Realist View of Cinema versus Anti-Realist Film Theory
Film Theorists -- Siegried Kracauer and Rudolph Arnheim
In the book, "Film Theory and Criticism: Introductory Readings," (herein referred to as FTC) edited by Leo Braudy and Marshall Cohen, there is an essay by Siegried Kracauer entitled "Basic Concepts." In this writing, he discusses basic concepts of film theory. In addition, the book contains an essay by Rudolph Arnheim entitled "Film and Reality" that addresses the theory of what comprises a complete film.
Realist View of Cinema
Siegried Kracauer is one of the most well known film theorists that advocates the realist view of cinema. He believes that film is essentially photographs of reality and is just like holding a "mirror up to nature" (p. 166, FTC). As a result, he advocates that film should always reveal physical reality just as it is. Adhering to this theory of film is associated with the view that cinema actually translates reality to the motion picture images. This reproduction of reality is done within the framework of an artist.
Anti-Realist Film Theory
Rudolph Arnheim is an advocate of the anti-realist film theory. This view of cinema supports the claim that the mechanical reproduction of real life is not art at all. The anti-realist film theory focuses on an artist's creativity and the ability to "originate, to interpret, and to mold" (p. 167, FTC). This view of film theory adheres to the belief that film cannot be art at all because "it does nothing but reproduce reality mechanically." (p. 312, FTC).
A Balanced Perspective on the Realist Versus Anti-Realist Views of Cinema
After studying the Realist View of Cinema and the Anti-Realist Film Theory, I personally believe that both views of filmmaking are true. It is my personal opinion that each theory cannot be emphasized at the expense of the other, and there needs to be a balance between these two theoretical concepts. Both theories are applicable to filmmaking, and both can be realized by a film director/screenwriter to tell a story through the communication media film. According to Dictionary.com, 'art' is defined as "the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance." Based upon this definition, I believe that a film director can express artistic talent through a Realist View of Cinema as well as through an Anti-Realist View by utilizing aesthetic tools and techniques of filmmaking.
- Exploring the Realist View of Cinema
The Realist View of Cinema can be accomplished by a filmmaker through aesthetic elements of film and realistically translate real life artistically into the media of motion picture images. For example, the use of cameras, lights, lenses, sound, and editing techniques of physical reality can influence an audience's perception of a movie. For example, Orson Welles used varying degrees of shadows to accentuate drama, mystery, and suspense in his film, Citizen Kane. He used lights and shadows to mold the perception of the audience's view of the movie. This is the essence of the aesthetics of cinema... the appreciation of beauty. There is beauty in the world we live in, and this Realist View of Cinema conveys a reproduction of reality that can be accomplished through the cinematic artistry of the film director/screenwriter.
The YouTube video depicted at https://youtu.be/47l_q4YjSc4 is an excerpt from the film "Citizen Kane." As you view this segment of the movie, you will observe the Realist View of Cinema at work and how a film director can create visual interest in a movie by translating physical reality into the media of moving images. The cinematic tools and techniques utilized by the film director conveys the overarching theme and message of the film.
The video "Citizen Kane - Susan Alexander at the El Rancho" at https://youtu.be/47l_q4YjSc4 was uploaded by carbondaleyarngirl to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." - Exploring the Anti-Realist View of Cinema
While embracing a Realist View of Cinema, I believe that a film director can also utilize cinematic artistry through an Anti-Realist View of Filmmaking. For example, through superb directorial artistry, the famous film director Steven Spielberg brought forth a message in his films "Close Encounters of the Third Kind" and "E.T. -- The Extra-Terrestrial" that advocated doing away with America's efforts of dehumanizing the Russian people. These films focused on Spielberg's creativity and ability to convey a message in favor of international cooperation between America and Russia. Hence, the Anti-Realist Film Theory applies perfectly in this case.
The YouTube video depicted below is an excerpt from the film "Close Encounters of the Third Kind." As you view this segment of the movie at https://youtu.be/JeeZA4B1qyI , you will observe the Anti-Realist Theoretical View of Cinema at work and how a film director can create visual interest in a movie by using artistic talent to "originate... interpret... and mold" (p. 167, FTC) the viewing audience's perception of a film.
The video "Close Encounters of the Third Kind (8/8) Movie CLIP - Contact (1977) HD" at https://youtu.be/JeeZA4B1qyI was uploaded by Movieclips to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." Integration of Realist and Anti-Realist Film Theories into Novel Writing
I incorporated both the Realist View as well as the Anti-Realist View of communication media into the writing of my epic, medieval, fantasy novel The Wolves of Trisidian. The following discussions describe how I integrated both theories into the writing of my novel.
