4. Auflage. München: Wilhelm Heyne Verlag, 1990, (1985), S. 293-303 11. Kagan, Norrnan. A Clockwork Orange, in: Kagan, Norman.
München: Wilhelm Heyne Verlag, 1990, (1985), S. 293-303 Kagan, Norrnan. A Clockwork Orange, in: Kagan, Norman. The Cinema of Stanley Kubrick. New Expanded Edition. New York: The Continuum Publishing Company, 1989, ( 1972), S.167-187 Melchior, Claus.
A Comparison of Two Versions of The Big Sleep The Production Code attempted to censor sex and violence in film of the 1930's and 40's. Instead of impairing, it encouraged directors to use artistic ideas and integrity to surpass the viewers' expectations -- actively involving them in the film despite Hollywood's censorship. Howard Hawks is one such director who used the restrictions of the Production Code to his advantage. His screen adaptation of the Raymond Chandler novel The Big Sleep portrays the same amount of sexuality and violence apparent in the written word, using a distinctly subtle style, which develops broader themes. Comparisons with the extremely dull 70's remake by Michael Winner further suggest the superiority of Hawks' film noir.
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. I enjoyed The Big Sleep by Howard Hawks, but can still recognize and appreciate the differences between it and Chandler's masterful novel. It is an objective appreciation of the two works which forms the foundation a good paper. One must look at the book as a distinct unit, look at the film as a distinct unit, and then (and only then) use one to compare/contrast the other in a critique. The film, after all, is not an extension of the novel&endash;as some would like to argue&endash;but an independent entity that can be constructed however the artist (Hawks in this case) wants.
Film Versions of Shakespeare Comedies Shakespearean plays are complex, intricate pieces of work in which a diverse range of interpretations and readings can be made. This is particularly true of his comedies, where the light-hearted humour is often offset by darker, more serious undertones. In adapting these comedies it is for the director – in the cinematic context – to decide how to interpret the play and which elements are privileged and which are suppressed. This variance in interpretation is exemplified in comparing two of the more recent cinematic adaptations of Shakespeare’s comedies, Trevor Nunn’s Twelfth Night and Kenneth Branagh’s A Much Ado About Nothing [‘Much Ado’]. Although both films can to an extent be seen as comedies with serious, almost tragic aspects inherent throughout, Nunn’s film deals with these serious facets as central to the depiction, whereas Branagh, although not entirely ignoring the deeper issues, prefers a more light-hearted and visually attractive adaptation.
For example, the tasteless perfect ending is eliminated and replaced with an unconventional one which only adds more suspense to the film. Also the main idea that no place is safe, the use of charismatic villains and a blurred line of good and evil remains intact through out this film as well. It is seen in the setting of a suburban town and even the dialogue as well. Also Lang true status remains a mystery to the public allowing him to stay charismatic, and even the protagonists use unethical means to achieve theirs goals. I believe Pellington honored Hitchcock’s classic elements while adding his own style to the film.
Those who understand the references get the joke, and this creates a new kind of meaning beyond the surface meaning of the narrative. In conclusion it is clear that Tarantino’s film is postmodern, and Jameson’s insightful essay stands in relation to Pulp Fiction much in the same way as a prophecy stands in relation to its fulfilment. The postmodernist Tarantino expresses in a full and technicolour form what Jameson the modernist had only partially understood in the more static arts of painting and architecture.
Therefore, not only did he demonstrate that editing is the essence of cinema, but that its application in a certain manner has the ability to change history. In order to illustrate the potency and effect of editing in film, Tarantino’s indie hit Pulp Fiction (1994) will serve this purpose by analysing its non-linear structure and subversive genre rule bending. If for Eisenstein, art is always conflict, and his montage is supposed to intellectually and emotionally challenge viewers through metaphors, Tarantino merely uses editing to play with narrative freedoms and excite stylistically. “Although the “marginality” of US independent cinema has economic and other industrial causes and effects, it is also seen as arising from the differences that mark the independent product from the mainstream product [...] working with more daring and or controversial subject matter, very often marked by distinctive styles of camerawork, editing or narrative organisation.” (Hillier, 2006, p. 248) It is important to note ... ... middle of paper ... ...Piatkus: London • Dancynger, K. (2011) The Technique of Film and Video Editing Focal Press: Oxford, 5th edn. • Dillon, S. (2006) The Solaris Effect – Art and Artifice in Contemporary American Film University of Texas: Austin • Enzensberger, M. (1972) Dziga Vertov in “Screen” (1972) 13 (4): pp.
Conclusion While Excalibur keeps both the content and form of Malory, King Arthur tries something new by trying to translate the barely-fitting together cacophony of Morte d'Arthur into a historically plausible film. Though Excalibur is more enjoyable to real King Arthur lovers, King Arthur is strangely refreshing in its extreme adaptation of the overused story, while being still familiar in its core.