cultural group. It conveys the elemental contradictions we harbour in our psyches and trigger some disturbing thoughts in the viewers, who would rather vehemently deny harbouring any such discrimination. Scope of Adaptations Humans have a long history of adapting texts into other forms. Historical events and spoken legends had been the inspiration for paintings, sculptures, plays, written tales, and stained glass windows. But with time, they became stories in the form of the novel. Cinematic adaptations of literary and theatrical texts are as old as the medium of cinema itself, and the tension between literature and film have existed as long as screen adaptations. Adaptation is concerned with the transport of form and/or content from a source …show more content…
According to Robert Stam, class prejudice, iconophobia, logophilia, and anti-corporeality (distaste for the ways in which the medium of cinema engages with the body of the spectator) are all several factors which have informed the traditional privileging of literature over film (and other media forms). However, adaptation theory has today moved away from the dichotomy of film and literature. The focus is on the multidirectional flows, concentrating less on what has been lost by a text during the process of adaptation, and more on what the text has gained by taking on a new form or variation. With theories of Intertextuality, the adapted text is compared not only with the original, but other adaptations and similar texts as …show more content…
There is a general shift in the linearity of the plot development and dialogues. Also, she has mixed up the characters delivering the dialogues. In the film we see more characters as well. The story opens at the lunch table at the bar whereas film opens in Susan’s kitchen, where we see Ammachi (her grandmother) packing lunch for her. Ammachi and the servant girl are two of the new characters. Other characters are Saajitha, Shaji, and judge. We also do get faces for Kappakutty and C P Gopala Menon. In Aechikanam’s story, Susan is a senior by two years, whereas in the film they seem to be
The works of William Shakespeare have been one of the diligent hotspots for adaptation and appropriation. We see dramatic adaptation of Shakespearean playtexts began as early as Restoration period. Different fields like poetry, novels, advertisements, and movies have connected themselves with Shakespeare as well. The adaptation of Shakespeare makes him fit for new social settings and distinctive political philosophies.
Charles Portis’s famous novel True grit published in 1968 was the basis of both the 1969 and the 2010 movie. The 2010 movie by the Coen Brothers covers a lot of stuff from the book, but I think they made the character Mattie a lot different then the book. In the book Mattie was a 14 teen year old girl who wasn't afraid of anything, and was not afraid to take revenge on her fathers killer Tom Chaney. Some of events in the movie made her look tough but the actor was too nice and cute to play Mattie. They also made her way more emotional than in the book. Even though they covered most of the events of the book I still don't like the way they made the movie.
Whenever books are adapted for film, changes inevitably have to be made. The medium of film offers several advantages and disadvantages over the book: it is not as adept at exploring the inner workings of people - it cannot explore their minds so easily; however, the added visual and audio capabilities of film open whole new areas of the imagination which, in the hands of a competent writer-director, can more than compensate.
How does it feel starting over in a completely new place? In the movie “The Karate Kid”, Daniel, the main character, and his mom moved to the California from New Jersey because of his mom’s new job offer. Daniel started going to school in California and met a girl named Ali, whom he started to like. He started going out with her. Daniel was getting beat up by some bullies; one of them was Ali’s ex-boyfriend. They knew karate very well, but Daniel did not. So Daniel decided to learn karate. Daniel and his mom were living in an apartment and one day he discovers that the handyman at his apartment, Mr.Miyagi, knows karate very well. He asked Mr.Miyagi to teach him karate, and Mr.Miyagi became his karate teacher. It was hard for him to make new friends in a new place and he believed that Mr.Miyagi would be the only best friend he ever met.
In the documentary “Fed Up,” sugar is responsible for Americas rising obesity rate, which is happening even with the great stress that is set on exercise and portion control for those who are overweight. Fed Up is a film directed by Stephanie Soechtig, with Executive Producers Katie Couric and Laurie David. The filmmaker’s intent is mainly to inform people of the dangers of too much sugar, but it also talks about the fat’s in our diets and the food corporation shadiness. The filmmaker wants to educate the country on the effects of a poor diet and to open eyes to the obesity catastrophe in the United States. The main debate used is that sugar is the direct matter of obesity. Overall, I don’t believe the filmmaker’s debate was successful.
