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Literature to movie adaptation proces
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The Sheltering Sky Part One: My Vision After reading the novel, The Sheltering Sky by Paul Bowles, it was difficult to imagine how one could transform the novel into a satisfying film. How could one imitate such descriptive settings and emotions without the advantage of Paul Bowles' wording? Also the novel does not have the plot of a typical movie, even an action or love story, and the ending is not conclusive. Could actors today play the deep and complex characters as they are portrayed in the book? These were some of the complications I considered when deciding how I would produce the movie. To start to picture the film, I began to think of the actors I would choose to portray the main characters of the movie. I pictured Kit as a rather frail, pretty, blonde character perhaps played by Gwyneth Paltrow. Port should be played by an actor who can generate a sense of strength and independence as shown by the character in the book. He should be a masculine individual, but definitely have a quiet, introspective side. I would like to see Harrison Ford or a similar actor play this part. Tunner should be portrayed with the right mix of good looks and charm combined with a devious underlying air which causes one to question his motives. Perhaps an actor such as Hank Azaria would be a good Tunner. I would try to shoot as many scenes as possible on location in the Sahara. By doing this, the viewer can gain a sense of the openness and vastness of the desert without the help of Bowles' descriptive wording. I would try hard to show the harshness of the heat and the burden of the dust which might cause one to react differently than in normal circumstances. I would enhance these sensations by using soft African music with flutes and horns. I think central to the plot should be the change that occurred in Port and Kit's relationship after the bike ride to the top of the dune. Before this, their relationship was shaky and they were not as dependent on each other. Afterward, though, their relationship deepened and this sets the stage for Port's traumatic death. Port's death would definitely be a turning point in my film and a very emotional moment. I would try to display the raw pain and emotion of death as Bowles' does so eloquently in the book.
In the book Storming Heaven by Denise Giardina, education, and the lack there of, plays one of the largest roles in the character's lives. At this time in West Virginia, where the book is set, many children had to leave school and actually go into the coalmines, as Rondal Lloyd did, or work on the family farm. Racial ignorance is also a key element Giardina confronts in the novel. The characters, chief and secondary, equally cultural and racially bland, pass on their beliefs and therefore help to maintain the continuous circle of inequality that carries on even today. Political knowledge, at least on the national and state level, is also lacking within the little town of Annadel. With this knowledge coupled with her own experiences from growing up as an immigrants daughter in the same coalfields as her novels characters, Denise Giardina tries to explain the function of education and ignorance in not only the coalfields of West Virginia, but throughout the entire world.
It is no easy task to create a work - through writing or film - that has an impact on society. In writing, one must discuss and analyze a relevant topic that will have an impact on the readers. One must also present stunning sensory images through words in order to create a complete understanding for the reader. In filmmaking it is not much different, but there must be striking visual imagery in combination with a fitting musical score in order to give the viewer of the film the full experience. There must also be historical accuracy, both in writing and film. In either case, it can take years to create such a captivating piece of work. David Guterson's novel Snow Falling on Cedars and its cinematic counterpart of the same name combine all of the aspects of good writing and filmmaking to create an emotionally provocative and historically accurate masterpiece.
Philip K. Dick is one of the more prolific science fiction writers of the second half of the 20th century. His dark plots, themes, and characterizations differ greatly from those who preceded him. This has seemingly translated well onto the big screen, as at last count, nearly ten of his novels and short stories have been adapted into films. Several of these films have garnered critical acclaim for both their movie credentials and use of source material. Blade Runner, originally released in 1982 and based off a 1968 novel entitled Do Androids Dream of Electric Sheep? along with A Scanner Darkly, a 2006 film based off a book of the same name released in 1977, are two such examples. They provide an excellent base to compare the adaptations in terms of visual style, plot authenticity, and characterization. Both movies took alternate routes, yet both were very well received, though one’s financial success is far greater than the other.
The movie would be best directed by Stephen Spielberg, because of his ability to keep movies true to nature, and still produce a compelling story. This would be an excellent project for him because the objective of the film is to do exactly what Spielberg did with movies such as Schindler’s List and Saving Private Ryan: to take a story, fiction or non-, and portray it as a emotionally moving picture, while keeping it true to the original vision.
Although the film was quite different from the book, I think it was a successful adaptation. Through the many changes made to the book, the movie was still able to capture the main idea of the text: you can’t have living without dying. In my paper, I will discuss the changes to Winnie Foster and Miles Tuck, why I believe the director rearranged the sequence of events, and how the director used different film techniques to set the tone during different scenes.
