 1945 The Villa. Episode 29C. Kip and Hana spend time together talking, snuggling, holding each 4 pg [270-273] Garden. Tent other. October Italy, Naples Episode 24N. Kip is brought to work as a sapper. 3 pg [274-276] 1943 1945 The Villa Episode 29D. During the storms Hana and Caravaggio talk; Kip stays in the tent. 2 pg [276-278] 1943 Italy, Naples Episode 24O. The sappers look for the mines. 3 pg [278-281] 1950s Episode 30A. The Future. Hana remembers August days in the Villa 6 lines [282] 1945 The Villa. Episode 29E. Bombs are dropped in Hiroshima and Nagasaki. Kip intends to shoot 5 pg [282-286] Patient‟s room the patient because he believes he is English; 1945 The Villa. Episode 29F. Kip thinks about the victims of bombing. 1 pg [286-287] Garden 1945 The Villa. Episode 31A. Kip Leaves the Villa. Hana tries talking to Kip but he ignores her. 1 pg [288] Garden 1945 The Villa Episode 31B. Kip leaves. ½ pg [289] 1945 Italy Episode 31C. Kip travels on his motorbike. ½ pg [290] 1945 The Villa Episode 31D. Hana looks at Kip‟s things that he had left. 1 pg [290-291] 1945 Italy Episode 31E. Kip continues driving. 1 pg [291-292] 1945 The Villa Episode 32A. Letter Home. Hana writes a letter to her relatives. 1 pg [292-293] 1945 Italy Episode 31F. Kip continues his traveling. 2 ½ pg [293-295] 1945 The Villa Episode 32B. Hana continues writing her letter. 1 pg [295-296] 1945 The Villa Episode 29G. Hana watches Caravaggio walk through the rain 1 pg [296] 1945 The Villa. Episode 29H. The patient lies awake in the darkness 1 pg [297-298] Patient‟s room 1950s India Episode 30B. Kirpal is having dinner with his family; he remembers Italy and the 2 ½ pg [299-301] Villa.

1950s Episode 30C. Hana remembers Kip. ½ pg [301-302] 1950s India Episode 30D. Kirpal catches a fork his daughter had dropped. 4 lines [302]

Table3. The Chronological Order of the Events in Ang Lee’s film Brokeback Mountain

Time Setting Episode Duration Opening 1963 Signal, Episode 1A. The Summer Job. Ennis comes to Wyoming for a summer job. [0.01.00-0.02.00] Summer Wyoming (WY) 1963 Signal, WY, Episode 1B. Ennis waits for the boss. Jack arrives. Ennis and Jack meet. [0.02.01- Summer Parking Lot 00.03.40] 1963 Signal, WY, Episode 1C. Ennis and Jack meet the boss. He describes their job and its [0.03.41-0.06.27] Summer Trailer responsibilities. 1963 Signal, WY, Episode 1D. Jack and Ennis introduce each other. They go to the bar. [0.06.28-0.07.02] Summer Parking Lot 1963 Signal, WY, Bar Episode 2. The Acquaintance. Jack and Ennis speak about their backgrounds. [0.07.03-0.08.20] Summer 1963 Signal, WY, by Episode 3A. Brokeback Mountain. Men tend the sheep. Jack and Ennis prepare [0.08.20-0.09.13] Summer Brokeback for the job. Mountain 1963 Brokeback Episode 3B. Ennis and Jack shepherd the sheep to the mountain. [0.09.14-0.10.29] Summer Mountain 1963 Brokeback Episode 3C. Ennis and Jack rest. [0.10.29-0.10.41] Summer Mountain 1963 Brokeback Episode 4D. Jack and Ennis prepare for the night. [0.10.42-0.11.10] Summer Mountain, Camp 1963 Brokeback Episode 4E. Jack spends the night with the sheep. [0.11.11-0.11.35]

