From the very outset, it is worth noting that the article’s central theme is the practice of adaptation. Adaption is used in the article to describe the practice of transforming an already existing work of art to come up with a new form of art. In essence, adaptation involves developing a new work of art (such as a film) from an existing one (such as a novel or play). The new work of art is said to have transformed or adapted the original. As such, it is inevitably referred to a reproduction or adaptation of the original. In this sense, the focus of the article is on how different artistic and literary works have been transformed into films through adaptation.
It is very evident that the author of the article was very passionate about the subject of adaptation. This can be deduced from the manner in which he approaches the subject. Subsequently, it is only logical to conclude that the issue of adaptation was a very interesting one at the time the article was written. If for nothing else, then there is a high possibility that adaptation was an issue of great concern (and even a source of controversy) among people in the film industry. Otherwise there may have been come competing interests at stake. These competing interests may have pitted those opposed to adaptation and those in support. Although the article does not say for real, it is highly probable that those in the film industry supported adaptation while those in other industries were opposed to adaptation. This is
Written in 1989, this piece, like her others, is written in the Post Modernism period. It is a self proclaimed process analysis piece with narrative components. In her work, Dillard aimed to tell the whys, hows, and wheres of her writing. By sharing details about her personal experience, Dillard draws the reader in with her quick wit and creativity. Each essay deals with a different topic or aspect of writing, but all are connected by frequent personal anecdotes and similar styles. This essay deals with the movies versus novels and the power each contains if you are able to see them. She argues that movies are more powerful than novels because they appeal more violently to your senses, but, for one who enjoys reading, a novel can be just as
The purpose of this essay is to analyse the original drama text with a newer film version, while comparing the
Today we are going to talk about two adaptations; Watchmen and Fight Club. I believe Watchmen to be a failure of an adaptation and Fight Club to be a resounding success. Watchmen falls on the faithful side of the spectrum, while Fight Club falls in the middle. We aren't going to talk about the unfaithful side today, because the further we stray that direction the less we focus on adaptations and more on projects that simply steal the name of a property for the sake of branding sort of like World War Z, which can’t even be called an adaptation because it only takes the name.
Textual form is an issue which divide many critiques and audiences. Some view texts as a form being superior and more expressive, whereas others may view film as to be losing its credibility of expression. Never the less it is adamant that through a comparative study of two differing forms exploring similar ideas it becomes clear that one form isn’t always superior over another. Mary Shelley’s Frankenstein (1818) and Ridley Scott’s Blade Runner (1982) mirror this thesis. Whilst being
Hollywood cinema is primarily subjected to telling stories. The inclination of Hollywood narratives comes not just from good chronicles but from good story telling. The following essay will discuss Hollywood’s commercial aesthetic as applied to storytelling, expand on the characteristics of the “principles of classical film narration” and evaluate alternative modes of narration and other deviations from the classical mode.
Texts and ideas from texts are appropriated and transformed into other text forms and other compositions in a different context. An appropriation is a text that is appropriated or taken over by another composer and presented in a new way. ‘Romeo and Juliet’ is a well-known high culture text that is a tragedy about two young star-crossed lovers whose deaths ultimately unite their feuding families. In the 1997 film, Baz Luhrmann has taken what is valued about the original play of ‘Romeo and Juliet’; the themes, evocative language and poetry, the timeless storyline and humour, and has placed it in a context which is accessible and
Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.
In any situation foreign to the character, anything and everything will be done to try to make sense of ones surroundings. The importance of identifying the type of the movies shown in “Worker Drone” by Raju, S. (2010) and “Play” by Kaplan and Zimmerman (2010) are vital to the understanding of not only the plot, but also the common themes presented. For example, common themes in both movies were was the sense of paranoia, a showcase of intertextuality and an ambiguous endings. All three common themes make it clear that these movies are in fact postmodern films, despite the fact that there were also a few common themes also found supporting a modernist and existentialist sense.
Many time in our lives, we have seen the transformation of novels into movies. Some of them are equal to the novel, few are superior, and most are inferior. Why is this? Why is it that a story that was surely to be one of the best written stories ever, could turn out to be Hollywood flops? One reason is that in many transformations, the main characters are changed, some the way they look, others the way they act. On top of this, scenes are cut out and plot is even changed. In this essay, I will discuss some of the changes made to the characters of the Maltese Falcon as they make their transformation to the ?big screen.?
Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the
In recent years, it has become popular for many of America's great literary masterpieces to be adapted into film versions. As easy a task as it may sound, there are many problems that can arise from trying to adapt a book into a movie, being that the written word is what makes the novel a literary work of art. Many times, it is hard to express the written word on camera because the words that express so much action and feeling can not always be expressed the same way through pictures and acting. One example of this can be found in the comparison of Ken Kesey's novel, "One Flew Over the Cuckoo's Nest, and the film version directed in 1975 by Milos Forman.
By using Don Taylor’s translation of the Sophocles’ written Antigone, and influences from Antonin Artaud’s First Manifesto, I hope to create a directorial concept which is interesting from both a visual and auditory perspective.
Art is a catalyst of change. It can confront both social and political issues as well as providing people with a creative outlet in which they can express their innermost thoughts and feelings - but what effect can art have on our society as a whole? Artists today have the unique ability to connect with people in a creative, innovative way that they can understand and interpret themselves. With this ability, artists are able to express their own views as well as influencing the views of others. Art is an immense part of our world – so much so that we barely even consider its impact upon us – but just how significant is the work of artists in our modern day society?
praises the film adaptation due to its cinematic influence and the influence that it has had
Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.