Setting
"Brokeback mountain Mori" begins in a mental institution, passes through an anonymous motel room and tattoo parlor, and ends in the back of a police car.
Brokeback mountain never explicitly mentions whether Leonard has been in a mental institution (though certain ambiguous clues indicate that perhaps he has). It also passes through motel rooms and tattoo parlors, but it adds other locations, such as Natalie's house, the bar where she works, a diner, and the abandoned building where Leonard kills both Jimmy and Teddy.
Narration
"Brokeback mountain Mori" uses third person limited narration to describe Earl's actions. Though we focus on Earl's actions, we are not privy to his consciousness. However, the italicized letters Earl writes to himself are in first and second person—"I don't know where you'll be when you read this"
(Desmond 2006, p.145) and "You can't have a normal life anymore" (p. 140).
Brokeback Mountain follows this same narration style. The color sequences follow Leonard closely, but we do not get a voice-over during any of the color scenes. It is a third person narration, with Leonard as our filter. (We do get rare glimpses into Leonard's consciousness, however—his memories of his wife's life and death, consideration of whether she may have had diabetes, and a fantasy vision of having succeeded in finding her killer.) We do get a first person voice-over during the first couple black and white scenes, often describing in second-person terms how "you" deal with such a condition
Introduction to adaptation:
The only way to make and understand film is to acquire the skill through experience or education. By doing without knowing the rules of the game, maybe we achieve our goal but it is very risky so right education can guaranty us to get our goal.
As we see in contemporary cinema most of movie coming out are adapted from different medium, based on everything from comic books to the novels and even short stories. They tell and retell the stories through different medium because we interact and reinteract with stories So understand film and how they made it, it is necessary to understand the way literary expression in particular has informed, extended, shaped, and limited it. Century literary expression reveals the influence of the cinema in its structures and styles, themes and motifs, and philosophical preoccupations
In adaptation discourse, we are looking to the film from a different angle, how faithful have been to the original source which is usually a novels or a short story.
When novels are adapted for the cinema, directors and writers frequently make changes in the plot, setting, characterization and themes of the novel. Sometimes the changes are made in adaptations due to the distinctive interpretations of the novel, which involve personal views of the book and choices of elements to retain, reproduce, change or leave out. On the contrary, a film is not just an illustrated version of the novel; it is a totally different medium. When adapting the novel, the director has to leave out a number of things for the simple reason of time difference. Furthermore, other structures and techniques must be added to the film to enhance the beauty and impressions of it. Like a translator, the director wants to do some sort of fidelity to the original work and also create a new work of art in a different medium. Regardless of the differences in the two media, they also share a number of elements: they each tell stories about characters.
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
The scenes in Wyatt Earp expressed a feeling of comfort between the viewer and the film. The development of the characters reflect upon the hardship of the Old Western lifestyle. In this film, we are introduced to the idea of genre and the components that differentiate films altogether. However, Wyatt Earp has showed us a different side of genre, where two genres are joined together as one. The film Wyatt Earp has displayed examples of genre-breaking through its plot, character development and connection to modern day society.
Next, during the movie there are scenes where the narrator experiences amnesia and switching. One scene in particular which describes this the best would be the one when he slept with Marla. Marla talks to the narrator about what happened last night and he becomes disgusted. Thinking it was Tyler who slept with Marla and not him, here he experiences switching and amnesia. Tyler switched over when it came to his pleasure and confidence. This causes the narrator to not remember or even know that he performed those
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.
David Arnason begins the story in the first person, then moves back-and-fourth to third person. In this type of writing, the readers have an opportunity to enter the text and understand it and the author more. Arnason uses techniques, such as circular
This analysis observes the opening scene of the Coen brother’s film No Country for Old Men (2007), a neo-noir crime thriller set in Santa Fe, New Mexico. The film does conform to classic Hollywood style in that the story is character-centered and plot and narrative change to serve character exposition. As well as the character’s actions changing plot and narrative and that style is subservient to the story as the ultimate goal is to develop a fictional world that is perceived as real, as Bordwell put it the classic Hollywood style should be “seamless” and “style-less” (Bordwell, 1988). But does have Post-classical influences such as lack of musical score and modern editing techniques and special effects.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
The film Cold Mountain, directed by Anthony Minghella, is set during the American Civil War and tells the tales of two lovers, Inman and Ada. Inman is a strong, quiet and very moral country boy, very different to the higher class Ada, who herself does not fit in with Inman’s country lifestyle. Just as Inman and Ada realise their love for each other Inman is forced to fight for the South in the war, and Ada is left to look after herself. Inman then struggles to make his way back to his lover; and with no means of contact Ada spends her time trying to keep up hope that Inman is still alive. Minghella uses many techniques to create strong impressions of both Inman and Ada.
The Effect of Dual Narration by Michael Frayn on the Readers Understanding of the Text
Yet if this was written in the third person the narrator would not exclaim what contents is in the pocket of a character, although they would say “ 7 things were confiscated out of Christopher’s pockets as he made his way into prison.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
The first chapter of George Bluestone’s book Novels into Film starts to point out the basic differences that exist between the written word and the visual picture. It is in the chapter "Limits of the Novel and Limits of the Film," that Bluestone attempts to theorize on the things that shape the movie/film from a work of literature. Film and literature appear to share so much, but in the process of changing a work into film, he states important changes are unavoidable. It is the reasoning behind these changes that Bluestone directs his focus, which is the basis behind the change. He starts to look at the nature of film and literature, as a crucial part in the breakdown of this problem. It is only through a discussion into nature of each of these, that Bluestone can discover where film and literature seperate, and also develop a close to accurate theory on the laws that direct the course of change from novel to film.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.