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Analysis movie into the wild
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Analysis movie into the wild
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Talented writers can take another’s work and expand it further into new potential. By adding details or introspection, a director or writer of an adaptation can achieve in pushing the boundaries of the original piece. In the case of Where the Wild Things Are, a children’s picture book written and illustrated by Maurice Sendak, was expanded into a far more complex and emotionally developed work. The novel’s world flourishes into an intricate story through both the film adaptation and its novelization counterpart. Spike Jonze and Dave Eggers offer a darker, yet vivid variation of Sendak’s classic book by crafting a more dynamic version and cultivating the story with rich character depth and development. Through their choices in writing and direction,
ultimately defends the wild in all of its forms. He opens the novel with a narrative story about a
In conclusion, by using the production elements of both allusion and symbolism; director Tim Burton has created the film in such a manner by making deliberate choices in order to invite a certain response. The film is constructed and given greater depth through the allusion to elements from other genres and ridicules the suburbia’s materialism and lack of imagination, which in turn enhances the invited response.
When novels are adapted for the cinema, directors and writers frequently make changes in the plot, setting, characterization and themes of the novel. Sometimes the changes are made in adaptations due to the distinctive interpretations of the novel, which involve personal views of the book and choices of elements to retain, reproduce, change or leave out. On the contrary, a film is not just an illustrated version of the novel; it is a totally different medium. When adapting the novel, the director has to leave out a number of things for the simple reason of time difference. Furthermore, other structures and techniques must be added to the film to enhance the beauty and impressions of it. Like a translator, the director wants to do some sort of fidelity to the original work and also create a new work of art in a different medium. Regardless of the differences in the two media, they also share a number of elements: they each tell stories about characters.
Indisputably, Tim Burton has one of the world’s most distinct styles when regarding film directing. His tone, mood, diction, imagery, organization, syntax, and point of view within his films sets him apart from other renowned directors. Burton’s style can be easily depicted in two of his most highly esteemed and critically acclaimed films, Edward Scissorhands and Charlie and the Chocolate Factory. Burton ingeniously incorporates effective cinematic techniques to convey a poignant underlying message to the audience. Such cinematic techniques are in the lighting and editing technique categories. High key and low key relationships plus editing variations evinces the director’s elaborate style. He utilizes these cinematic techniques to establish tone mood, and imagery in the films.
Why do directors choose to stay faithful to or depart from a text when they are producing a film? Many directors choose to either alter or maintain literary elements such as characters, plot, and resolution from a text. The presence or lack of these specific features affects the audience. For instance, in the story “The Monkey’s Paw”, a classic short horror story written by W.W. Jacobs, and its accompanying film, the similarities and differences in the characters, plot, and resolution have an effect on the readers and viewers.
When a novel is adapted into a graphic novel, a spectrum of possible interpretations allows for new meanings. Due to the intermedial character of the graphic novel, the translation from text into a graphic novel differs from an adaptation from text to text. Graphic novels have a medium-specific language that consists of a combination of words and images, both following their own rules and conventions. These two channels of the graphic novel, the visual and the textual, enable the author of the adaptation to express her- or himself not only through words but also through images and make them decide what is expressed in images, what is left in words, and what is left out altogether.
It is quiet rare to watch a film that trumps its novel origins. Film version of movies are often less detailed, give poor representation of true characters, and are frequently just plain laughable in comparison to “the real deal.” However, the best selling memoir, “Wild: A Journey from Lost to Found” offers a framework that simply begs to be put into motion picture.
The movie “Red Riding Hood” is a classical art work that had been introduced to the huge collection of children bedtime story for many centuries. The significance of the movie is transformed from the original story itself. Even though it is just a fairy tale, “Red Riding Hood” associates many interesting archetypes of character that are later on being used by many motion pictures and filmmaker. The first significant character, as well as the protagonist of the story is a little girl that distinguished by a red hood. The young character is lively, crave for adventure and naïve. The same idea can also be illustrated within the framework of building many protagonists from Disney and DreamWorks studio. The potential of curiosity and venturing attitude
Adaption of nostalgic popular culture allows for new interpretation of characters, plot and reimagining of the narrative arc that are beloved both by older audiences and discovered by younger generations. As Glover expresses, “the remaking of popular fiction not only brings into new sorts of
...has come an extraordinary way from being an avid film viewer to establishing and making films himself. He ornately uses dark, gothic themes across the majority of his works that distinguish him from others in the industry. It is to Burton’s huge advantage that nobody “can see any of [his] films and not know immediately that it’s [his],” (Weinstock, 217). His recurring ability to introduce characters that are an obvious extension of himself, allows viewers to connect with Burton as an individual as well as find comfort in their own imperfections. He excels in developing characters that adopt the role as the anti-hero and protest against the conventional hero. Together, the themes intertwined into Tim Burton’s works function to push the boundaries of film away from the ordinary, and to allow him to exclusively remain an outsider working in a mainstream business.
One of the differences between the movie and the book lies in the settings or rather the surrounding in both the movie and the book. The book depicts an exemplary factual tale, one of mountain myths, situated in 1930's Northern parts of Canada. The book portrays an account of C...
Every story is a tapestry and every person can be the weaver . Big Fish is about a young man who struggles with his father’s tendency to blend fiction into his stories. Having spent many years at odds with each other, the tense pair is faced with one last opportunity to make amends and in the process find out that fiction doesn’t always mean it’s not true. Directed by Tim Burton, Big Fish explores the idea that there is a bit of storyteller in us all . Through Edward Bloom’s hyperboles told through tall tales and some ironic story telling endeavors, one learns that anyone can become a story teller.
“Into The Wild” by John Krakauer is a non-fiction biographical novel which is based on the life of a young man, Christopher McCandless. Many readers view Christopher’s journey as an escape from his family and his old life. The setting of a book often has a significant impact on the story itself. The various settings in the book contribute to the main characters’ actions and to the theme as a whole. This can be proven by examining the impact the setting has on the theme of young manhood, the theme of survival and the theme of independent happiness.
In my creative piece, “There’s A Monster In My Bed. Don’t You See? Don’t You See?” illustrates an animal story in the form of a poem with 26 stanzas and each stanza consisting of 4 lines. The focus of my poem comes from the influence of Beatrix Potter’s The Tale of Peter Rabbit and Dr. Seuss’s The Cat in the Hat. Using Potter’s and Seuss’s texts as my inspiration, I established a narrative that combines a mixture of Potter’s and Seuss’s language and style to convey an animal story. Similar to both The Tale of Peter Rabbit and The Cat in the Hat, I used the genre of the animal story to engage with children and childhood imagination. The animal story itself focuses on the animals as the protagonist and tend to be didactic, naturalistic
The reclusive film director Terrence Malick has to date, only directed a small number of films. His twenty year hiatus between directing Days of Heaven (1978) and The Thin Red Line (1998), may provide the explanation for such a sparse back catalogue. Malick’s refusal to talk with the media, has led to hearsay, as to how he occupied his time during the hiatus. Malick’s directing debut Badlands (1973) is a collection of concepts, all carefully moulded together to create one iconic piece of film. This process draws in and also alienates the audience. Malick’s style is positively noted by critics to be influenced by European philosophy. This is clearly due to Malick’s study of philosophy at Harvard and Magdalen College Oxford. There is no given explanation to the mindless violence featured within the film, mainly due to the films resistance to the straight forward approach. The familiar and the unknown are carefully merged together. The only way of gaining an understanding into the hidden meanings within Badlands is by breaking down the film, by looking at the characters, the use of sound, the visual setting and the films genre. The illusionary effect of Malick’s style means that all is not as it seems.