- Integration of the Realist View in The Wolves of Trisidian
Beneath the surface of the entertainment related aspects of the story, there is a deeper layer of inner meaning to the novel that furthers our understanding of the human condition. The Wolves of Trisidian broadens our awareness of the natural, human nature that exists within each of us. As a result, the story introduces to the reader a new beast, a new darkness, and a new hero coupled with the overarching truth that man’s greatest enemy is his never-ending quest for power. Also, after being part of the central character’s journey in the novel, the reader should gain a deeper understanding of the human experience as well as the battle between pride and humility that exists within each of us. Based upon the reader’s own individual emotional responses to the choices and consequences experienced by the various characters in the story, the reader should be able to draw their own conclusions regarding what makes life full and complete. The decisions made by the characters in the story as well as the effects of those decisions can help us make sense of our own lives and the world we live in, as well.
The following passage is a narrative excerpt from my novel, The Wolves of Trisidian, that is based upon the Realist Theoretical View as applied to novel writing.
Randall prepared his crossbow. He was getting ready to launch another arrow at us. I immediately inserted a bolt into the flight groove of my crossbow, as well. I am preparing my weapon to kill the notorious Lord Draegan Randall of Trisidian, my birth father by blood. I took aim. Lord Randall seeks to put an end to our lives. He is forcing me to serve as his angel of death. I am about to fire a deadly bolt at the one from whose loins I came. Will my father’s blood now be on my hands? God, what am I to do?
I readied my finger on the trigger. My crossbow was now in ready-to-fire position for the kill shot. To the best of my ability, I thought that I had already made the decision prior to stepping onto the battlefield about what needed to be done if confronted with this situation. My advance judgment was that my eye should not spare him. However, now that I was confronted with the reality of taking his life into my hands, I quickly discovered that it is not possible to plan in advance what to do concerning a decision like this. Conflicting thoughts on whether or not I should launch the bolt at the center of my father’s chest to put an end to his life once again plagued my mind. I took careful aim at his heart. In unison, Lord Randall lifted his crossbow weapon in ready-to-fire position and set his sight to launch a deadly bolt directly at me. Does my blood father know that his son by blood, Geoffrey, is the target of his aim? If he did, would it even make a difference? Would he launch the bolt at me anyway?
After a brief moment of silent deliberation, all the confusion of that instant was securely put down. I gathered together in my mind one cohesive upsurge of devouring yearning to stop Lord Randall’s evil treatment of the citizens of Jandor. He had brought nothing but pain and death to many innocent people throughout the years, young and old alike. His blood shall be upon him. The soft flesh of my forefinger started to press against the trigger. Suddenly, a final thought of mercy flooded my soul. I should show grace and only shoot to wound Lord Randall and not kill him. I should endeavor to take him as my prisoner rather than send his soul to an eternity of burning torment. The flesh of my forefinger was still pressed against the trigger. But why should I be merciful to Lord Randall? He is an evil man and fully given over to wickedness. Why shall I be merciful? Why? Why? Why?
I imposed an iron control over my conflicting thoughts of emotion. My decision was made. I pulled the trigger with full assurance. The bolt was launched into the air. As the bolt made its maiden flight to its intended target at the evil Lord Randall of Trisidian, it could not be called back or its flight directory changed. The trigger had been pulled. My decision could not be undone.
This was an historic moment for me as well as the future of all Jandor, for the bolt carried with it the thoughts and intent of my heart. I decided to shoot the bolt at Lord Randall with the goal of only inflicting injury, not death. The bolt hit Lord Randall squarely in his right shoulder just as I had planned, far away from his heart. Prior to releasing the bolt, I decided to take Lord Randall as my prisoner of war and let the Court of the Alliance determine his fate. In my call as the Pledge of Peace since early childhood, I had girded myself with the resolve to thwart evil. I was fully determined to help build a new, peaceful life for the innocent ones of Jandor. Taking Lord Randall as a prisoner of war would fulfill that end.
