The Hound of the Baskervilles is a classic mystery novel by Sir Arthur Conan Doyle that was written in 1901. The same story is retold in The Hound of the Baskervilles movie, directed by David Attwood in 2002, with different details that changes the storyline. The Hound of the Baskervilles movie is a prime example of how certain details can differentiate the movie from the book. The novel written by Sir Arthur Conan Doyle had examined the story as a way to portray the life he had lived in, the English Victorian era. The movie, on the other hand, was to appeal to a modern and larger audience, thus changing the story to further entertain the audience.
Will the editing style of Lawrence of Arabia still work in todays generation? Both the movies are well recognized and won many awards changing the film industry. Both posses an overall unique style of editing. Lawrence of Arabia released in 1962, was a biographical, action adventure drama shot captured in 70mm. It was directed by David Lean and edited by Anne V. Coates.
The movie is even in many top movie lists in rather high-ranking positions. The story is about a reporter trying to figure out just what the word "rosebud" meant to Kane, as it shows many flashbacks to Kane 's life as well. The movie its self also has multiple narratives, with a little something that everyone can find a point to enjoy in the movie. Citizen Kane is the best film in existence
The weapon is called Starkiller Base, and here we were left in the Force Awakens. In this particular essay, I will compare Star Wars the Force Awakens book with the movie. Personally, I am a big fan of Star Wars in general. I would recommend any person that loves fiction novels or fiction movies should read and watch the series. In my personal opinion, I liked the book more
The producers, it seems while trying to make the movie fit the modern times, they cutout or changed certain things about characters, theme, and symbols that caused it to be slight different from the book. The fact is that no matter how well the movie covers the book, there will always be some noticeable difference, as Fitzgerald’s words from the book paint’s a vivid picture of the scenes, that it’s come to life in the mind of its reader. Therefore, even with a perfect design, cast, and performance, any movie version can only disappoint. One of the biggest difference can be seen in the theme representation of the American Dream. While the movie shows the achievement of the American dream, the book shows its failure.
Paranormal Activity Sequel The first time I heard that there would be a sequel to Paranormal Activity I was psyched. The original was so unique and effective that I could only wonder what Oren Peli had in store for us next. Peli is the writer/director of the original and the producer of the sequel. Michael R. Perry wrote the screenplay and story this time around. Perry has a long resume of work that he has done on popular television series such as Law and Order: SVU.
The significance of my point is to show you why Dialogue is a big part of a movie/book. Dialogue develops the main point of a character, and how they react to things said, or even things saw. Without the dialogue in the movie/book, there would be like no
Play-scripts were manuscript and used as manuals to en-scene plays which were visually presented by actors for the purpose of entertaining and communicating implied meaning to an audience. Shakespeare’s play Macbeth was written during King Henry V’s reign over England, a historical context which emphasizes meaning to the basis of the play. Having read Shakespeare’s Macbeth and watched film director Justin Kurzel’s re-interpretation of the play starring Michael Fassbender we can identify dissimilarities and noticeable distinctions between the script and the movie. Through my analysis, I determined the main difference between the play-script and the movie to be the role of grief in influencing the actions of the main characters. This opens a
Alan Spiegel concludes Fiction and the Camera Eye: Visual Consciousness in Film and the Modern Novel (1976) speculating on the future of the novel in the age of film: ‘’the contemporary novel at its most advanced now consorts with the coldness and passivity of the photographic plate. Just s photography seemed to release painting from its representational functions, so perhaps the film was always meant to appropriate the mimetic tradition in literature itself free to’’ (Spiegel, 1976). It has been lamented that some novels are written not just as novels, but as future films. For example, Harry Potter. It has been argued that the experience of reading the books is akin to watching a film (Cartmell and Whelehan, 2010); Harry’s control of the gaze through the emphasis on his glasses, the influence of the blockbuster, especially the obligatory action sequences, and the intertextual references to Star Wars, in first volume, call attention to the ways in which Hollywood has shaped popular fiction.
When seeking the adapter’s moral or political view of the text, Ang Lee had to seek its manifestations in other production choices such as casting and choice of setting. The question of the audience’s historical relationship to the literary/filmic text is striking if we take the 1990s as a case-study and note the high-budget TV and film adaptations of 19th century novels. In the case of classic serials of 1990s, the past is not only ‘brought to life’, but the artefacts of the adaptation’s production themselves also serve as links to previous era: the costumes for Lee’s Sense and Sensibility and the BBC’s Pride and Prejudice have been touring stately homes and museums in Britain side by side with the ‘genuine article’, as if they stand as testimony to their historical accuracy. The settings for classic serials – particularly stately homes – have themselves become objects of nostalgic homage for the cinema/TV audience, improving their contemporary fortunes