The book also has more suspense while the movie moves too fast and cuts out scenes. The movie moving too fast causes it to be very predictable. Three major differences that stood out include missing characters and characters perceived differently, essential scenes left out and the way the book shows individual people while the movie shows the relationships in action. The book versus the movie shows clear differences but the morals are all still the same. ... ... middle of paper ... ... To say both the book and the movie of To Kill a Mockingbird were closely related would be an understatement.
The film adaptations of literary works can sometimes be a nightmare. However, they can also turn out better than the original work in some rare instances. In the case of The Speckled Band by Sir Arthur Conan Doyle, the movie was a better format for telling the murder mystery because of the movie’s ability to show rather than tell the audience what is happening, the clearer explanation of the plot, and the more in-depth development of the characters. In the movie adaptation of Doyle’s story, the audience is not limited to only reading or listening to dialogue to progress the story’s plot as it is in the book. In the written version of the story, Helen Stoner’s testimony is what sets up the scene and describes the events that led to her seeking
The Ripper, the center character in the novel, does not have as large a role in this treatment; the story is mostly told from Abberline's point of view. B. Hollywood's tradition to have a happy ending story. Conclusion: In the end, From Hell straddles that fine line between fact and fiction so often found in Hollywood's "historical epics." While the Hughes brothers are to be commended in capturing much of the authenticity of the times, location and the case, the film should certainly not be viewed as an authentic representation of the Ripper crimes as a whole. Those interested in the real facts of the case are urged to pick up Sugden's Complete History of Jack the Ripper or Rumbelow's The Complete Jack the Ripper.
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.
In “Malaise of the Mall-Raised”, Brian Fawcett details the reasons for Coupland’s initial lack of success in Canada, indicating that it was the book buying public rather than the literary establishment who put Coupland on the literary map: ...the book couldn’t find a Canadian publisher, that the Globe and Mail didn’t review Generation X, or that Books in Canada...rejected [it] for having an attitude problem (Fawcett, Brian. “Malaise of the Mall-Raised” Books in Canada, Vol. 21, 44-6). Typical of this critical reaction, Laurel Boone in a Books in Canada review of Generation X, is scathing towards the novel which she describes as “shallow”, and for the fact that its Canadian characters do not translate the French phrases they use (Boone, Laurel. “Review of Generation X.” Books in Canada.
In the novel, they posed as characters with a minor spark in their friendship; otherwise noted as lust. Furthermore, there were indeed times in the novel wherein Nick “wasn’t thinking of Daisy and Gatsby anymore, but of this clean, hard, limited person, who dealt in universal skepticism” (Fitzgerald 79). This connection in Fitzgerald’s writing all the more exposed their characters to its purest form, emphasizing the natural human emotions they encountered. In the film however, Nick and Jordan were merely acquaintances with mutual friends. This allowed for the viewers to have little insight on how “careless” Nick and how “incurably dishonest” Jordan appeared to be in the novel (Fitzgerald 58).
The reasoning for the italicization is because I wanted to emphasis on the point that this book offers more than that of a pedophile’s love. Nabokov’s novel does a very good job of creating an interesting yet unorthodoxed plot. What Nabokov might find acceptable in today’s society, some people might find very offensive and disrupting. He does this to grab the reader’s attention; therefore, building their interests by having them see the other side of things. Why many readers may find this book to be associated with pornography or just another literary piece surrounded around pedophilia, Nabokov hits you with textual evidence, which may sway reader’s minds.
The purpose of this movie wasn’t, and with good reason, to be glamorous though. As many of our “Hollywood” movies are. The fast action, sex, blood, money crazed movies that we all love. The fact that Mindwalk was based on a book also gives some explanation to the choppy scenes, as many omissions were probably made. Financing played a role in the actors chosen for the movie, a kind of ironic humor if you think about it in context to what the entire movie is about.
While reading George Saunders’ Short story collection, In Persuasion Nation, it is easy to see that Saunders is using literary fiction with a hint of science fiction to convey a central message in each of his short stories. Saunders offers us a glimpse into a possible sad and scary future. Saunders’ loony characters play a huge role in the final production of a meaningful message. The protagonist is often the most morally sound of the characters, so this gives the reader a closer connection with them. Another factor in determining the way Saunders’ message is conveyed is the ridiculous unpredictableness of the plot.
Ubiquitous in The Great Gatsby is the idea that our perceptions impair our understanding of reality and limit how we view others. As English Professor Paul Giles points out, the novel paradoxically “shifts between two views of Gatsby, portraying him as both a corrupt bootlegger … and a grand visionary” (3). This analysis of the novel still relates to the film because Baz relies upon and stays true to the book’s plot. Luhrmann highlights this idea of characters seeming one way on the surface but an opposite way on the inside, which extends Giles’ observations of the storyline’s play on perception. Continuing such incongruity, Daisy refrains from expressing her worries during this seemingly joyful scene.