Why hate the Film?

The most important of any story is the beginning, it's the hook to all movies, TV shows and books this is the way the author or director is setting the stage. In “Rear Window” and “Psycho” the beginning for both the books and movies are completely different. Psycho begins with Marion and her boyfriend Sam just sleeping together and she’s getting dress for work. Her and Sam have a talk about their future together; he tells her it's not very comfortable where he lives. He's in a lot of debt with the hardware store plus the alimony he’s forced to pay to his ex-wife and until he gets out of it, he chooses not to marry her. She goes to work at the real estate office and there's a high roller who comes to put a 40,000 down payment on a house for his daughter as a wedding present. She steals

There are small altercations that the screenplay that the director makes in the plot. In New York, Paul meets a student in the hotel. In the text, he meets him in the evening or at nighttime. The movie shows this taking place during the day. This, however, is a minor detail and did not effect the running of the story. In Cather's version, the reader is presented with two sisters of Paul's. These are hardly mentioned in the movie. The book also illustrates Paul pushing his teacher while in the movie he is more aggressive. The movie also has an over voicing of Paul's father as he is sneaking back into his

In Hitchcock’s “Rear Window” Jefferies apartment is the sole viewpoint to the outside world for the audience. We rarely see anything that isn’t from Jefferies immediate surroundings or directly from his point of view. This gives Jefferies, and in turn the viewers, a detached sense of realism from the world of the apartment complex opposite. This detachment is apparent to throughout the movie as many characters state to Jefferies that what he’s doing is morally wrong. However, the line of moral and immoral conduct is pushed as Jefferies continues to watch his neighbours and ultimately becomes directly involved in the plot which he had

“It was some time before he could put Alfred, Georgia, Sixo, Schoolteacher, Halle, his brothers, Sethe, minister, the taste of iron, the sight of butter, the smell of hickory, notebook paper, one by one, into the tobacco tin lodged in his chest. By the time he got to 124 nothing in this world could pry it open.” (Morrison 133) The tobacco tin represents privacy and his past. Paul D was locking up his past in this tin can. The tin can isn’t even something Paul D can open up himself. In this next quote, Paul D and Sethe were discussing the past but they decide not to go in too deep into their memories. “Saying more might push them both to a place they couldn't get back from. He would keep the rest where it belonged: in that tobacco tin buried in his chest where a red heart used to be. It's lid rusted shut. He would not pry it loose now in front of this sweet sturdy woman, for if she got a whiff of the contents it would shame him. And it would hurt her to know that there was no red heart as bright as Mister’s comb beating in him." (Morrison 86). This quote shows that both Sethe and Paul D were unwilling to dwell on the past too much due to their fear of reliving it. Paul D attempts to force his memories into that tobacco tin but they always found a way to leak back out once again. Next it is important to discuss how Emily holding onto her father represents the theme.

Rear Window is compelling, clever, and utterly original. Hitchcock helps us share this obsessive curiosity, and draw our conclusions directly parallel to the characters in the film. The unique montage of imagery helps define our characters, and expose their vulnerability, their identity, and their own self-discovery

The majority of the film deals with the events occurring within the Thorwald apartment. In many ways the Thorwalds’ marriage parallels Lisa and Jeffries’ relationship, except with a reversal in gender. Lisa and Lars Thorwald, both mobile and healthy, strive to make their respective relationships work. Thorwald brings his wife dinner in bed decorated with a rose. She only laughs at this gesture. On the other side, Lisa cannot even gain Jeffries attention by sitting in his lap. Mrs. Thorwald and Jeffries, who are both physically restrained, only complain to their partners. The Thorwald apartment becomes of particular interest when Jeffries begins to suspect murder. He believes that Thorwald finally became so tired of his nagging wife that he butchered her with a knife and saw. After some time he even convinces Lisa of his accusation, which in turn adds another gazer to the rear window. This makes her more important to Jeffries in that he can now discuss what is going on with someone who will listen. She still does not obtain his full attention until she crosses over into the plot within the Thorwald apartment. When Lisa becomes the subject of the gaze, then, and only then, is Jeffries attracted to her.

