Literature into Film: Theory and Practical ApproachesMcFarland, 24 դեկ, 2014 թ. - 315 էջ For most people, film adaptation of literature can be summed up in one sentence: "The movie wasn't as good as the book." This volume undertakes to show the reader that not only is this evaluation not always true but sometimes it is intrinsically unfair. Movies based on literary works, while often billed as adaptations, are more correctly termed translations. A director and his actors translate the story from the written page into a visual presentation. Depending on the form of the original text and the chosen method of translation, certain inherent difficulties and pitfalls are associated with this change of medium. So often our reception of a book-based movie has more to do with our expectations and reading of the literature than with the job that the movie production did or did not do. Avoiding these biases and fairly evaluating any particular literary-based film takes an awareness of certain factors. Written with a formalistic rather than historical approach, this work presents a comprehensive guide to literature-based films, establishing a contextual and theoretical basis to help the reader understand the relationships between such movies and the original texts as well as the reader's own individual responses to these productions. To this end, it focuses on recognizing and appreciating the inherent difficulties encountered when basing a film on a literary work, be it a novel, novella, play or short story. Individual chapters deal with the specific issues and difficulties raised by each of these genres, providing an overview backed up by case studies of specific film translations. Films and literary works receiving this treatment include The Unbearable Lightness of Being, The Manchurian Candidate (1962), Lady Windemere's Fan by Oscar Wilde and Shakespeare's Henry V. Interspersed throughout the text are suggestions for activities the film student or buff can use to enhance his or her appreciation and understanding of the films. Instructors considering this book for use in a course may request an examination copy here. |
From inside the book
Արդյունքներ 10–ի 1-ից 5-ը:
... Ahab. The pith of the story lies in Ishmael's construing of Ahab's supreme obsession with, and implacable pursuit of, Moby Dick, the great white whale that, in the world before the novel, had amputated Ahab's leg, as well as, arguably, ...
... Ahab: In the book, Ahab's entrance is delayed for almost 200 pages, while in this film, Ahab is first seen within five minutes of the film's opening, and (2) Ahab's death: In this film, Ahab vaingloriously shouts invectives from atop Moby ...
... Ahab pursues Moby Dick into iceberg-filled waters, a handsomely filmed scene, visually interesting and dramatically bold, but an act contrary to the actual practices of American sperm whaling. While the sperm whale's range would include ...
... Moby-Dick, Starbuck realizes that Ahab's conduct has transcended all rational and acceptable modes of behavior and that he is clearly placing the Pequod's entire crew in peril of their lives. In response, the “honest, upright” Starbuck ...
... Ahab and by what he, Starbuck, most wants to believe (i.e., that Ahab will come to his senses and abandon his pursuit of the white whale), the staid and level, pragmatic and sensible Starbuck makes the ship's most crucial decision based ...
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7 | |
The Language of Film and Its Relation to the Language | 44 |
The Film Industry and the Collaborative Work | 72 |
Novels and Novellas into Film and an Aesthetic Rubric | 97 |
Plays into Film | 144 |
Short Stories into Film | 186 |
Writing about Film | 235 |
Appendix A The Aesthetic Rubric | 263 |
Shakespeare Plays on Film | 270 |
Glossary of Film and Literary Terms | 281 |
Bibliography | 297 |