Summer Mountain 1963 Brokeback Episode 4F. Jack and Ennis have breakfast and talk. Jack leaves the camp to tend [0.11.36-0.12.12] Summer Mountain, Camp the sheep. 1963 Brokeback Episode 4G. The daily life. [0.12.13-0.13.41] Summer Mountain 1963 Brokeback Episode 4H. Jack buys some supplies. He meets the bear, falls off the horse, and [0.13.42-0.15.00] Summer Mountain scatters the supplies. 1963 Brokeback Episode 4I. Jack comes back to the camp. He gets angry that Ennis has not [0.15.01-0.17.00] Summer Mountain, Camp prepared any food. Ennis tells him about the bear. Jack tends Ennis‟s wounds. Jack refuses to go to the sheep every night. 1963 Brokeback Episode 4J. Ennis shoots a dear. They eat. [0.17.01-0.17.36] Summer Mountain 1963 Brokeback Episode 4K. Jack complains about the job. Ennis offers to switch their jobs. Ennis [0.17.36-0.19.10] Summer Mountain, Camp goes to the sheep. 1963 Brokeback Episode 4L. Jack prepares food. Ennis washes himself. They eat, drink, and talk [0.19.10-0.23.02] Summer Mountain, Camp about their backgrounds. 1963 Brokeback Episode 4M. Jack and Ennis tend the sheep. [0.23.03-0.23.36] Summer Mountain 1963 Brokeback Episode 4N. Jack plays harmonica. Ennis builds the tent. They get drunk. Jack [0.23.37-0.25.03] Summer Mountain, Camp sings. They talk. 1963 Brokeback Episode 5. The First Night. Jack and Ennis get very drunk. Ennis gets cold during [0.25.04-0.27.10] Summer, Mountain, Camp the night and Jack asks him to come to the tent. Night 1963 Brokeback Episode 5B. Ennis and Jack have sex. [0.27.11-0.28.46] Summer, Mountain, Camp Night 1963 Brokeback Episode 6A. The Day After. Ennis leaves the camp silently. [0.28.47-0.30.04] Summer Mountain 1963 Brokeback Episode 6B. Ennis goes to the sheep. He notices that one of the sheep is dead. [0.30.05-0.31.08] Summer Mountain 1963 Brokeback Episode 6C. Jack washes his clothes. [0.31.09-0.31.34] Summer Mountain, Camp 1963 Brokeback Episode 6D. Jack and Ennis talk about their relationship. [0.31.35-0.32.27] Summer, Mountain, Camp

Night 1963 Brokeback Episode 6E. Jack and Ennis have sex. [0.32.28-0.34.13] Summer, Mountain, Camp Night 1963 Brokeback Episode 7A. The Boss. Jack and Ennis run around the camp playfully, touching and [0.34.14-0.34.34] Summer Mountain kissing each other. The boss spies on them through the binoculars. 1963 Brokeback Episode 7B. The boss comes to the camp. He tells Jack that his mother is ill. [0.34.35-0.35.33] Summer Mountain 1963 Brokeback Episode 8. The Storm. The storm comes. Jack and Ennis hide inside the tent. [0.35.34-0.36.04] Summer Mountain 1963 Brokeback Episode 9A. The End of the Summer. Jack, Ennis and others count the sheep at [0.36.05-0.37.28] Summer Mountain the foot of the mountain. 1963 Brokeback Episode 9B. Ennis wakes up in the tent and notices the snow outside. [0.37.29-0.37.47] Summer Mountain, Camp 1963 Brokeback Episode 9C. Jack tells Ennis that they have to bring the sheep down the mountain. [0.37.48-0.38.38] August Mountain Their summer job is over. Ennis is very upset. 1963 Brokeback Episode 9D. Jack and Ennis are ready to leave. They get into a fist fight. [0.38.39-0.40.14] August Mountain 1963 Brokeback Episode 9E. Jack and Ennis shepherd the sheep down the mountain. The sheep is [0.40.15-0.41.12] August Mountain carefully counted by the boss. 1963 Brokeback Episode 10. The Farewell. Jack and Ennis speak about their future plans and say [0.41.13-0.43.38] August Mountain their farewells. Jack leaves in his car; Ennis walks to an alley and cries. 1963 Riverton, WY Episode 11. Ennis’s Wedding. Ennis and Alma get married. [0.43.39-0.44.01] November 1963 Riverton, WY Episode 12A. Ennis and Alma. Ennis and Alma play in the snow. [0.44.02-0.44.29] 1963 Riverton, WY Episode 12B. Ennis works at the road. [0.44.30-0.44.47] 1963 Riverton, WY Episode 12C. Ennis and Alma watch the film in the car. Alma is pregnant. [0.44.48-0.45.06] 1964 Riverton, WY Episode 13. Summer 1964 Jack comes to WY to ask for the summer job on [0.45.07-0.46.40] Summer Brokeback Mountain. The boss does not hire him because of Jack‟s too close relationship with Ennis. 1960s Riverton, WY Episode 12D. Alma and Ennis daily life. They have two children. [0.46.41-0.48.00] 1960s Riverton, WY Episode 12E. Alma wants to move to the city. Ennis and Alma have sex. [0.48.01-0.50.23] 1960s Texas, Rodeo Episode 13A. Jack Twist. Jack works in the rodeo. [0.50.24-0.50.43] 1960s Texas, Bar Episode 13B. Jack goes to the bar. He tries to flirt with another man. [0.50.44-0.52.01]