- Integration of the Anti-Realist View in The Wolves of Trisidian
From an Anti-Realist View, I integrated several fantastic elements into the story that involve the evil Black Wolves of Trisidian. For example, their supernatural powers include: (1) Psychometry (ability to see the past in a location they were not present), (2) Telepathy (ability to read the thoughts of others as well as mentally communicate with other wolves), (3) Superanimal Mentality (extremely high intelligence), (4) Superanimal Strength (physically bigger and stronger than other normal wolves), (5) Superanimal Senses (ability to see, smell, taste, feel and/or hear better than other normal wolves), and (6) Superanimal Speed (ability to move, react, and run faster than other normal wolves). Moreover, other supernatural elements include: (1) The inhuman, wolfish, beastly nature possessed by the reigning Lords of Trisidian, (2) Wolf animal morphing, (3) Object-based powers inherent in special objects such as jewelry, stones, daggers, etc., (4) Magical powers possessed by evil sorcerers of Trisidian or good wizards of Jandor with the ability to use magical forces to varying degrees for evil or good, and (5) Healing powers with the capacity to heal quickly from an injury and with complete cure.
The following passage is a narrative excerpt from my book, The Wolves of Trisidian, that is based upon the Anti-Realist Theoretical View as applied to novel writing.
Suddenly, we heard the loud, rushing sound of a huge flock of black starlings outside the Secret Garden. They were soaring upwards into the sky as swift as the black smoke rises through the earth’s ruptured crust from the magma chamber of an erupting volcano. The total number of sky birds numbered in the hundreds of thousands. Without warning, the flock of sky birds formed into a Sort Sol, a phenomenon known as the Black Sun.
Cortay said, “I sense the presence of evil.”
I felt a dark, cold, baneful habitation residing outside the Secret Garden, as well. The black birds seemed like veiled ghosts hurrying past us as though being driven to their land of shadows by shuddering fear. Never before had I ever seen such a strange occurrence in nature. There were so many black starlings in the sky that their haunting commorancy began to obscure the path of the sun’s rays upon our land. The birds swam the flood of air like tiny ships. Forthwith, the birds started to converge into a series of multifaceted images across the unfeigned sky. I said, “An uprising of evil is swelling outside the gate. Like great black birds, the demons haunt the woods.”
Cortay replied in a small, frightened voice. “The screeching sounds of the birds are whistling sharply in the air like a colossal gathering of vipers. Their effigies are darkening the orange-colored firmament.” Her face became clouded with uneasiness. “I feel like we are helpless little sparrows in the warm nest of the Secret Garden.”
The black starlings seemed to dance like danseurs and danseuses in a suffering ballet across the swarthy sky. Viewing this iniquitous occurrence was hypnotizing. It was an unnerving sight. I searched for a plausible explanation. “It is as if an aura of evil launched itself upwards into the sky.”
Cortay said, “The atmosphere is frightful as the serpent’s hiss.”
All of a sudden, the Sort Sol formed into the Mark of the Celtic Cross. The dark, sculptured monument hung high in the shadowy sky. The Sort Sol was a crude representation of the mark’s symbolic significance of the Good and Wonderful One's eternal, endless love for all mankind. After we recognized the final assembly of the image in the sky, Cortay screamed out in great anguish and physical pain. She exclaimed, “My back left shoulder! It burns like the sting of a serpent!” Due to the intense pain, tears started forming in Cortay’s eyes.
I quickly pulled down the back part of her tunic-sleeved blouse. I looked at the Mark of the Celtic Cross on the back of her left shoulder. The mark was inflamed. It was bright red in color. I felt the emblem on her skin with the fingers of my right hand. It was hot to touch. I paused to catch my breath. An odd, primitive warning sounded in my mind. This evil against Cortay is the work of Elvira the Sorceress. During my years of incarceration at Castle Trisidian, several people suffered from time to time with burning, stinging sensations on their bodies. These attacks at Castle Trisidian were due to evil spells cast by Elvira the Sorceress.
Without warning, the black starlings broke formation and languidly drifted away north of our Village of Peritrova. The beaming rays of the sun gently filled the sky again as it continued its slow descent in the West. It was like lighting a candle to the sun. The soft, warm, diffused glow of the twilight hours returned and draped over our Land of Stonehaven with peaceful serenity.
Cortay said, “The stinging pain is gone. It departed with the starlings.”
I looked again at Cortay’s Mark of the Celtic Cross on her back left shoulder. It was no longer inflamed. It had returned to its normal warm-brown color.
REFERENCES
BRAUDY, LEO and COHEN, MARSHALL. Film Theory and Criticism: Introductory Readings. 5th ed. Oxford: Oxford University Press, 1999.