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
This article starts off by identifying the relationship between adaption and transfiguration. Johnson introduces the idea that film adaptions are not meant to be exact replicas
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.?
One notable difference between William Shakespeare’s The Tempest and Julie Taymor’s film version of the play is the altered scenes that made quite a difference between the play and the movie version. This difference has the effects of creating a different point of view by altering the scenes affected the movie and how Taymor felt was necessary by either by keeping or deleting certain parts from the play. I use “Altered Scene” in the way of how Julia Taymor recreates her own point of view for the movie and the direction she took in order to make the audience can relate to the modern day film. I am analyzing the way that the altered scenes changes to make a strong impression on the audiences different from the play. This paper will demonstrate
Filmmaking and cinematography are art forms completely open to interpretation in a myriad ways: frame composition, lighting, casting, camera angles, shot length, etc. The truly talented filmmaker employs every tool available to make a film communicate to the viewer on different levels, including social and emotional. When a filmmaker chooses to undertake an adaptation of a literary classic, the choices become somewhat more limited. In order to be true to the integrity of the piece of literature, the artistic team making the adaptation must be careful to communicate what is believed was intended by the writer. When the literature being adapted is a play originally intended for the stage, the task is perhaps simplified. Playwrights, unlike novelists, include some stage direction and other instructions regarding the visual aspect of the story. In this sense, the filmmaker has a strong basis for adapting a play to the big screen.
We constantly watch movies derived from novels and sometimes they are either a hit or complete miss. The basis of a story does not change much from the novel to the big screen, however smaller components of a story are altered before production. This is demonstrated in “No Country for Old Men” by Cormac McCarthy in which symbol, character and theme are changed in the film for a more cinematic appeal at the cost of greater character and plot development. Within “No country for Old Men”, McCarthy places various symbols such as the bolt gun, coin, and dead red- tailed hawk are used to further the development of characters in the novel.
Nathaniel Hawthorne’s The Scarlet Letter is one of the most respected and admired novels of all time. Often criticized for lacking substance and using more elaborate camera work, freely adapted films usually do not follow the original plot line. Following this cliché, Roland Joffe’s version of The Scarlet Letter received an overwhelmingly negative reception. Unrealistic plots and actions are added to the films for added drama; for example, Hester is about to be killed up on the scaffold, when Algonquin members arrive and rescue her. After close analysis, it becomes evident of the amount of work that is put into each, but one must ask, why has the director adapted their own style of depicting the story? How has the story of Hester Prynne been modified? Regarding works, major differences and similarities between the characterization, visual imagery, symbolism, narration and plot, shows how free adaptation is the correct term used.
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.
When adapting a novel, there are three different ways directors can translate that into a film. They may take on the literal, traditional or radical interpretation of their adaptation of the novel; in Joe Wright’s 2005 Pride and Prejudice, he takes on the traditional interpretation. This translation demonstrates the same ideas, central conflicts, and characters as those of Austen’s novel 1813 novel, Pride and Prejudice. Linda Costanzo Cahir, the author of Literature into Film, gives sufficient evidence to prove that this adaptation is in fact a traditional one.
It is common in today's media-driven society to reach into the past for inspiration and ideas. A trend has developed where original works are transformed into other mediums. For example: books are turned into movies and/or plays, movies are turned into weekly sitcoms, and cartoons will spawn empires (Disney). These things happen so often that an audience rarely stops to question the level of authenticity that remains after these conversions. Perhaps it is only when a project is not well received that people begin to think of the difficulties involved with changing a work's genre. Using Gulliver's Travels as an example, discrepancies and additions in the movie can be contrasted with Jonathan Swift's original text.