1960s Riverton, WY Episode 12F. Ennis and his family celebrate the independence day. He gets into a [0.52.02-0.53.30] July 6 Park fight. 1960s Texas, Rodeo Episode 14A. Jack and Lureen. Jack sees Lureen. [0.53.31-0.54.25] 1960s Texas, Rodeo Episode 14B. Jack rides in the rodeo. Lureen watches him. [0.54.26-0.54.13] 1960s Texas, Bar Episode 14C. Jack and Lureen meet. They dance. [0.54.14-0.56.58] 1960s Texas, The car Episode 14D. Jack and Lureen have sex. [0.56.59-0.58.03] 1960s Riverton, WY Episode 12G. Ennis brings the children to the shop where Alma works. [0.58.04-0.59.35] The shop 1960s Childress, Texas, Episode 14E. Jack and Lureen have a baby. Lureen‟s parents come to visit them. [0.59.36-1.00.23] Jack‟s home 1960s Riverton, WY Episode 15A. The Postcard. Jack receives the postcard from Jack asking them to [1.00.24-1.01.35] Ennis‟s home meet. 1967 Riverton, WY, Episode 15B. Ennis sends the postcard to Jack and agrees to meet. [1.01.34-1.02.05] Post office 1967, Sept Riverton, WY, Episode 16A. Ennis and Jack Meet. Ennis and Jack meet. Alma sees them kissing. [1.02.06-1.05.17] 24 Ennis‟s home 1967, Sept Riverton, WY, Episode 16B. Ennis and Jack spend their night in the hotel. [1.05.18-1.07.19] 24 Motel 1967, Riverton, WY, Episode 16C. Alma waits for Ennis to come home. He is preparing to go on a [1.07.20-1.09.18] September Ennis‟s home. fishing trip. Kitchen 1967, Brokeback Episode 17A. The Return to Brokeback Mountain. Ennis and Jack go to the [1.09.19-1.09.44] September Mountain mountain. 1967, Brokeback Episode 17B. Jack offers them to buy a ranch and live together. [1.09.45-1.13.11] September Mountain. Night. 1950s Episode 17C. Ennis tells Jack his childhood memory of two homosexuals who were [1.11.31-1.12.21] murdered in their neighborhood (Ennis‟s voiceover) Early Riverton, WY, Episode 18A. Ennis and Alma fight. Ennis and Alma fight. [1.13.12-1.13.59] 1970s Ennis‟s Home. Early Childress, Texas Episode 19A. Wealthy Jack. Jack speaks to his workers. [1.14.00-1.14.09] 1970s Early Childress, Texas, Episode 19B. Lureen is working. She hears two cowboys speaking mockingly [1.14.10-1.14.22] 1970s Lureen‟s office about her husband Early Riverton, WY, Episode 20A. Another Postcard from Jack. Alma finds another postcard from [1.14.23-1.14.50]

