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Essay / Research Paper Abstract
A 4 page essay that analyzes Edward Desautels' Flicker in the Porthole Glass (2002), which is a complex, deeply psychological novel that investigates the precarious relationship that modern society has with is own media, particularly film, and the role that an imperfect, but real love can play in the juxtaposition of fantasy and reality in the life of the protagonist. The writer argues that looking at the last section of the novel, which is entitled "Darkroom," is particularly instructive in regards to understanding the overall thrust of Desautels' insight into the nature of society and that of relationships. A summation of the last section is offered. No additional sources cited.
Page Count:
4 pages (~225 words per page)
File: D0_khflick.rtf
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Unformatted sample text from the term paper:
media, particularly film, and the role that an imperfect, but real love can play in the juxtaposition of fantasy and reality in the life of the protagonist. Looking at the
last section of the novel, which is entitled "Darkroom," is particularly instructive in regards to understanding the overall thrust of Desautels insight into the nature of society and that of
relationships. Desautels protagonist is Jack Ruineux, a projectionist in a run-down movie theater in Philadelphia. As films flicker on the screen outside the projection booth, Ruineux pounds away at
an old Royal typewriter, capturing in words the images of life that abound in the urban life around him. Unable to cope with his past, Ruineux prefers to speculate about
his possible future, which dismally envisions as living out his days as a lonely wreck of an old man. Jasmine, his lover, offers love that could be an antidote to
the awful loneliness envisioned by Ruineuxs imagination. She provides the narrative voice for the final section of the novel. Jasmine begins by recounting how she came to take on
the role of storyteller, even though she feels more at home with a Praktiflex FX (she is a photographer) (239). She relates her life with Ruineux in scenes that are
cinematic and visual in their orientation. She describes, first of all, a night when Ruineux allows her into the projection booth and began questioning her about photography. The scene is
sweet, with Ruineux taking on a French accent (Charles Boyer or Pepe le Pew) as he compares their professions (240). On this, Jasmine comments that it is "Long past midnight
now" and "such sugary memories are little consolation: the wait is beginning to take its toll" (241). As to what, precisely, Jasmine is waiting for, she does not say, but
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