The sea is a beautiful place for those who love nature. It has been a source of creation for those who perceive it as inspiration. But creative inspiration underwent constant transformation over the decade in literature as well as cinema. Therefore, the sea used as a symbol or image of infinite creation touches on multiple perspectives. The image of the sea as a metaphor for romanticism has become an archaic passion for contemporary literary and cinematographic personalities who find in the sea the image of the marginalized and in the waves crashing on the shore as their endless problems. Therefore, the thesis aims to capture the transformation of the sea as a literary image and of the sea as a creative place for cinema. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Introduction: This part presents a brief introduction about Earnest Hemingway, an American writer, his life and writings. It provides a detailed analysis of the Nobel Prize-winning short story (1954) The Old Man and the Sea (1952) to show how Hemingway tries to present himself as a modernist with his critical use of the sea as a metaphor for human willpower. this part offers a brief introduction on the life and works of Thakazhi Sivasankara Pillai. It features Malayalam literature, especially the growth of the novel as a leader among other genres. We need Sivasankara Pillai's novel Chemmeen as a critical tool to analyze how the author's original intention to portray the economic status of fishermen turned into mere romantic writing. This part takes two Tamil films, Neerparavai and Kadal directed by Seenu Ramasamy and Mani Ratnam respectively. It shows how the image of the sea has transformed from a romantic metaphor to a realism that offers the true nature of the coastal region. Furthermore, the chapter describes how the impact of the Tsunami has become a source of creative inspiration for contemporary filmmakers capturing the reality behind the sea. Venturing across the Hemingway SeaThis part focuses on the place of Ernest Hemingway and his work The Old Man and the Sea has in American literature. His story could be placed in the genre of nautical fiction. Nautical fiction could belong to any genre such as novel, fiction, novella and short story related to the sea or a story set in the sea or nearby sea. Here the relationship between the sea, sea travel and the culture of these environments is highlighted. The adventure and experience of the author, heroes are reflected in their works. The setting of seaside fiction and novels included merchant ships, warships, fishing vessels, lifeboats, skiffs, Sea Port canoes, and seaside villages. Ernest Miller Hemingway's imagination combines his travels, adventures and personal experiences. This could be seen in his novels and short stories about war and sport. Many writers wrote these novels from their previous experiences and The Old Man and the Sea must be placed within this tradition. In his early childhood in France, he explored departing and arriving schooners and ships, and became interested in travel and adventure. Twenty Thousand Leagues Under the Sea: An Undersea Tour of the World, a Novel by Verne is the description of Nemo's (also known as Prince Dakkar) ship, called the Nautilus, which was considered ahead of its time. He accurately described the characteristics of submarines, which were very primitive ships at the time. The novel Voyage a reculons en Angleterreet en Ecosse (Return to Great Britain) tells the story of two Frenchmen, Jacques and Jonathan, and their journey fromParis to Scotland. The Invasion of the Sea is a historical novel by Verne. Describes the exploits of Barber nomads and European travelers in Saharan Africa. The plan to create an inland sea in the Sahara desert and finally the earthquake causes a natural disaster in the sea. John Steinbeck, Tom Clancy, Sebastian Junger, JamesFenimore Cooper, Frederick Marryat, Melville, Conrad, C.S. Forester, Patrick, O' Brian, and Maturin are some of the other writers who wrote about their experiences in travel and travel. They focus on adventure and masculinity, the investigation of social hierarchies and the psychological struggle of the individual in the hostile environment of the sea. Fennimore Cooper influenced the French novelist Joseph Marie Eugene Sue and Alexander Dumas did not hide his admiration for Cooper when he wrote Le Capitaive pal. Jean Antoine Rene Edward Corbiere had written many maritime novels such as Les Pilotes de l'Iroise and Le Negrier and aventures de mar. Ernest Hemingway's experiences were reflected in his writings, such as his participation in World War I and World War II, fishing, hunting, and hand wrestling. He states that his experiences have given him the spirit stating that “One of the most important topics and definitely one of the most difficult to really deal with.” His participation in the world war is