1970s Ennis‟s home Jack with correspondence. 1970s Childress, Texas, Episode 19C. Jack tells Lureen about his fishing trip. They discuss their daily [1.14.50-1.16.05] Jack‟s home routines. 1970s Riverton, WY, Episode 20B. Ennis is preparing for the fishing trip. He discusses their daily [1.16.06-1.16.58] Ennis‟s home routines with Alma. 1970s Brokeback Episode 21A. Fishing trip to Brokeback Mountain. Ennis and Jack spend their [1.16.59-1.17.39] Mountain time on Brokeback Mountain. 1970s Childress, Texas, Episode 22A. Jack and his Son. Jack teaches his son how to drive a tractor. [1.17.40-1.17.47] Jack‟s home 1970s Riverton, WY Episode 23. Ennis’s Work. Ennis work in the fields. [1.17.48-1.17.58] 1970s Riverton, WY, Episode 24A. Ennis and Alma’s marriage. Ennis watches TV with his family and [1.17.59-1.18.23] Ennis‟s home drinks beer. Alma wants to go out. 1970s Riverton, WY, Episode 24B. Ennis and Alma have sex. Alma says she does not want to have any [1.18.24-1.19.17] Ennis‟s home more children. Ennis gets angry. 1970s Riverton, WY, Episode 25A. Ennis and Alma’s divorce. Alma and Ennis get a divorce. [1.19.18-1.19.39] Courthouse Late Wyoming Episode 26A. Jack and Ennis meet again. Jack comes to visit Ennis. Ennis is not [1.19.40-1.21.56] 1970s able to go to the mountain. Late Episode 26B. Jack is driving away. He cries. [1.21.57-1.22.18] 1970s Late Mexico, Street, Episode 27A. Jack in Mexico. Jack hires a male prostitute. [1.22.19-1.23.22] 1970s Night Late Childress, Texas, Episode 28A. Thanksgiving. Jack has Thanksgiving dinner with his family. [1.23.23-1.25.46] 1970s Jack‟s home Late Riverton, WY, Episode 28B. Ennis has Thanksgiving dinner at Alma‟s home. [1.25.47-1.26.36] 1970s Alma‟s home Late Riverton, WY, Episode 28C. Alma reveals to Ennis that she knows about his affair with Jack. [1.26.37-1.28.48] 1970s Alma‟s home, They fight. Kitchen Late Riverton, WY, Episode 28D. Ennis tries to beat the driver who almost runs him over, but is beaten [1.28.49-1.29.32] 1970s Street himself. 1980s Brokeback Episode 29A. Another Meeting on the Mountain. Ennis and Jack ride horses on [1.29.33-1.30.20 Mountain the mountain. 1980s Brokeback Episode 29B. Jack and Ennis talk. [1.30.21-1.32.17]

