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F. Scott Fitzgerald's Verbal Cinema: Film Techniques in the Major Novels

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F. Scott Fitzgerald's Verbal Cinema: Film Techniques in the Major Novels F. SCOTT FITZGERALD'S VERBAL CINEMA: FILM TECHNIQUES IN THE MAJOR NOVELS By GAUTAM ,,KUNDU Bachelor of Arts Calcutta University Calcutta, India 1965 Master of Arts Simon Fraser University Burnaby, B.c., Canada 1981 Submitted to the faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSPHY December, 1987 F. SCOTT FITZGERALD'S VERBAL CINEMA: FILM TECHNIQUES IN THE MAJOR NOVELS Thesis Approved: Thesis Adviser Dean of the Graduate College i 1 307062 ACKNOWLEDGEMENTS The ideas on the "dynamics of exchange" between literature and film, especially fictional and cinematic discourse, and on F. Scott Fitzgerald use of film techniques in his fiction presented here first took shape under the guidance of Professor Peter c. Rollins, Department of English, Oklahoma State University. I would like to thank him for his advice and critical support at every stage in preparation of this study. Without his help the manuscript would never have come to completion. Among others who have discussed the theoretical and/or critical problems in this work, I owe most to Professors Leonard Leff, Jeffrey Walker, and Edward Walkiewicz, all of Oklahoma State University for reading the manuscript at various stages and oftering many helpful suggestions for its improvement. I have had the assistance of many others, teachers, colleagues and friends, who answered my questions, led me to sources, willingly offered me their views, patiently listened to mine, saved me from errors, and generally encouraged me along the way. They include Professors John R. May, Gale Carrithers, Gerry Kennedy, and Daniel Mark Fogel, all of Louisiana State Unviersity, Baton Rouge, and Larry Barlow, Roger Gorman, Scott Evans, Rob Luscher, Robert McKinnon, Morris Witten, George Wittmer, Farhat Iftekharuddin, Kailash, and Sumati Nanguneri. ii I owe a special debt to thanks to Katherine Paine and her office staff at the Louisana State University Arts and Sciences Computer Services, and to Joyce Miller-Grant and Diane LeNoir, whose computer skills and courtesy I pushed to the limits. I should also thank the library staff of Oklahoma State University and Louisiana State University, Erica Babin, and Claudia Scott for her untiring efforts in typing the various drafts of the manuscript. Finally, I am indebted to my wife, Bela for her patience and support, and for giving unstintingly of her time to care for the family while I worked on the project. iii TABLE OF CONTENTS Chapter Page v~ I. INTRODUCTION v-ii. LITERATURE AND FILM. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 14 Literature and Film: Cross Influence, Convergences, Analogies. 15 Novel and Film: The Dynamics of Exchange: A Brief Critical Survey........................................ 21 Film and Literary Techniques: Specfic Areas of Influence.... 32 The "Cinematic" in Literature: A Note on Usage ••••••••••• 35 III. FITZGERALD'S "CAMERA EYE": VISUAL TECHNIQUES IN THE MAJOR NOVELS. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 42 IV. MANIPULATION OF TIME AND SPACE AND NARRATIVE ORDER IN FITZGERALD: EDITING TECHNIQUES AND THEIR LITERARY EQUIVALENTS •••••••••••••••••••••••••••••••••• 77 V. FITZGERALD'S LITERARY SOUND-TRACK ••••••••••••••••••••••••.•••• 121 VI. OTHER CINEMATIC DEVICES IN THE MAJOR NOVELS •• ,,,,,,,,,,,,,,,,, 159 ,..V VII. CONCLUSION •..••••••.•••••••••••••••.•••••••.••••.•••.•..•••••• 193 BIBLIOGRAPHY. • . • • • • . • • • • . • • • . • • . • . • • • • . • • • • . • • • • • . • • • • . • • . • 208 iv CHAPTER I INTRODUCTION It is the contention of Claude-Edmonde Magny, Robert Richardson, John Fell, Edward Murray, Alan Spiegel , and Keith Cohen, among others that the "classic" modern American novel and film share a common aesthetic--a union of image and concept, visual fact and value--and that some of the major American novelists of the 1920's and the 1930's--John Dos Passos, Ernest Hemingway, Nathaniel West, William Faulkner, and F. Scott Fitzgerald, for instance--have a cinematic imagination, and often use techniques analogous to those used in the cinema, both silent and the talkies. Embodying as it did the cultural spirit of the modern period, film (and the film "idea") influenced the above writers-­ sometime also referred to, loosely, as "the cinematic school of novelists"--consciously or unconsciously, both as a source of their experimentation in technique, and as an intellectual-aesthetic framework that made possible the radicalization of time and space which determined the shape and texture of much of their work. Although demonstrating actual film influence is often difficult, some of the above-mentioned writers often