Dictionary.com website. "Definition of Art." Retrieved on 21 January 2017 from http://www.dictionary.com/browse/art
The Wolves of Trisidian -- A Novel by Adrian Robbe
In the book, "Film Theory and Criticism: Introductory Readings," (herein referred to as FTC) edited by Leo Braudy and Marshall Cohen, there is an essay by Siegried Kracauer entitled "Basic Concepts." In this writing, he discusses basic concepts of film theory. In addition, the book contains an essay by Rudolph Arnheim entitled "Film and Reality" that addresses the theory of what comprises a complete film.
Realist View of Cinema
Siegried Kracauer is one of the most well known film theorists that advocates the realist view of cinema. He believes that film is essentially photographs of reality and is just like holding a "mirror up to nature" (p. 166, FTC). As a result, he advocates that film should always reveal physical reality just as it is. Adhering to this theory of film is associated with the view that cinema actually translates reality to the motion picture images. This reproduction of reality is done within the framework of an artist.
Anti-Realist Film Theory
Rudolph Arnheim is an advocate of the anti-realist film theory. This view of cinema supports the claim that the mechanical reproduction of real life is not art at all. The anti-realist film theory focuses on an artist's creativity and the ability to "originate, to interpret, and to mold" (p. 167, FTC). This view of film theory adheres to the belief that film cannot be art at all because "it does nothing but reproduce reality mechanically." (p. 312, FTC).
A Balanced Perspective on the Realist Versus Anti-Realist Views of Cinema
After studying the Realist View of Cinema and the Anti-Realist Film Theory, I personally believe that both views of filmmaking are true. It is my personal opinion that each theory cannot be emphasized at the expense of the other, and there needs to be a balance between these two theoretical concepts. Both theories are applicable to filmmaking, and both can be realized by a film director/screenwriter to tell a story through the communication media film. According to Dictionary.com, 'art' is defined as "the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance." Based upon this definition, I believe that a film director can express artistic talent through a Realist View of Cinema as well as through an Anti-Realist View by utilizing aesthetic tools and techniques of filmmaking.
- Exploring the Realist View of Cinema
The Realist View of Cinema can be accomplished by a filmmaker through aesthetic elements of film and realistically translate real life artistically into the media of motion picture images. For example, the use of cameras, lights, lenses, sound, and editing techniques of physical reality can influence an audience's perception of a movie. For example, Orson Welles used varying degrees of shadows to accentuate drama, mystery, and suspense in his film, Citizen Kane. He used lights and shadows to mold the perception of the audience's view of the movie. This is the essence of the aesthetics of cinema... the appreciation of beauty. There is beauty in the world we live in, and this Realist View of Cinema conveys a reproduction of reality that can be accomplished through the cinematic artistry of the film director/screenwriter.
The YouTube video depicted at https://youtu.be/47l_q4YjSc4 is an excerpt from the film "Citizen Kane." As you view this segment of the movie, you will observe the Realist View of Cinema at work and how a film director can create visual interest in a movie by translating physical reality into the media of moving images. The cinematic tools and techniques utilized by the film director conveys the overarching theme and message of the film.
The video "Citizen Kane - Susan Alexander at the El Rancho" at https://youtu.be/47l_q4YjSc4 was uploaded by carbondaleyarngirl to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." - Exploring the Anti-Realist View of Cinema
While embracing a Realist View of Cinema, I believe that a film director can also utilize cinematic artistry through an Anti-Realist View of Filmmaking. For example, through superb directorial artistry, the famous film director Steven Spielberg brought forth a message in his films "Close Encounters of the Third Kind" and "E.T. -- The Extra-Terrestrial" that advocated doing away with America's efforts of dehumanizing the Russian people. These films focused on Spielberg's creativity and ability to convey a message in favor of international cooperation between America and Russia. Hence, the Anti-Realist Film Theory applies perfectly in this case.
The YouTube video depicted below is an excerpt from the film "Close Encounters of the Third Kind." As you view this segment of the movie at https://youtu.be/JeeZA4B1qyI , you will observe the Anti-Realist Theoretical View of Cinema at work and how a film director can create visual interest in a movie by using artistic talent to "originate... interpret... and mold" (p. 167, FTC) the viewing audience's perception of a film.
The video "Close Encounters of the Third Kind (8/8) Movie CLIP - Contact (1977) HD" at https://youtu.be/JeeZA4B1qyI was uploaded by Movieclips to You Tube. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. non-profit, educational or personal use tips the balance in favor of fair use." Integration of Realist and Anti-Realist Film Theories into Novel Writing
I incorporated both the Realist View as well as the Anti-Realist View of communication media into the writing of my epic, medieval, fantasy novel The Wolves of Trisidian. The following discussions describe how I integrated both theories into the writing of my novel.
