A Comparison of the Interpretations of Two Film Versions of Romeo and Juliet Having studied the openings of two film versions, the two directors Franco Zeffirelli and Baz Luhrmann, show they interpret the play differently because of the way they see different meanings in them. By interpreting the play differently, it also means the audience pick up a different meaning. Every image seen in the beginning decides whether the audience should continue with watching the film. But what makes a film so engaging? Every image and sound is chosen deliberately by the director to signify specific things.
To illustrate my views on this debate, I will be comparing and contrasting the novel and film versions of William Golding's The Lord of the Flies and Toni Morrison's Beloved. While both novels and films provide their audience with a great form of entertainment, each genre has it’s pros and cons and deciding whether a novel or film tells a better story is dependent on the audiences particular preferences. Novels allow the reader to create the images, voices, and background of the story using their imagination to visualize the story for themselves. On the other hand ,a good director can take a great piece of literature and turn it into an amazing visual experience. However, the film is dependent on the directors vision and audience has little say on how the story is portrayed.
These alternative film styles come about because of the extension of meaning. In alternative film every aspect of the film was put there for a meaning, and purpose. Film is a visual medium that has certain characteristics that work well for its way of storytelling. Unlike other mediums such as novels, the imagination in film is already created for the viewer, and in a novel the readers have to create it themselves. Films take away the options of thought.
Critical Analysis of the Opening Extract of Baz Luhrmann's Romeo and Juliet Baz Luhrmann has used the three presentational devices in a specific way in his film 'Romeo and Juliet'. The point of this essay is to analyse them in the opening extract. The presentational devices are: sound; mise en scene; and cinematography. The elements of mise en scene are: why things are placed where they are; what the characters are wearing; body language and facial expression. Sound is quite obvious but there are many different types: Diegetic is sound which is heard as part of the film world; non-diegetic is sound which we do not recognize as part of the film world; parallel sound is music which we expect to hear as part of the film alongside the image and contrapuntral sound is when the music is in contrast to the film.
Editing in films binds the narrative by assembling sequences, layers of imagery, the story, music, effects and the pace to shape the story into a final product.Editing in music videos is done to setup a mood, feeling and emotional state which disconnects the audience from the traditional narrative. There may be or may not be a story, but the main focus of music videos is ... ... middle of paper ... ...have already begun to see – more as a means to playful firing visual fascination. The opposition of realistic film visual culture and non-narrative montage tradition has begun to breakdown. It is leading towards hybridization of realistic and stylized editing. Thus at one extreme there is a montage phenomenon of music video and on the other hand the editing technique of traditional cinema comes together.
The juxtaposition of still frames edited together to make a moving picture that tells a story. There are many counterparts that a makes up a film. You have the storyline, plot, characters, mise-en-scene cinematography and editing. Based on these counterparts and how they are orchestrated to portray a story, gives insight in which the audience follows along with the story and whether each counterparts contribute in a significant way to a plot to make the film a whole. How does editing contribute to the narration to a film?
However, perceptions between the two differ from even each other. As Lupack says: In asserting an adaptation we are not really comparing book with film but rather interpretation with interpretation - the novel that we ourselves have recreated in our imaginations, out of which we have constructed our own individualized “movie,” and the novel on which the filmmaker has worked a parallel transformation. (10) Although we do have our different perceptions about the novel and the story within it, these perceptions are, more or less, similar to each other. As these only vary so much from each other, they can still be a considerably veritable basis of comparison for the two versions of this story, the versions focused on being the novel and the the film. When comparing between our variations, we can compare the changes to see “how much of written work’s plot and characterization has been translated into the new medium, how comprehensive and intelligent an understanding of the original (its strengths, its weaknesses) underlies the translation” (Hunter 159).
Film Form: Essays in Film Theory and The Film Sense are two major books of Sergei’s writings. Film Form is filled with a number of essays that deal with Eisenstein’s aesthetics and ideas on film. “Through Film and Theatre”, “A Dialectic Approach to film Form”, “Methods of Montage” etc are the essays included in the book. “Dickens, Griffith and the Film Today” explores the journey of montage structure from
The Origin of the Meaning in a Film It is my opinion that a director makes meaning in a film, although the audience will apply their own reading of it. Film has its own "language" and there are a wide range of techniques a director can use to enable the audience to understand his meaning. The director uses mise-en-scène to contribute hugely to how meaning is made in a film - a large part of how the story is told comes from visual content. The elements covered by mise-en-scène are setting, props, costume, performance, lighting and colour. However, the director can be limited by genre conventions established over time, i.e.
Every other movie today seems to be taken from a novel. This is not necessarily terrible, but there are a few guidelines when it comes to converting a novel into film. The utmost critical aspect is preserving the theme. Theme is the large and small ideas which aid in explaining the actions and events in a work of literature or film. This can be accomplished through the handling of characters and their relationships with others or their own morals and values.