Filmmakers like Ken Burns (The West) negotiate this tension by continually recirculating images, reinventing the same image or image fragment with each new narrative context. On another, albeit less material, level the very subject matter of such films has been deemed by many as simply unrepresentable. That is, each Holocaust is viewed as so utterly horrendous, so irrecoverably Other, so outside th... ... middle of paper ... ...or critique. Important questions include How do viewers potentially recontextualize or reinscribe nationalism in images from traumatic histories? How does a culture come to terms with, or fail to come to terms with such traumatic histories?
Each time a scene is visualized, it narrows down the open-ended characters, objects, landscapes, created by the book and imagined by the reader in his mind forming concrete and definite images. The character added to the places, objects, moments and everything that is there in a book, is open to various decoding possibilities of imagining. But a film transmits these in a pre-defined way. The insights of theories of Bakhtin, intertextuality, deconstruction, reception theory, cultural studies, narratology, or performance theory might have relevance to adaptation studies, these connections have only begun to be made. The theoretical impasse in narrative adaptation studies is represented by an ongoing dominance that is usually referred to as “fidelity discourse”.
in Phillips 299). In ways documentary films are similar to fictional films. Both types of films have infinite possibilities of topic choices to choose from and have a crew to influence and manipulate the film so that it can be accepted the way they want it represented. However, documentary films are created to be works of informative and factual art. Fictional films, although they may stem from the ground of truth, they branch into the realm of unrealistic entertainment (316).
There is certainly no shortage of evidence pointing to the fact that Stowe exhibited unabashed racialism in her writing. At times her stereotypes serve a polemical purpose, but there can be found no reason for Black Sam being a mischievous comedian, for George and Eliza being mulatto rather than African, or for the typecasts of the other characters presented above. It should be taken into account that racialism was a well established and generally accepted practice in the nineteenth century, and Harriet Beecher Stowe does not deserve damnation for perpetuating these labels. However, her readiness to label blacks and whites in such a black and white fashion belies the call for emancipation and Christian undertones that her novel presents to the reader.
“The way to get started is to quit talking and begin doing.” –Walt Disney. Walt Disney’s name may be acknowledged only as it occurs to the TV show. On the contrary, Walt Disney had not been just an artist in animation; He was a man who epitomized the American dream like few others. He was not perfect, but he affected many lives during the 1930’s in low times, and for this he may not be classified just as a hero, but also a legend. Walt Disney rose up from humble beginnings.
I believe the answer is far more complicated than a sheer yes or not. The deliver of the Whitechapel in 1880s and the illustration of the everyday lives of its resident were very accurate. On the other hand, the plot of the movie had deviated theatrically from the historical fact. But the combination of historical facts and fiction, gives us the movie " From Hell". And we shall ask why the movie is filled with make-up stories?
James Fenimore Cooper's Last of the Mohicans: Book and Movie The book Last of the Mohicans by James Fenimore Cooper was very different from the movie Last of the Mohicans in terms of the storyline. However, I feel that the producer and director of this movie did a good job of preserving Cooper's original vision of the classic American man surviving in the wilderness, while possibly presenting it better than the book originally did and in a more believable fashion to a late twentieth century reader. The makers of the movie Last of the Mohicans preserved Cooper's central ideas and themes very well, the most important of which is the question, what makes a man? Very few books that I have read contain such a clear sense of what a man should be as Last of the Mohicans. Cooper portrays the hero, Hawkeye, as brave, independent, and skillful in the ways of the woods.
Bassos, as well as a number of Apache elders, believed that the disconnection among the land and people is the reason of many problems. When I read Wisdom Sits in Places I could sense the importance of place-names through the words of the Apache people’s stories. Events that took place many years ago in specific areas reiterate the morals and beliefs the Apache people hold near to them. To say that they are anything but important to Apache history and culture would be a mistake.
Zora Neale Hurston and Racial Equality On September eighteenth, nineteen thirty-seven, Their Eyes Were Watching God, one of the greatest novels of this century, was published. It was met with mixed reviews. The major (white) periodicals found it enjoyable and simple, while black literary circles said it "carries no theme, no message" (Wright,1937). These evaluations are not mutually exclusive, but rather demonstrate the conception of Hurston's work as telling whites what they want to hear and not dealing with racism. While Hurston did receive recognition during her life, she died forgotten and wasn't considered one of America's greatest writers until recently.
Taking into account the opinion of the NAACP, a respected organization in civil rights, one can present no counter argument to their obvious support of the novel. Slavery was a dark element of America’s history. To refuse to educate the masses is to denounce its impact on America. Lessons learned from this era have shaped this country in an innumerable number of ways. By teaching Huck Finn, readers are educated about the truth of a dim time in American history.