- Integration of the Realist View in The Wolves of Trisidian
Beneath the surface of the entertainment related aspects of the story, there is a deeper layer of inner meaning to the novel that furthers our understanding of the human condition. The Wolves of Trisidian broadens our awareness of the natural, human nature that exists within each of us. As a result, the story introduces to the reader a new beast, a new darkness, and a new hero coupled with the overarching truth that man’s greatest enemy is his never-ending quest for power. Also, after being part of the central character’s journey in the novel, the reader should gain a deeper understanding of the human experience as well as the battle between pride and humility that exists within each of us. Based upon the reader’s own individual emotional responses to the choices and consequences experienced by the various characters in the story, the reader should be able to draw their own conclusions regarding what makes life full and complete. The decisions made by the characters in the story as well as the effects of those decisions can help us make sense of our own lives and the world we live in, as well.
The following passage is a narrative excerpt from my novel, The Wolves of Trisidian, that is based upon the Realist Theoretical View as applied to novel writing.
Randall prepared his crossbow. He was getting ready to launch another arrow at us. I immediately inserted a bolt into the flight groove of my crossbow, as well. I am preparing my weapon to kill the notorious Lord Draegan Randall of Trisidian, my birth father by blood. I took aim. Lord Randall seeks to put an end to our lives. He is forcing me to serve as his angel of death. I am about to fire a deadly bolt at the one from whose loins I came. Will my father’s blood now be on my hands? God, what am I to do?
I readied my finger on the trigger. My crossbow was now in ready-to-fire position for the kill shot. To the best of my ability, I thought that I had already made the decision prior to stepping onto the battlefield about what needed to be done if confronted with this situation. My advance judgment was that my eye should not spare him. However, now that I was confronted with the reality of taking his life into my hands, I quickly discovered that it is not possible to plan in advance what to do concerning a decision like this. Conflicting thoughts on whether or not I should launch the bolt at the center of my father’s chest to put an end to his life once again plagued my mind. I took careful aim at his heart. In unison, Lord Randall lifted his crossbow weapon in ready-to-fire position and set his sight to launch a deadly bolt directly at me. Does my blood father know that his son by blood, Geoffrey, is the target of his aim? If he did, would it even make a difference? Would he launch the bolt at me anyway?
After a brief moment of silent deliberation, all the confusion of that instant was securely put down. I gathered together in my mind one cohesive upsurge of devouring yearning to stop Lord Randall’s evil treatment of the citizens of Jandor. He had brought nothing but pain and death to many innocent people throughout the years, young and old alike. His blood shall be upon him. The soft flesh of my forefinger started to press against the trigger. Suddenly, a final thought of mercy flooded my soul. I should show grace and only shoot to wound Lord Randall and not kill him. I should endeavor to take him as my prisoner rather than send his soul to an eternity of burning torment. The flesh of my forefinger was still pressed against the trigger. But why should I be merciful to Lord Randall? He is an evil man and fully given over to wickedness. Why shall I be merciful? Why? Why? Why?
I imposed an iron control over my conflicting thoughts of emotion. My decision was made. I pulled the trigger with full assurance. The bolt was launched into the air. As the bolt made its maiden flight to its intended target at the evil Lord Randall of Trisidian, it could not be called back or its flight directory changed. The trigger had been pulled. My decision could not be undone.
This was an historic moment for me as well as the future of all Jandor, for the bolt carried with it the thoughts and intent of my heart. I decided to shoot the bolt at Lord Randall with the goal of only inflicting injury, not death. The bolt hit Lord Randall squarely in his right shoulder just as I had planned, far away from his heart. Prior to releasing the bolt, I decided to take Lord Randall as my prisoner of war and let the Court of the Alliance determine his fate. In my call as the Pledge of Peace since early childhood, I had girded myself with the resolve to thwart evil. I was fully determined to help build a new, peaceful life for the innocent ones of Jandor. Taking Lord Randall as a prisoner of war would fulfill that end.
