Comparative Essay On Who's Afraid Of Virginia Woolf

By reading Andrew’s essay, I also learned why it is usually harder to capture the feeling of a work. Instead of thinking that the director did a horrible job of adapting a work of literature, I am now more likely to step back and reflect on why and how the film was and felt different than the original text.

During the turn of the 19th century in Europe, doctrines such as the Napoleonic code, and earlier writings from philosophers like Rousseau continued to have a direct impact on how woman were seen and treated within society. Virginia Woolf, a 20th century author, wrote on how these 19th century writings changed society’s perception of women and what their roles should be in the eyes of men. In her book, A Room Of One’s Own, she writes, “A very queer, composite being thus emerges. Imaginatively she is of the highest importance: practically she is completely insignificant.” Virginia Woolf was able to understand the power of these writings

There are many differences to be found between F. Scott Fitzgerald’s The Great Gatsby, written in 1925, and the movie directed by Baz Luhrmann in 2013. These differences are examples of how times have really changed. In 1925, instances of racism and sexism were not uncommon. However, racism and sexism are not really tolerated or accepted in today’s time. To suit the modern audience, instances of racism and sexism were omitted in the production of the movie. Many other differences can be found between the movie and the book. As times change, so do the accepted norms of society. The changes can be found seen in the characters and themes of the story.

Pride and Prejudice is a movie directed by Cyril Coke in 1980 that is inspired by the original book of the same title, written by Jane Austen. The characters and scenes played in the movie, showed more substantial details compared to the previous black and white film on 1940, directed by Robert Z. Leonard. Jane Austen was an English writer who gained her fame through her books that showcase critiques on the British landed gentry by the end of 18th century. Her successful books include Sense and Sensibility, Mansfield Park, Pride and Prejudice, and many more. In Pride and Prejudice, Austen portrayed five unmarried Bennet daughters who were pressured by their mother to marry, and were thrilled upon the arrival of two wealthy noblemen. Through Elizabeth Bennet, the author showed how Lizzie must overcome her own false prejudice against class-conscious Mr. Darcy, and overcoming her lower status to find romance. This book also showed the significance of wealth for marriage and the control parents have over their children’s marriage in the 19th century Britain.

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

Before watching the film a viewer schooled in academia must consider how the original text may be altered to comply with Hollywood tradition. Miller goes on to

Whenever beloved books appear on screen, there are critical changes made which can be either beneficial and detrimental to the audience’s response to the film. Films can either capture the entirety of a book, or change the plot so drastically it becomes reminiscent of the book. This often leads to the age-old argument of whether the book or film is better. In the film interpretation of Rebecca, Hitchcock manipulates Du Maurier’s intended theme of justice and judgment by altering the purpose of critical scenes, characters, and the ending of the book through the cinematography and reconstruction of key events.

Billy Wilder’s work today remains masterful and memorable. From his skilled screenwriting to his directing, Wilder holds a key position in cinema history. Wilder’s stylistic and thematic elements are recognizable and give off a complex reflection of his American and European cultural influences. I think that Billy Wilder should be considered an “auteur” even if he is not already considered one, for his personal film style and the mere fact that his cynical vision allowed him to create many admirable films across a number of genre boundaries throughout his career. However, film critics tend to disagree and believe that Wilder was too cynical, while also complaining about the lack of

The process of converting a work of art from one medium to another often requires a significant alteration of the content to fit the form and standards of the new medium. Adapted from 300-page novel to a 2-hour movie, Michael Curtiz’s Mildred Pierce is a prime example of a loose Hollywood adaption that makes drastic changes in characters, narrative configurations, and framing structure to conform to the standards and expectations of American cinema. Most ostensibly, the movie employs murder as a framing device and a hook to draw the audience’s attention to Mildred’s story, therefore transforming the linear, chronological plot of the novel into an episodic and achronological one. As a result, in Curtiz’s film adaptation of James M. Cain’s Mildred Pierce, we see several plot points in the story abbreviated and diminished, and many of the themes in the novel either lost or reduced.

Do film versions of written words hold onto the original author’s message or do they give them an injustice? This research will look at the short story "Bartleby, the Scrivener: A story of Wall Street and compare it to Jonathan Parker's 2001 film version "Bartleby." Herman Melville wrote the short story “Bartleby, the Scrivener: A story of wall street” in 1853, narrating a tale from a lawyer about his strange behaved office clerk Bartleby. In 2001 Johnathan Parker of Parker productions turned that story into a film, “Bartleby.” However, Jonathan Parker makes many changes from the classic original wrote by Herman Melville in 1853. Even though many differences in Jonathan Parker's film version of "Bartleby" have been found to change the

How can a book and a movie differ if they are telling the same story? Through the analysis of the literary components in the modern selection, the reader concludes the author and producer had much to compare. After evaluating three contemporary selections from Washington Irving, Nathaniel Hawthorne, and Katherine Anne Porter, the reader can detect several literary components in the text and the movie to compare and contrast between.

Some people go to the theater for the story. Others go for the actors. In the case of the 2013 Broadway production of "Betrayal" I, along with countless of other individuals, are guilty of the latter. Having not seen the play prior to the performance, I was intrigued knowing that Daniel Craig and Rachel Weiz, who are married in real life, were to play an on-stage married couple. Such a casting decision does wonders for publicity, but now having read the text, I question if it does any justice for the play and how it affects the way that the audience views Emma and Robert's relationship. In what Ben Brantley of the New York Times calls a "sexed-up" version of Pinter's play, the 2013 Broadway revival reveled in presenting alternative views of the text which ultimately left little room for personal interpretation.

By no means is “The Great Gatsby” a disaster: Even at its most shallow, the film rescues Jay Gatsby as a largely sympathetic, romantic figure rather than a cynically ironic one. But neither is it necessary. Childlike, fetishistic and painfully literal, Luhrmann’s experiment proves once again that it’s Fitzgerald’s writing — not his plot, his characters or his grasp of material detail — that has always made “Gatsby” great.

Both Who’s Afraid of Virginia Woolf? and Suddenly Last Summer are plays that take place in a single location and consist of almost nothing but dialogue between characters. However, I was personally more engaged and entertained reading Who’s Afraid of Virginia Woolf? than I was with Suddenly Last Summer. My main reason is that most of the dialogue for the latter seemed very expository to me. The characters were always talking about something, whether it is a person, a financial problem, or an event that happened last summer. Mrs. Venable and Catherine were especially guilty of doing this.

The 2013 movie adaptation of ‘The Great Gatsby” certainly steps out of the cozy boundaries of the novella of less than two hundred pages by F. Scott Fitzegerald with its gaudy attitude and fast-paced scenes that at the same time is quite picturesque and full of details reproduced to match the prose that has been written. Some lovers of the classic might be horrified at the big top-esque film that Baz Luhrmann has made it into, for this director is no stranger to flashiness and taking risks, as shown in his past films “Moulin Rouge!” and “Romeo + Juliet”; and the same desire in the both of them is still present in his installment of “Gatsby”: the want to capture the contemporary audience, even if it