Mountain 1980s Riverton, WY, Episode 30A. Ennis’s Girlfriend. Ennis meets a woman in the Bar. [1.32.18-1.34.00] the Bar 1980s Childress, Texas, Episode 31. Family friends. Jack and Lureen spend the the evening in the 1.34.01-1.37.19] The restaurant restaurant with another couple. 1980s Riverton, WY, Episode 32A. Ennis and his Daughter. Ennis comes to pick up his daughter. [1.37.20-1.37.39] Alma‟s yard 1980s Riverton, WY, Episode 32B. Ennis brings his daughter to meet his girlfriend. [1.37.40-1.38.58] The Diner 1980s Riverton, WY, Episode 32C. Ennis is driving his daughter home. She is very upset. [1.38.59-1.40.27] The Road 1980s Brokeback Episode 33A. Last time on Brokeback Mountain. Ennis and Jack meet on [1.40.28-1.42.30] Mountain, Night Brokeback Mountain. They smoke, drink, and talk. 1980s Brokeback Episode 33B. Ennis and Jack are preparing to leave the mountain. Ennis tells that [1.42.31-1.48.35] Mountain, they could mean only in November as he has to work. Morning 1964, Brokeback Episode 34. Memories of Summer 1964. Jack is sleeping on his feet. Ennis comes [1.48.35-1.49.45] Summer Mountain, Early and hugs him from behind. Jack watches Ennis ride away. Morning 1980s Brokeback Episode 33C. Jack watches Ennis drive away. [1.49.46-1.49.50] Mountain, Morning -1980s Riverton, WY, Episode 35. Ennis and his Girlfriend Break Up. [1.49.51-1.51.53] The Diner 1980s Riverton, WY, Episode 36A. Jack’s death. Ennis gets his postcard to Jack returned with a stamp [1.51.53-1.52.16] The post office “deceased”. 1980s Riverton, Episode 36B. Ennis calls Lureen to find out what happened to Jack. Lureen told [1.52.17-1.55.22] WY/Childress, him about Jack‟s death. Texas 1980s Jack parent‟s Episode 37A. Ennis visits Jack’s parents. Ennis comes to visit Jack‟s parents. [1.55.23-1.58.46] house, Kitchen 1980s Jack‟s room Episode 37B. Ennis goes to Jack‟s childhood room. [1.58.47-2.01.14] 1980s Jack parent‟s Episode 37C. Ennis says goodbye to Jack‟s parents. [2.01.15-2.02.33] house, Kitchen

1980s Riverton, WY, Episode 38. Alma Jr.’s Visit. Ennis‟s daughter comes to visit him. She announces [2.02.34-2.06.35] Ennis‟s home that she is getting married, and invites Ennis to come to the wedding. 1980s Riverton, WY, Episode 39. Jack’s Shirt. Ennis opens his closet. He touches Jack‟s shirt that is put [2.06.36-2.28.05] Ennis‟s home together with his own shirt from Brokeback Mountain. He cries.

Annie Proulx “Brokeback Mountain”

Time Setting Episode Duration 1980s Wyoming Episode 1A. Ennis’s Dream. Ennis wakes up after a dream about Jack Twist. 25 lines 1962 Brokeback Episode 2. Jack’s work. Jack works on Brokeback Mountain. 1line Summer Mountain 1963 Wyoming Episode 3. Ennis’s engagement. Ennis gets engaged to Alma Beers 1 line Spring 1963 Brokeback Episode 4A. Summer on Brokeback Mountain. Jack and Ennis meet 1 line Summer Mountain 1963 Brokeback Episode 4B. Joe Aguire gives instructions of how to work. 22 lines Summer Mountain 1963 Wyoming, The Bar Episode 4C. Ennis and Jack go to the bar. 21 lines Summer 1963 Brokeback Episode 4D. Ennis and Jack work on Brokeback Mountain. 16 lines Summer Mountain 1963 Brokeback Episode 4E. Jack and Ennis make the camp and spend their first night on the 12 lines Summer Mountain, Night mountain. 1963 Episode 4F. Ennis watches Jack work across the mountain. 5 lines Summer 1963 Brokeback Episode 4G. Jack complains about his job. Ennis offers to switch their job 23 lines Summer Mountain, Night positions. 1963 Brokeback Episode 4H. Ennis rides to the sheep. 6 lines Summer Mountain 1963 Brokeback Episode 4I. Jack and Ennis spend the night in the camp, speaking and drinking. 40 lines Summer Mountain