- Integration of the Anti-Realist View in The Wolves of Trisidian
From an Anti-Realist View, I integrated several fantastic elements into the story that involve the evil Black Wolves of Trisidian. For example, their supernatural powers include: (1) Psychometry (ability to see the past in a location they were not present), (2) Telepathy (ability to read the thoughts of others as well as mentally communicate with other wolves), (3) Superanimal Mentality (extremely high intelligence), (4) Superanimal Strength (physically bigger and stronger than other normal wolves), (5) Superanimal Senses (ability to see, smell, taste, feel and/or hear better than other normal wolves), and (6) Superanimal Speed (ability to move, react, and run faster than other normal wolves). Moreover, other supernatural elements include: (1) The inhuman, wolfish, beastly nature possessed by the reigning Lords of Trisidian, (2) Wolf animal morphing, (3) Object-based powers inherent in special objects such as jewelry, stones, daggers, etc., (4) Magical powers possessed by evil sorcerers of Trisidian or good wizards of Jandor with the ability to use magical forces to varying degrees for evil or good, and (5) Healing powers with the capacity to heal quickly from an injury and with complete cure.
The following passage is a narrative excerpt from my book, The Wolves of Trisidian, that is based upon the Anti-Realist Theoretical View as applied to novel writing.
Suddenly, we heard the loud, rushing sound of a huge flock of black starlings outside the Secret Garden. They were soaring upwards into the sky as swift as the black smoke rises through the earth’s ruptured crust from the magma chamber of an erupting volcano. The total number of sky birds numbered in the hundreds of thousands. Without warning, the flock of sky birds formed into a Sort Sol, a phenomenon known as the Black Sun.
Cortay said, “I sense the presence of evil.”
I felt a dark, cold, baneful habitation residing outside the Secret Garden, as well. The black birds seemed like veiled ghosts hurrying past us as though being driven to their land of shadows by shuddering fear. Never before had I ever seen such a strange occurrence in nature. There were so many black starlings in the sky that their haunting commorancy began to obscure the path of the sun’s rays upon our land. The birds swam the flood of air like tiny ships. Forthwith, the birds started to converge into a series of multifaceted images across the unfeigned sky. I said, “An uprising of evil is swelling outside the gate. Like great black birds, the demons haunt the woods.”
Cortay replied in a small, frightened voice. “The screeching sounds of the birds are whistling sharply in the air like a colossal gathering of vipers. Their effigies are darkening the orange-colored firmament.” Her face became clouded with uneasiness. “I feel like we are helpless little sparrows in the warm nest of the Secret Garden.”
The black starlings seemed to dance like danseurs and danseuses in a suffering ballet across the swarthy sky. Viewing this iniquitous occurrence was hypnotizing. It was an unnerving sight. I searched for a plausible explanation. “It is as if an aura of evil launched itself upwards into the sky.”
Cortay said, “The atmosphere is frightful as the serpent’s hiss.”
All of a sudden, the Sort Sol formed into the Mark of the Celtic Cross. The dark, sculptured monument hung high in the shadowy sky. The Sort Sol was a crude representation of the mark’s symbolic significance of the Good and Wonderful One's eternal, endless love for all mankind. After we recognized the final assembly of the image in the sky, Cortay screamed out in great anguish and physical pain. She exclaimed, “My back left shoulder! It burns like the sting of a serpent!” Due to the intense pain, tears started forming in Cortay’s eyes.
I quickly pulled down the back part of her tunic-sleeved blouse. I looked at the Mark of the Celtic Cross on the back of her left shoulder. The mark was inflamed. It was bright red in color. I felt the emblem on her skin with the fingers of my right hand. It was hot to touch. I paused to catch my breath. An odd, primitive warning sounded in my mind. This evil against Cortay is the work of Elvira the Sorceress. During my years of incarceration at Castle Trisidian, several people suffered from time to time with burning, stinging sensations on their bodies. These attacks at Castle Trisidian were due to evil spells cast by Elvira the Sorceress.
Without warning, the black starlings broke formation and languidly drifted away north of our Village of Peritrova. The beaming rays of the sun gently filled the sky again as it continued its slow descent in the West. It was like lighting a candle to the sun. The soft, warm, diffused glow of the twilight hours returned and draped over our Land of Stonehaven with peaceful serenity.
Cortay said, “The stinging pain is gone. It departed with the starlings.”
I looked again at Cortay’s Mark of the Celtic Cross on her back left shoulder. It was no longer inflamed. It had returned to its normal warm-brown color.
REFERENCES
BRAUDY, LEO and COHEN, MARSHALL. Film Theory and Criticism: Introductory Readings. 5th ed. Oxford: Oxford University Press, 1999.
Dictionary.com website. "Definition of Art." Retrieved on 21 January 2017 from http://www.dictionary.com/browse/art
The Wolves of Trisidian -- A Novel by Adrian Robbe
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