Analyze and describe alteration of hematologic function in children.
Celie's Blues.' Blues music is beautifully employed in the film, becoming a key trope for exploring the theme of sisterhood, crucial to Walker's 'Womanist' standpoint. Music becomes a medium in the film for union between Shug and Celie and for reunion of Shug and her father in the end. The eventual reunion of spiritual and secular, of Church/divine (father) and Blues/Devil (Shug) is decisive of the film in the end. The sense of pain and suffering in scene of separation of two sisters, Celie and Nettie is not clearly apparent in language of young Celie in the novel. This lack is not just due to Celie's unawareness of whole set of events but to the immaturity of her language. He say one night in bed, Well, us done help Nettie all we can. Now she got to go. Where she gon go? I ast. I don't care. He say. I tell Nettie the next morning. Stead of being mad, she glad to go. Says she hate to leave me is all. Us fall on each other neck when she say that. (The Color 19) It seems that Celie wants to say much more but is incapable of expression. However, the sentence 'Us fall on each other neck when she say that' is suggestive of pain and points to many implicit meanings symbolic of Celie's inexpressible emotions. Nevertheless, this very scene changes the entire flow of events in the film. The idea is similar, the emotions behind it are also alike but both the genres have their own ways of expressing them. Whereas, in the novel the parting scene seems to be only an exchange of dialogue with various undertones, in the film it turns into a full-fledged drama. The expression may not be 'identical' but is 'equivalent,' talks Andre Bazin in his book What is cinema?. The 'fidelity' is achieved not at the material level but at the 'aesthetic' level maintaining the very difference between two genres. Novel is written in first person narrative of the epistolary form. In the film version, it moves from the first person to an omniscient 'enunciation.' 'Dear God, I am fourteen years old. I have always been a good girl. Maybe you can give me a sign letting me know what is happening to me,' begins the novel. (The Color 3) The film tries to catch up with the voice of first person of epistolary form but gradually the narration begins to draw closer to a central voice i.e. of the director. Voice of Celie in background of the film speaking her letters is taken over by live exchanges of dialogues between characters. In the novel, lesbian relationship between Shug and Celie has been given a graphic description. 'I lie back on the bed and haul up my dress. Yank down my bloomers. Stick the looking glass tween my legs. Ugh. All that hair. Then my pussy lips be black. The inside look like a wet rose,' puts Celie in her letters. (The Color 75) At this point Celie is exposed to her sexual instincts beginning to realise her longings and aspirations. The transference of this space of encounter between Shug and Celie in front of a mirror to a large screen would have turned gruesome. Presenting a picture of vagina on a wide screen in the film would have happened to be unsightly for a large audience. Instead of presenting an exact graphic description of this mutual space, Spielberg shifts to a poetic description using tropes of costumes, colors, flowers and other props on screen. The filmmaker, here, builds up that desire, that sexual desire in the relationship between Shug and Celie through the trope of color. The red dress of Shug that Celie tries on herself later in front of the mirror is symbolic of her aspiration to be like Shug. Even the manner of laughing and giggling in this very scene is symbolic of that very desire that Celie had never felt in herself before. The film accepts the fact of their relationship, their love and bodily desires by giving a gentle portrayal to their relationship through tropes of music and color. Film, not to forget, is a collaborative medium. The contribution of a director, a producer, a script writer and actors affects it in many diverse ways unlike a novel, largely a creation of a single author. On top of that, film primarily is an economic venture constructed within the space of Hollywood's cultural hegemony where the financial success becomes the chief concern. It beco>GET ANSWER