1963 Brokeback Episode 4J. Ennis and Jack‟s daily work. 14 lines Summer Mountain 1963 Brokeback Episode 4K. Ennis and Jack get drunk. They have sex. 26 lines Summer Mountain, Night 1963 Brokeback Episode 4L. Jack and Ennis wake up together. 4 lines Summer Mountain 1963 Brokeback Episode 4M. Jack and Ennis‟s intimate relationship continues. 12 lines Summer Mountain 1963 Brokeback Episode 4N. Aguire watches Jack and Ennis from further away. He comes to tell 9 lines Summer Mountain Jack that his father is ill. 1963 Brokeback Episode 4O. Some sheep get missing, while Ennis spends the night with Jack in 9 lines August Mountain the camp. 1963 Brokeback Episode 4P. It snows. The end of the summer job. 17 lines August 13 Mountain 1963 Brokeback Episode 4Q. Jack and Ennis say farewell to each other. They speak abou t their 23 lines August Mountain future plans. 1963 Riverton, Wyoming Episode 5A. Ennis and Alma. Ennis and Alma get marries. 0.5 line December 1963 Riverton, Wyoming Episode 5B. Alma gets pregnant. 0.5 line 1960s Riverton, Wyoming Episode 5C. Ennis works in the ranch 1 line 1964 Riverton, Wyoming Episode 5D. Ennis‟s first daughter is born. 1 line September 1960s Riverton, Wyoming Episode 5E. Ennis and his family move to a small apartment. 1 line. 1960s Riverton, Wyoming Episode 5F. Ennis gets a new job on the highway crew. 1 line 1960s Riverton, Wyoming Episode 5G. Ennis‟s second daughter is born. 1 line 1967 Riverton, Wyoming Episode 6. Jack’s Letter. Ennis receives the letter from Jack offering to meet. 9 lines July 1967 Riverton, Wyoming Episode 7A. Ennis and Jack’s Reunion. Jack comes to visit Ennis. 23 lines 1967 Riverton, Wyoming Episode 7B. Alma sees Ennis and Jack kissing. 7 lines 1967 Riverton, Wyoming Episode 7C. Ennis introduces Jack to Alma. All three speak about their families 32 lines 1967 Riverton, Wyoming, Episode 7D. Jack and Ennis go to the motel and have sex. 5 lines Motel Siesta 1967 Riverton, Wyoming, Episode 7E. Jack and Ennis speak about their years apart and discuss their 5 pages Motel Siesta future plans.

Late Riverton, Wyoming Episode 8. Alma’s Knowledge. Alma and Ennis are growing apart. 20 lines 1960s Late Brokeback Episode 9. Jack and Ennis meet at least twice a year. 1 lines 1960s- Mountain early 1970s 1973 Riverton, Wyoming Episode 10. Ennis’s Divorce. Alma and Ennis get divorced. 1 line 1970s Riverton, Wyoming Episode 11. Thanksgiving. Ennis has Thanksgiving dinner at Alma‟s home. 47 lines Alma‟s Home She reveals her knowledge of Ennis and Jack‟s affair. (1.5page) 1970s Brokeback Episode 12. Ennis and Jack’s meetings. Jack and Ennis keep meeting each 15 lines Mountain other. 1970s Childress, Texas Episode 13. Lureen’s Inheritance. Lureen‟s father dies. She inherits his ranch. 10 lines 1983 Brokeback Episode 12B. Jack and Ennis meet again. 5.5 page May Mountain 1963 Brokeback Episode 13. Remembering Summer 1963. Jack remembers their last morning 30 lines Mountain together on Brokeback Mountain in 1963. (1page) 1983 Riverton, Wyoming Episode 14A. Jack’s Death. Ennis receives his postcard to Jack back with a 3 lines stamp “deceased”. 1983 Riverton, Episode 14B. Ennis calls Lureen, and finds out about Jack‟s death. 48 lines (1 Wyoming/Childress, page) Texas 1983 Texas, Jack parent‟s Episode 15A. Ennis Visits Jack’s Parents. 2 pages home 1983 Texas, Jack‟s room Episode 15B. Ennis goes to Jack‟s room. 43 lines (1page) 1983 Texas, Jack parent‟s Episode 15C. Jack‟s mother asks him to visit again. 9 lines home 1980s Riverton, Wyoming Episode 16. The Postcard. Ennis buys a postcard with Brokeback Mountain, 8 lines and hanged it on his wall, together with Jacks and his shirts together. 1980s Riverton, Wyoming Episode 1B. Ennis dreams of Jack Twist. 13 lines