No one in our modern society speaks the way they did in Elizabethan times, so modern audiences watching play productions of Shakespeare’s work will most likely not comprehend or enjoy the actual play because the language acts as a barrier. But the many aspects of film can help break down that barrier. With the help of cinematography and special effects, directors like Baz Luhrmann can provide modern audiences with an easy and in-depth understanding of the play that they may not have cared about learning in high school. Additionally, appropriations can help introduce modern audiences to Shakespeare’s original plays. Some audiences may enjoy movies like Warm Bodies and feel inclined to read Romeo and Juliet after.
Both Gillian Flynn’s Gone Girl and Daphne du Maurier’s Rebecca are written in the first person point of view, allowing the reader to become intimately acquainted with the inner workings of the narrators’ minds. In film, it is very difficult to create the same effect, and there are not many ways to accomplish it successfully. In David Fincher’s film adaption of Flynn’s Gone Girl, Nick and Amy Dunne’s inner workings are presented solely by the acting and dialogue. Nick and Amy Dunne are not wholly reliable narrators in the novel, both of them holding back information or providing false information to the reader that is not as well illustrated in film. For instance, Amy Dunne provides entirely falsified information to the reader for the first nearly three hundred pages of the novel via her fake diary.
Though in movies it really hard to grab on to the person and make them express their emotions, usually in fear of other people 's opinion of them. In the book they did the opposite of this, evidence of this in the book is when Jonas 's is walking to the nurturing center, after just receiving the memory of war/warfare and is confronted by Jonas 's friend Asher and not knowing what even is it 's just a game the kids play, asks him if wants to play, Jonas just having
When adapting pop culture into different forms of media, it is necessary to change a variety of aspects to fit individualized nuances of each medium. The transformation of The Lord of the Rings, by J.R.R.Tolkien, from a novel onto the screen is not an exception to this notion. However, Peter Jackson, the director of the popular film series, is known for staying fairly accurate to the original plot of the book. After all, when creating a film based off a novel, the director is not creating something completely his own, rather, he must stay accurate to the plot, in order to observe the wishes of the author and the expectation of his fans. While for the most part Jackson succeeds in his mission to fortify the narrative, rather than stray from
The movie version of The Crucible brings to light new information that demystifies a formerly vague storyline, and is more effective in getting across its meaning than the book. The scene in which Abigail visits Proctor in prison adds context to the plot that one cannot gather directly from the book, explains the motivation behind Abigail's actions in the play, and is very well acted. It also provides a clearer depiction of Proctor’s loyalty and devotion to his wife, Elizabeth. The character development that takes place in this scene gives the viewer a more in-depth understanding of Abigail’s manipulative tendencies and of John Proctor’s sense of obligation towards his wife than is derived from the book. First and foremost, the text of
While movies can get away with cheap jump scares in the place of tension, books typically cannot. So, they rely on a slow build of fear, which can be much more effective than a quick jump scare, if done right. When events take place, everything does not happen at once; the storyteller lets the suspense and tension rise, so readers grow anxious and afraid as they anticipate the next event. It is a pretty effective way of doing horror. Suspension of Disbelief is also a big factor.
" Movies are used to educate people on past events, current happenings things to happen. It is a form of communication which good writers employ their creativity skills tell a story. Some are just fictions well packaged and delivered to viewers.
Do not start at the wrong foot by assigning actors who do not suit the characters’ attributes described in the book versions. The characters’ attributes include physical features, traits, and habits. Actors need to be able to portray how the characters are pictured in the books. A good example of characters portrayal is Stephen Hawking by Eddie Redmayne in the movie The Theory of Everything.
Film and written literature have often gone hand in hand. Written literature has often served as an inspiration for film. Directors often make movie adaptations of books and people who have read the book will often criticize the movie for lacking important detail covered in the book. Film, depending on many factors can often be better than the book, or at least do it justice. Since the conception of film many have argued that written literature will be obsolete.
The public’s lack of ability to understand political theory resulted in ‘simplicity and repetition’ being advocated. This concept would be most easily portrayed through the medium of film, as it could be presented in such a fashion where it dominated over other forms such as writing. Films appealed to those who could use their mind less to understand Nazi philosophies, as it was in a picture format opposed to complicated text, which would again be appealing as it supplemented those whose readings skills were not perfect. Previous media forms that were already present were of little help in advancing Nazi thought as those who already followed the party had subscriptions to its newsletters, so the introduction of film provided an easily accessible media form for the
Therefore I will compare that film more to his childhood in which, according to him, he witnessed a lot of gang activity. Apart from these deviations I will be following a structure of analyzing one film at a time, then comparing it the to historical data I have. After having done this for all three
Cinematic interpretation allows for a wider audience, in that the general public is much more likely to see film version of Hamlet than to attend it as a play. There are also elements of the story, such as the ghost, which can become much more believable for modern audiences through the use of special effects which plays cannot employ, such as a singular perspective and visual editing. Lastly, the way that film is captured and edited is an art in and of itself. Things like lighting and set design add meaning that can simplify the story or make it more intricate. This simply cannot be done with plays to the extent which it is done in film.
Paulo Coelho, an author, once said, “Close some doors. Not because of pride, incapacity or arrogance, but simply because they no longer lead somewhere. ” This is exactly what some movie producers do. When a movie is based off of a book and some parts are not needed they take out that scene.
Would the Civil War have ended differently without an additional one-hundred and fourteen soldiers? Well it might have. Joshua Chamberlain, given one-hundred and twenty mutineers who had given up on fighting for what they believe, used his words to inspire all but six continue to risk their lives for their country and each other. Through deeper analyzation the reader can tell that Chamberlain’s speech was powerful, inspirational, and pivotal, putting hope into the men that were considered criminals by the government. Joshua Chamberlain speech and actions revealed many of his character traits.
Imagine living in a world with no freedom, choice, individuality, and color. Would you want to live in a world like this? Most of you would have said no, but a boy named Jonas has no choice, but to adhere to his community’s rules. In the book and the movie, “The Giver”, by Louis Lowery, Jonas finds it difficult to accept his community’s way of life. However, after he becomes the receiver of memory, he challenges the community after discovering what the world used to be like before sameness.