The film Rear Window, released in 1954, and directed by Alfred Hitchcock, portrays the shift of power in the relationship between the central characters of Lisa Freemont and L.B. "Jeff" Jeffries throughout the film. As the characters are introduced in the beginning of the film, Jeffries is shown to have control of the relationship between himself and Miss Freemont, the power later shifts to Lisa as the film progresses and she takes an interest in the suspected murder. However, the film ends with relative equality within the relationship, after Lisa's intelligence is discovered by her partner.

When discussing the adaptation of books and short stories into film, one must begin with the understanding that adaptation can refer to two related yet distinct phenomena. The most common definition of adaptation connotes a kind of translation, wherein a filmmakers attempts to recreate a story more or less faithfully by translating the essential elements of the original text into a new medium. A less frequently discussed definition for adaptation refers to a kind of evolutionary response, wherein an organism or species changes in reaction to its environment. Film adaptations can exhibit this same kind of change in response to outside pressures, and the degree to which they diverge from their source texts reflects how much if this kind of adaptation is necessary. By comparing these two kinds of adaptation one is able to see how stories are simultaneously acted upon by the filmmaker and semi-autonomously adapting to external pressures, a realization that forces one to reexamine the common standards for what constitutes a good and a bad film adaptation.

In the movie, Rear Window, Alfred Hitchcock uses the story of a cripple free lance photographer, Jeff Jeffries, to explain the twisted sense of society in the 1950’s. Hitchcock uses clever things from the way the apartments are being filmed to the dialogue between Jeffries, Lisa, and Stella to show societies interest in pain, tragedy, and discomfort, and in the end you see how tragedy is what makes everyone happy.

In a conversation he has with his editor from the magazine, he tells him that he has to get him out of there before he does something drastic. Then the camera shows us the Thorwald's house, taking us where Jeff's look is pointing. "Can you just see me rushing home to a hot apartment to listen to the automatic laundry and the electric dishwasher and the garbage disposal and a nagging wife?" We immediately see the image of Anna nagging.

Alfred Hitchcock’s 1954 film “Rear Window” demonstrated a suspenseful and terrifying storyline, which captured the attention of a variety of audiences. The film focuses on James Stuart (Jeff) and ultimately his neighbors who live around him. Stuart is crippled from the beginning of the movie and is unable to leave his apartment. Due to his immobility, he remains confined in his home with a broken leg and begins to watch his neighbor’s particular behaviors and routines. The film progresses into drama and suspense that is seen through music, lighting, film editing processing and extensive detail to the neighborhood being watched. Rear Window exhibits these details in the scene where Grace Kelly who plays the role of Lisa, attempts to

Behind every great movie, comes a storyline that is derived from a book however, most of the books to the movies have a great number of deviations. The screenwriters and other staff members to include the director come up with these deviations to enhance the plot in the attempt to make it a more interesting film to which in turn can make a better profit. The majority of differences that is found in films main objective is to enhance the mind. For example, when a scene has the ability to get a particular feeling out of a viewer, it is imperative to be able to understand the reasons for those feelings. The dialog and the visual effects of a scene sets a tone that differs from that of the book that it was taken from. Also, screen writers and

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.

Next, he told his co-worker that a friend of theirs wasn’t as good of a person he thinks he was even though he just died. Last, he tells his boss he sucks at singing. In the open window the paradox is that she tells lies to a guy named mister nutell who has a nervous issue and which is really mean. She tells him the stories about the hunters and then shutters to add more effect.

Though plays have been a form of entertainment for thousands of years, the late 19th Century saw the invention of a new kind of medium; the motion picture.[1] Since then, comparisons between a film and the novel it was based upon have become mainstay. Amazingly, ardent fans of a particular novel can become polarized when the material is changed in any fashion or perceived in a different sense than the reader imagined. Thus, Book to Film Adaptation Analysis’ are commonplace in today’s society and ripe with the energetic opinions of the consumer.