Setting
"Brokeback mountain Mori" begins in a mental institution, passes through an anonymous motel room and tattoo parlor, and ends in the back of a police car.
Brokeback mountain never explicitly mentions whether Leonard has been in a mental institution (though certain ambiguous clues indicate that perhaps he has). It also passes through motel rooms and tattoo parlors, but it adds other locations, such as Natalie's house, the bar where she works, a diner, and the abandoned building where Leonard kills both Jimmy and Teddy.
Narration
"Brokeback mountain Mori" uses third person limited narration to describe Earl's actions. Though we focus on Earl's actions, we are not privy to his consciousness. However, the italicized letters Earl writes to himself are in first and second person—"I don't know where you'll be when you read this"
(Desmond 2006, p.145) and "You can't have a normal life anymore" (p. 140).
Brokeback Mountain follows this same narration style. The color sequences follow Leonard closely, but we do not get a voice-over during any of the color scenes. It is a third person narration, with Leonard as our filter. (We do get rare glimpses into Leonard's consciousness, however—his memories of his wife's life and death, consideration of whether she may have had diabetes, and a fantasy vision of having succeeded in finding her killer.) We do get a first person voice-over during the first couple black and white scenes, often describing in second-person terms how "you" deal with such a condition
Introduction to adaptation:
The only way to make and understand film is to acquire the skill through experience or education. By doing without knowing the rules of the game, maybe we achieve our goal but it is very risky so right education can guaranty us to get our goal.
As we see in contemporary cinema most of movie coming out are adapted from different medium, based on everything from comic books to the novels and even short stories. They tell and retell the stories through different medium because we interact and reinteract with stories So understand film and how they made it, it is necessary to understand the way literary expression in particular has informed, extended, shaped, and limited it. Century literary expression reveals the influence of the cinema in its structures and styles, themes and motifs, and philosophical preoccupations
In adaptation discourse, we are looking to the film from a different angle, how faithful have been to the original source which is usually a novels or a short story.
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.
The scenes in Wyatt Earp expressed a feeling of comfort between the viewer and the film. The development of the characters reflect upon the hardship of the Old Western lifestyle. In this film, we are introduced to the idea of genre and the components that differentiate films altogether. However, Wyatt Earp has showed us a different side of genre, where two genres are joined together as one. The film Wyatt Earp has displayed examples of genre-breaking through its plot, character development and connection to modern day society.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
The film Cold Mountain, directed by Anthony Minghella, is set during the American Civil War and tells the tales of two lovers, Inman and Ada. Inman is a strong, quiet and very moral country boy, very different to the higher class Ada, who herself does not fit in with Inman’s country lifestyle. Just as Inman and Ada realise their love for each other Inman is forced to fight for the South in the war, and Ada is left to look after herself. Inman then struggles to make his way back to his lover; and with no means of contact Ada spends her time trying to keep up hope that Inman is still alive. Minghella uses many techniques to create strong impressions of both Inman and Ada.
This analysis observes the opening scene of the Coen brother’s film No Country for Old Men (2007), a neo-noir crime thriller set in Santa Fe, New Mexico. The film does conform to classic Hollywood style in that the story is character-centered and plot and narrative change to serve character exposition. As well as the character’s actions changing plot and narrative and that style is subservient to the story as the ultimate goal is to develop a fictional world that is perceived as real, as Bordwell put it the classic Hollywood style should be “seamless” and “style-less” (Bordwell, 1988). But does have Post-classical influences such as lack of musical score and modern editing techniques and special effects.
The narrator who is Leonard Shelby is tracking down the man who raped and murdered his wife. But he has a hard time remembering things which makes you question all his decisions. Like when Leonard Shelby is narrating and says “So where are you? You’re in some motel room. You just…you just wake up and you’re in…in a motel room. There’s the key. It feels like maybe it’s just the first time you’ve been here, but perhaps you’ve been there for a week, three months. It’s…it’s kind of hard to say. I don’t…I don’t know. It’s just an anonymous room.” it makes you question just how much he really knows about himself and just how much of what he says can be believable. I say this because the narrator depends so much on the ink tattooed on him and his photos with writings that he doesn't know what is real or not or what has happened
The narration in my story shifted significantly from the narration in Hawthorne’s. “The Birthmark” has a third-person omniscient narrator, however we seem to focus more on Georgiana. In my extended ending, I show only the mind of Aylmer. However, I chose to narrate it in third-person limited so readers could understand his actions more clearly without the bias of first person
Another aspect of reading is that it engages a readers imagination. One can visualize the very scenes, can further their own understanding over characters, and can know minute details about a character through the very wording of a paragraph. In the film industry it becomes much harder to convey this type of information visually instead of mentally. While there is room for creativity within the film industry one often loses a certai...
Adaptation, or the conversion of historical or fictional narratives into film, has been a common practice for many years. It is this very practice that has bound the two medias of film and narrative together. It has brought readers and viewers together in understanding a similar storyline with a similar structure. Sometimes, filmmakers have adapted films from novels successfully because of their ability to accurately portray the structure, characters and plotline from the novel throughout every aspect of the film. In Adaptation, or the Cinema as Digest by Andre Bazin, he discusses the novel and film Man’s Hope by Malraux. He stated “ the style of Malraux’s film is politely identical to that of his book, even though we are dealing with two different artistic forms, cinema on the one hand and literature on the other.” This suggests the two creative vehicles are stylistically alike in that they both reflect an organized storyline with characters, themes and motives. In this paper I am going to spotlight the dialectic between the two artistic forms by identification through a close viewing experience of the subject, style, syntax and sound.
Yet if this was written in the third person the narrator would not exclaim what contents is in the pocket of a character, although they would say “ 7 things were confiscated out of Christopher’s pockets as he made his way into prison.
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.
With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.
The American writer Dennis Lehane has rightly said that to compare movies and books is like comparing apples and giraffes. These two are completely different genres. The curious approach to compare the two, lead us to many perspectives and fruitful relationships. Movies and literature mingle/blend in such a nice way that they go on nourishing each other. And the result is a treat for receivers. We come across many adaptations of books into movies. The nature of adaptation is such that it enfolds and elaborates the same story of previous generation to the next in modern style. Many a times, the splendor of the message lies in the singer, and not the song itself. The song or the story is told again and again, till it remains alive among humans for centuries. This age old art of adaptation of literature is recreation. The story which is rejuvenated by different media and has seen various generations bears the knowledge and experience which is useful for all. While creating different forms of communication, slowly we come to the beginning of this relationship:
The theater performances and movie industry can often be said to share various similar features, including the play of actors and the role of the visual elements among others. However, the theater adaptations of the famous books tend to be rather different in comparison to the film. New aspects of the story are added through the involvement of technologies and the transformation of contents.
Offering the unique ability to visually and audibly convey a story, films remain a cornerstone in modern society. Combined with a viewer’s desire to escape the everyday parameters of life, and the excitement of enthralling themselves deep into another world, many people enjoy what films stand to offer. With the rising popularity of films across the world, the amount of film makers increases every day. Many technological innovations mark the advancement of film making, but the essential process remains the same. Pre-production accounts for everything taken place before any shooting occurs, followed by the actual production of the film, post-production will then consist of piecing the film together, and finally the film must reach an audience. Each step of this process contributes to the final product, and does so in a unique right. The process of film making will now start chronologically, stemming from the idea of the story, producing that story into a film, editing that footage together, and finally delivering that story to its viewers.