Answer:
The way a text is built, arranged, and organized is referred to as structure.
Explanation:
Two symbols that are important in The Great Gatsby are the color green and a clock. Green is important as it represents money and Gatsby's hope. These two ideas are tied together because Gatsby believes that if he builds himself into a rich enough person, Daisy will take notice and come back to him. Green is also the color of the light at the end of Daisy's dock which acts as a symbol for her and the love Gatsby is holding out for her. At the end of the novel it says "Gatsby believed in the green light, the orgastic future that year by year recedes before us." This quote shows that the light represents hope, but that that hope keeps getting further and further away instead of getting closer. In the same way money can be lost, so can the promise of the future you want. Green ties these ideas together to symbolize Gatsby's hope.
The clock on Nick's mantle also serves as an important symbol for time. Gatsby is trying to make up time when he meets Daisy again, and a reoccurring theme in the novel is that you can't repeat the past. When Gatsby and Daisy meet again for the first time in many years, Gatsby knocks Nick's clock off its mantle. This represents the time that he and Daisy have lost, and how it is going to slip away from them again. Later, Gatsby says "‘Can’t repeat the past?’ he cried incredulously. ‘Why of course you can!’" in response to Nick's telling him that it would be impossible to do just that. This falling clock shows how desperate Gatsby is to make up that time and how precarious trying to do that is.
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The Study of "Silent Movie "
A silent film is a film with no synchronized recorded sound - In silent films for entertainment, the plot may be conveyed by the use of title cards, i&Titten indications ofthe plot and key dialogue idea of combining motion pictures With recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent ofthe Vitaphone system. The term "silent film" is something of a misnomer, as these films were almost always accompamed by live sounds. During the silent era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or even, in large cities, a small orchestra—would often play music to accompany the films. Pianists and organists would play either from sheet music, or improvisation. Sometimes a person would even narrate the intertitle cards for the audience. Though at the time the technology to synchronize sound with the film did not exist, music was seen as an essential part ofthe viewtng experience. The term is also frequently used to describe sound-era films that have a recorded music-only soundtrack without dialogue, such as City Lights and The Artist. The term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies", "sound films", or "talking pictures". Within a decade, the widespread production of silent films for popular entertainment had ceased, and the industry had moved fully Into the sound era, in which movies were accompanted by synchronized sound recordings of spoken dialogue, music and sound effects. Most early motion pictures are considered lost because the nitrate film used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed because they had negligible continuing financial value in this era. It has often been claimed that around 75 percent of silent films produced in the US have been lost, though these estimates may be tnaccurate due to a lack ofnumerical data. Elements and beginnings Roundhay Garden Scene, which has a running time ofjust over two seconds, was filmed in 1888. It is believed to be the world's earliest surviving motion-picture film. The elderly lady in black is Sarah Whitley, the mother-in-law of filmmaker.