reflected in A Farewell to Arms and For Whom the Bell Tolls and his hunting trip is reflected in the green hills of Africa. His experiences gave him an adventurous spirit to write novels such as The Old Man and the Sea. Before composing The Old Man and the Sea, aside from his experiences creating art with adventure, Hemingway may have read Moby Dick, Whitman's poetry, Thor Heyerdahl's Kon-Tiki, and books such as The Sea Around Us by Carson and Under the Sea Wind. . In The Old Man and the Sea the struggle is primary and the question of right and wrong takes a secondary place. Human life is represented here as a struggle against the invincible forces of the world, in which however a sort of victory is possible. In this respect the atmosphere of this novel differs greatly from that of the pessimism and desperation of Hemingway's earlier works. Hemingway here shows a reverence for the struggle of life and for humanity. Here a simple man is portrayed, capable of extraordinary dignity and heroism, thanks to which he achieves a moral triumph in the midst of what would otherwise be a heartbreaking defeat. His experiences in fishing, hunting, bullfighting and the world wars began him to write this adventure with willpower as a metaphor for the sea. In this novel, Hemingway gave the old man's (human) power "willpower", although the vast sea represents as limited. Thus, Hemingway's experiences are reflected in his writings as art in fishing, bullfighting, and hunting. Therefore, he did not get involved in highlighting the concern of the fishermen and simply created an art out of them. This part focuses on the place of Thakazhi Sivasankara Pillai and his 'Chemmeen' in Malayalam literature in the context of depiction of marine life in literature. English and European literature spread across the Indian subcontinent in various genres. By the way, due to the serenity of nature and high literacy rate, Kerala (God's own country) stands out with some unique features even in vernacular literatures. Malayalam is a poetic language and each successive generation has added its own contribution to Malayalam literature. There are many writers who have enriched the language with their works in various fields. In Malayalam literature almost all genres were influenced by Western or Sanskrit literature. This could be seen in Drama, Kathakali, Thullal, Translation,Screenplay, Short Story, Novel, Prose, Travelogue, Biography, Autobiography, Poems (lyrics and Kanda kavya) and Criticism. Thakazhi's plan to write Chemmeen for long days but for the protest against the writer who has been waiting for a while. He had an experience from childhood and dialects from the age of nine in the beaches of Kerala. The novel helped him build his dream house. In the year 1955, there was an outcry in the times of Dev and Thakazhi in Malayalam literature regarding the difficult problem of maintaining structural sanctity. Thakazhi did not suffer much like Dev. If he had suffered he could have changed the theme of his writing. Some leaders of the fishing community accused him of presenting their life and language in an ungainly way. And some progressives attacked what they argued was a blatant accumulation of superstition, namely the myth that the sea goddess would take away the husband of any fisherwoman who transgressed. Thakazhi's accusation and explanations continued long after the novel was written and published. Thakazhi wrote Chemmeen in just eight days and it was translated by Narayana Menon and Anita Nair. Thakazhi became attentive as he insisted on social needs and not as a propagandistic need for reform through revolution. Thakazhi is able to weave the fabric of the imaginative element in an artistic way highlighting human values. Thakazhi artistically depicts social and class struggle in a colorful manner. The peasant community was emerging into the organized class struggle to advance and realize its demands. So Randidangazhi shows a connection with Tottiyude Makan. Thakazhi is careful to pay equal attention to the portrayal of human attention, emotions and attachments through love plot and romance appears through this work. Therefore Thakazhi not only presents the change of social realism in the wake of transition but also presents the individual personal relationship and attachment between the master, servant and lover relationship existing in the past. Chemmeen has become a classic with its balanced narrative of love. the story merges with the myth of the fishermen and their struggle in a realistic socio-political scenario. Pareekutty and Karuthamma's inter-religious love story escalates the fight and increases the tension. Chemmeen (1956) is the novel set in the seaside huts of Ambalapuzha and Thirukunnapuzha. The daily life and struggle of fishermen, eternal destiny, love, poverty, customs, taboos, rituals, culture, tradition, the situation of women