use film metaphors and devices in their writings. Dos Passos, for instance, in those sections called "the Camera Eye" in the USA trilogy shows how close the literary device of stream-of-consciousness is to film technique. His "Newsreel" sections, which opens the 42nd Parallel, composed of headlines, 2 newspaper reports, and popular songs, present a glimpse of the time Dos Passos was describing. By evoking the staccato rhythm of the movie newsreels, and by asking the readers to associate the newsreel with the tabloid-like format of his narrative, Dos Passos created something new in literary history. Similarly, David Thomson finds much of Hemingway's work closely related to film techniques because, as he declares, "It was his [i.e. Hemingaway' s] wish to achieve a style that describes action without including intention. The fact that he attempted to do what the camera does automatically places him at the end of a narrative tradition ••• " 1 And writing about William Faulkner as a cinematic writer, Michael Millgate has noticed a comparision between him and Charles Dickens (to whom Sergei Eisenstein traced back the montage and the parallel action, and in whose The Great Expectation Roy Huss and Norman Silverstein find fluid use of "camera point of view"2). As for F. Scott Fitzgerald, most critics agree that because of his life-long interest in the medium, and because of his actual work experience in Hollywood as a screenwriter, the impact of film on his work was deep. Since it is normally the technical artifice in film that interest the writer, the cinema with its unique technological basis became a rich source of metaphor and allusion in Fitzgerald's writings. Also, as with of his contemporaries, the cinema offered him a vocabulary in which to couch descriptions, that is, the cinema is used not to create an altogether-cinematic film, but rather, to illuminate an occasional experience by providing a shorthand way of describing. Practically any reader acquainted enough with the cinema would find Fitzgerald's descriptions particularly filmic. Finally, film aesthetics, grounded as they are in a non-traditional 11 cul ture of time 3 and space", provide means of "discovering" the characteristically modern themes and attitudes found in Fitzgerald's work, but themes and attitudes that are also firmly rooted in the realist, manners tradition: isolation, memory, obsession, disorder, disillusion, and apperances, money, materialism, greed, and sexual and class tensions. At this point, some distinction must be made between European writers like Charles Dickens and James Joyce, and in American literature between Dos Passos, Hemingway, Faulkner, and Fitzgerald. Dickens wrote cinematically without a knowledge of the yet unborn "livliest art"; Joyce was interested in cinema but had no personal experience of the motion picture "business. 11 Faulkner, who worked in Hollywood intermittently for nearly twenty-two years from 1932 to 1954, incorporated many of the film devices from his experience as a screen writer. Dos Passos and Hemingway fall within a different category of writers. One used film devices as innova tive addition to a basically non-cinematic and traditional novelistic form, and the other, through his spartan style mirrored the camera's emphasis on behavior and action. Fitzgerald belongs more to the Dickens-Joyce-Faulkner tradition of cinematic school of novelists than to the one represented by Dos Passos and Hemingway: there is, in his fiction, a strong emphasis on visual modality, and on an insider's knowledge of the craft of screenwriting and the business of movie-making. Despite critical ambivalence as to whether or not Fitzgerald was a victim of the Hollywood System, its glamour of money and celebrity status, or whether he was able to •use' the film experience to vitalize his fictional craft, I belive that because of his early media-awareness, and because he sustained and supplemented this interest in cinema with 4 attempts to write for Hollywood, and because of his respect for the artistic possibilities of the film form existing not in opposition to the novel but complementing it, Fitzgerald's work reveals the presence of his film sensibility alongside the more traditional aesthetics of his novelistic craft. Keeping the above in mind, I have examined the existence and the form and function of the specific cinematic techniques in the major novels of Fitzgerald in an attempt to demonstrate not only that as a writer he was showing his interest in the mixed-media forms of presentation--one of the characteristic artistic endeavors of the avant­ garde 1920's--but, more importantly, how the analogous techniques-­ cinematic ways of seeing and telling a narrative--illuminate many of Fitzgerald's thematic concerns (even "produce" sometimes the
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