His expertise may attract an array of readers, both newcomers and old-timers. It seems that his intended audience might be those who share his love of the desert and also those who want to know more. The essay is quasi-organized like an educational brochure or an expert interview with an inveterate desert denizen. An unintended audience of course might include the fledgling environmental activists who were emerging in the 1960s to fight for the protection of wilderness. Because of its focus on natural history, the article and the anthology, Desert Solitaire, in which it was published, might...
William Faulkner is often considered to be the greatest writer in the America history. His fame rests largely on his novels, especially for his closely examination of the southern culture. "That evening sun" is a good example of it.
Sometimes in movie production a film is developed from a piece of literature. Directors will use the plot of a book either to create a unique movie, or to give the audience a chance to see what their favorite book is like when acted out on the screen. Willa Cather's "Paul's Case" is a good example of a work adapted to video. The movie has slight differences from the book, but the director Lamont Johnson follows the original closely.
In architecture, contrast is used to create a dramatic entrance. The observer moves from a small, dimly lit space to a grand room full of light where they feel the impact of the room because of its contrast with the previous one. Similarly, authors, the architects of a book’s plot, use contrast to emphasize a character’s struggles and triumphs. In both The Space Between Us by Thirty Umrigar and A Thousand Splendid Suns by Khaled Hosseini, the authors use the contrast between two lives to emphasize the power of money, education, and gender within Afghan and Indian society.
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.?
Thornton’s choice of location was suitable but he failed to translate the beauty of some scenes from the book to his movie. Overall, the main issue with the movie was the pacing if that was improved on then character development and how the audience understands the scenes would not have been impacted. It was a grim decision to shift the focus of the movie from horses to the romance of John Grady and Alejandra. Horses were emphasized because they were a symbol of the protagonist’s manhood and freedom, in the context of this story romance does not relate to these elements as well. Romance was a much smaller topic and occurs later in the novel while horses are immediately mentioned and emphasized. Thornton did not show the emotions of the characters well in his adaptation due to cuts in the story. Thornton’s movie skips when Rawlins was interrogated to John Grady’s interrogation, perhaps so the scene would not be repetitive but it was important to see why Rawlins had a breakdown after his. Torn apart at its seams, the story nearly changes into another especially when the original ending is bypassed and distorted into two friends reuniting with no mystery and wonder of what is to
Due to production costs and financial restrictions, the director and screenplay writer can never fully reproduce an entire literary work into a screen version. With the complications of time restriction in major motion pictures, a full-length novel is compacted into a two-hour film. This commonly leads to the interference in the sequence of events, alternation of plots and themes, and the elimination of important characters or events. But the one true adversary of novel-based films is Hollywood fabrication. Producers, directors, and playwrights add or eliminate events and characters that might or might not pertain to the storyline for the sake of visual appeal, therefore defacing the author’s work.
Furthermore, unlike the novel, the film will start with Elizabeth Hurley (i.e. Mary) getting seduced by this mysterious man and then giving birth to our main character, David. Then the film will progress as it does in the book, but the ending of the film will be the beginning of the novel. The movie would have not much differences from the novel, but I figure that a heated scene in the beginning of the movie will open many eyes immediately,and naturally viewers would be interested to keep their eyes open throughout the film to see what's next.
The movie adaptation of the story, in my opinion, was masterfully executed with small discrepancies between the original story and the adaptation. Moreover, casting Heath Ledger as Ennis Del Mar and Jake Gyllenhaal as Jack Twist, was a spot on choice, for these two actors were experienced enough to play out such complex and controversial characters. In Proulx’s story, Ennis is characterized as a man of few words but with a strong sense of duty and responsibility, as he is hard working, yet he is much conserved due to his upbringing in a conservative setting of Wyoming and Heath Ledger deftly plays that role with ease and fluidity. Heath Ledger’s large stature coupled with his low toned voice perfectly expresses the traits of the Ennis without words just by the presentation of the actor.
Vincent Van Gogh was a Dutch post-impressionist artist born in Groot-Zundert, Holland on March 30, 1853. He is the pioneer who paved the way for the expressionist era and had a big influence on twentieth century art. Vincent Van Gogh's "The Starry Night" (1989) has proven to be an outstanding demonstration of how emotions can be conveyed through color and brushstroke. It was one of his most famous art pieces that was created and one of the last major paintings he ever produced in which was the earliest examples of expressionism. The painting was his depiction of his view of his asylum window at Saint-Rémy (he admitted himself for his safety and the safety of those around him). The painting depicts a small town that is against a blue and vast night sky filled with eleven bright stars . Starry Night is a product of Van Gogh’s encounter with his personal religious connections and isolation of which convey van Gogh’s expressionism in creating his unique view of reality.