in the coastal area and their aspirations, are represented in mellifluous manner from Thakazhi. Among the fishing community, the belief that a woman is unfaithful and loses her chastity while her husband is at sea is a taboo that cannot be considered in any way foreign to their norms and customs. And they believe that the woman loses her chastity, the Kadalamma or Kadalammai (The goddess of the sea) will ruin the whole popular community of fishermen. Karuthamma, daughter of a Hindu fisherman, Chembankunju and Pareekutty, a young Muslim trader, fall in love. Chembankunju's sole purpose is to buy a boat and a net. After purchasing the first boat, with Pareekutty's help, his greed increases. Since he is indebted to Pareekutty, he should have repaid him by selling the fish in his boat, as this is the agreement between them. In fact Pareekutty helped Chembankunju because of Karuthamma. At one point Chakki, Karuthamma's mother, warns her by telling her about the rigid traditions, inherited from generations. Chakki often instructs Karuthamma how a fisherwoman should be and how to follow tradition. When the fisherman rows through the waves and currents and disappears into the horizon, his wife shouldwait for him on the seashore, preserving his fidelity and chastity. Chakki tells Karuthamma that if the Sea Mother likes us, then she will give us gold, but if she hates it, she would shower devastation on them and ruin them. Chakki imparted a great truth to his daughter that virtue is the most important thing which is purity of body and mind. The wealth of a fisherman is the virtue of his fisherman. Karuthamma sacrifices his love on Pareekutty and marries Palani, an orphan found in the sea by one of Chembankunju's expedition. After the wedding, Karuthamma accompanies her husband to the village. Meanwhile Pareekutty sings a melodic song in the evening which arouses his emotions to the peak and reflects his love for his lost beloved. Later, one day Karuthamma returns to her house to take care of her ailing mother. Chembankunju, being a greedy man, disowns his wife and his only motive is to buy another boat. Furthermore, since Chembankunju did not pay the debt to Pareekutty, he was pushed into bankruptcy. After his wife's death, he marries Pappikunju, the widow. He also inherits another boat from her. Panchami, the second daughter of Chembankunju and upon the arrival of her stepmother, leaves for her sister's house. Karuthamma tried to be a good wife and mother with mind and body. But scandal has spread to Palani regarding her old love between Karuthamma and Pareekutty. Palani's friends ostracize him and refuse to go fishing with them. By a twist of fate Karuthamma and Pareekutty meet one night and their old love is consummated. Palani, at sea alone and baiting a shark, gets caught in a huge whirlpool and is swallowed by the sea. Their sudden consummation of love demonstrates the extremity of desire and its power to lead someone to shed their beliefs and fears about the taboos that are enculturated into their psyche. Thakazhi's works focus on social issues and we could see socialist language in Thotiyude Makan, while, in Chemmeen, he projects the economic positions of fishermen and does not focus on the other problems of the seashore and in the novel he uses modernist language. Using modernist language, Thakazhi tries to establish himself as a modernist through his timeless classic Chemmeen.FRAMEING THE REALITY OF THE SEAThis part analyzes the importance of maritime issues and how they have been disseminated in the public sphere in the last two decades. The international maritime border line and exclusive economic zone are maintained for professionals and businesses. Every country has a fishing border. If fishermen cross their border, the other country's security forces will attack them. Natural disasters such as cyclones, tsunamis and monsoons also weaken populations living by the sea. These problems have only come to the fore in recent times. Literature and cinema represent these problems of sea fishermen. Many films in recent years have highlighted how people suffer in socio, economic, political and geographical aspects. The films represent the life of seafarers in the past with the aim of creating an art but without focusing or showing interest in the real problems. Films and literary works are created for art, not to acknowledge the voices of the shore or the struggles of the shore. Unlike previous creations, today cinema and literature represent the voices of the shore and their struggles. This kind of portrayal of sea fishermen is vivid in recent Tamil films. While films in Malayalam, Bengali and other Indian languages ​​depict the lives of fishermen, they are unable to represent the views of activists. They simply describe the life of people by the sea to produce creative arts. But realistic films in tamil films bring the.