Blockbusters, Sequels, and books-to-films Movies are something everyone flocks to go see; no matter the subject, people still find a way to enjoy themselves watching the film. However, not all films are universally classified; there are different categories in which people can sort the newest films, or the older films people re-watch for the fonder memories they bring. People begin to notice a trend in films and other sorts of media as they grew older, and this essay is a culmination of that knowledge gained. In short, there are three categories in which films are sorted: the blockbuster, the sequel, and the book-to-film. As the one whom draws the biggest crowds, the blockbuster seems the best choice to start with. The blockbuster draws extreme crowds on the opening weekend, and continues to draw crowds for however long it remains in theaters. It usually has a large fan base already, but that is not a requirement for a film to reach blockbuster status. The blockbuster usually gains a sequel, but there are some cases where that has not happened, and doubtless, there will be more. There are some cases where a sequel is a blockbuster as well. The blockbuster usually has a superstar cast; however, there are some cases in …show more content…
Most fans interpret that a sequel means it will be of lesser quality than the original. Some of their fear is unfounded; others have a valid reason to dread the coming of a sequel. Sequels have a massive notoriety about them for being lesser than their predecessor is, but this is merely a long-standing opinion, not fact. Just as some blockbusters have the propensity to be horrible, some sequels have the ability to redeem the series. An example of sequels gone bad is Shrek and its various sequels. Another example would be Transformers; there is another sequel coming out soon to prove the
Motion Pictures have always had a strong influence in today’s culture, but maybe none as prevalent as Star Wars. Originating with Episode 4 A New Hope, the series boomed from 1977 to 2005 with yet another addition coming in 2015. The strongest of the series was the original trilogy episodes 4, 5, and 6, all generally released in the 1980s. As one of the strongest film francaises still today, it’s impact within the 1980s was only the tip of the iceberg. Children and adults alike still anticipate the new edition of this seemingly endless journey. If any singular film series still holds prevalence in its future decades it is Star Wars: Original Trilogy.
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
Friedman, L., Desser, D., Kozloff, S., Nichimson, M., & Prince, S. (2014). An introduction to film genres. New York, London: W.W. Norton & Company.
A movie that came out in 2002 was Harry Potter and the Sorcerer’s Stone. This movie was based off the best-selling novel, which was written in 1997 by J.K. Rowling, called Harry Potter and the Sorcerer’s Stone. If you were to read this book and watch the movie you would find many differences, but the main difference between the two is that the book gives more information to the reader than the movie gives to the viewer. If someone was to watch the movie instead of reading the book, that person would not be able to have an accurate perception of the book because so many things in the book are changed in the movie or parts are left out of the movie completely. This is mainly because the book has more characters and chapters, which are able to keep the reader informed and interested. Still, the movie is shorter so that people who want a quick summary of the storyline can get it,
A noticeable difference in the way movies have changed over the years is evident when comparing and contrasting two films of different eras which belong to the same genre and contain the same subject matter. Two vampire movies, Dracula and Bram Stoker's Dracula, present an interesting example of this type of study.
Genres are ways of providing films with the intended associations. It is a convention in which people can refer to initially grasp the notion of a film, “for the vast publicity system that exists around filmmaking, genres are a simple way to characterize film. In fact, reviewers are often central in gathering and crystallizing notions about genres.” (Bordwell & Thompson, 2004: 110).
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
In this paper I will offer a structural analysis of the films of Simpson and Bruckheimer. In addition to their spectacle and typically well-crafted action sequences, Simpson/Bruckheimer pictures seem to possess an unconscious understanding of the zeitgeist and other cultural trends. It is this almost innate ability to select scripts that tap into some traditional American values (patriotism, individualism, and the obsession with the “new”) that helps to make their movies blockbusters.
A new book releases at the beginning of the week, but the movie that corresponds with the book comes out on Friday. Which do you choose, reading the book or watching the movie? Many viewers and critics have placed reading a book and watching the movie against each other. A great way to analyze the aspects of this argument is to dissect the movie and the book, Stormbreaker by author Anthony Horowitz and director Geoffrey Sax. Reading the book and watching the movie have many similarities such as the appeaesment to the readers/viewers, the overall plot or theme, the structure of the story, and characters; however, these two entertainment options have many differences as well including details and time consumption.
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
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.
“Not to say there haven't been some that may not have shined quite as bright as others (I'm looking at you direct-to-DVD sequels), but the character development in all of them is what keeps generation after generation captivated. The lessons woven seamlessly into the films are what keep them relevant and will continue to do so indefinitely.” These moral lessons are what will keep you going from that teenager-to-adult transition that many struggle with
Piper, Jim. Get the Picture? The Movie Lover’s Guide to Watching Films. 2nd ed. New York, New York: Allworth, 2008. Print.
First of all, I would like to go over my expectations of movies in the future: