When will I learn not to write a freaking THESIS for a mere 3,000-word paper? When? GAH!
After 2,000 words, I think I might have a structure figured out for the Farscape/Looney Tunes paper. I'm calling it "Three Levels of the Chase in 'Revenging Angel'" (only worded way cooler), and in brief, I'm trying to talk about:
1.) The techniques of the chase: comic timing, inverted logic, etc.
2.) What effect having Farscape appropriate the Looney Tunes characters, structure, and "look" has on the humor of the episode (i.e. the appropriation makes it funnier)
and
3.) The fact that having the (partially-)animated chase sequences (both D'Argo/John and Harvey/John) involved in a larger narrative context--i.e., John dying, Harvey trying to get him to take revenge, John nearly giving in until he realizes he has to take control of his own mind back from Harvey because "[He's] real. [He] has to live with the consequences of what [he] does"--gives them new meaning, and involves them in a discourse about staying true to yourself.
Yeah, it's broad enough that I could totally write 3,000 words on ANY of those. And I think what I need to do is ditch number one and concentrate mostly on three, with a little of two, except of course the 2,000 words I have are mostly about number one.
*tears out hair*
GAARRRRRR!!!!
I will have a rough draft of this finished by tomorrow, even if I have to stay up all night to do it. I'm finidn it impossible to work on my other essay before I finish this one, so finished it must be. Grrr.
After 2,000 words, I think I might have a structure figured out for the Farscape/Looney Tunes paper. I'm calling it "Three Levels of the Chase in 'Revenging Angel'" (only worded way cooler), and in brief, I'm trying to talk about:
1.) The techniques of the chase: comic timing, inverted logic, etc.
2.) What effect having Farscape appropriate the Looney Tunes characters, structure, and "look" has on the humor of the episode (i.e. the appropriation makes it funnier)
and
3.) The fact that having the (partially-)animated chase sequences (both D'Argo/John and Harvey/John) involved in a larger narrative context--i.e., John dying, Harvey trying to get him to take revenge, John nearly giving in until he realizes he has to take control of his own mind back from Harvey because "[He's] real. [He] has to live with the consequences of what [he] does"--gives them new meaning, and involves them in a discourse about staying true to yourself.
Yeah, it's broad enough that I could totally write 3,000 words on ANY of those. And I think what I need to do is ditch number one and concentrate mostly on three, with a little of two, except of course the 2,000 words I have are mostly about number one.
*tears out hair*
GAARRRRRR!!!!
I will have a rough draft of this finished by tomorrow, even if I have to stay up all night to do it. I'm finidn it impossible to work on my other essay before I finish this one, so finished it must be. Grrr.
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