Literature and Cinema Movie Review Example | Topics and Well Written Essays - 2000 words

Literature and movie theater - Movie Review ExampleBremer is non expressive roughly the writers style, conformting and structure in a bracing and the extent of its application to its film adaptation. In this regard, Bremer quotes Bluestones Novels Into Films, (According to Bluestone, literature and film are autonomous forms of delicate expression, one communicating with written words, the other with visual images. Along these lines, Bluestone suggests that when the filmist undertakes the adaptation of a novel, he does not convert the novel at all. What he adapts is a kind of paraphrase of the novel, p18). Bremer is satisfied implying that Stams reason about fidelity is more of the nature of that element in the novel which may not be self-made in its film adaptation.A film may be adapted in its totality - chapter to chapter, split to paragraph, summarized, edited and cut down or stretched to the required length of time directly from a novel and transported to the cinemas. Th is transposition from one medium to another hardly justifies either medium. Quoting Robert B. Ray and Dudley Andrew, J. D. Connors in his article, The Persistence of Fidelity, says, The line of work with fidelity is that it makes for boring criticism.2 In this case, fidelity is a non-issue. The main issue or issues may have more to do with success and less to do with fidelity to the original text. According to rose wine Mary Bremer, In an attempt to increase the probability that a film will be successful, i.e. heal and exceed the initial investment, the industry has turned more and more to the backing of adaptations based on frequent contemporary novels and literary classics.3In his article, From Word to Word-Image Film Translation of a Sketchy Chinese Short Story Spring Silkworm, Literature Film Quarterly, 2005 Wang, Yiman, mentions, The moral discourse to which Stam refers prioritizes the question of fidelity relate in translating one medium (the verbal fiction) into another (the visual film). One way to counterbalance this moralistic approach is to stipulate qualitative differences between literature and film as two distinct media. Also, in the same vein, Wang goes on to quote Fredric Jameson using the Bordwell-Hansen hypothesis. This hypothesis suggests, whenever other media appear within film, their deeper function is to set off and demonstrate the latters ontological primacy (Jameson 84). And, The ontological primacy of cinema is closely related to its visuality, or the commonly recognised cinema-specific properties. 4In essence, in order to be successful, a film requires cinema-specific visual translations of the core affectionateness of the source novel. The cinema-specific properties depend on selection of the main characters, side actors, stuntmen, and cameraman, location, screen play, costume, music, the element of emotion and suspense, and so on. Literal Fidelity Two film adaptations of The Maltese Falcon in 1931 and 1936 did not measure up to the success of the novel. In the words of Huston, the previous screenwriters had kept trying to lick the book, instead of filming the book.5The trine version directed by John Huston turned out to be a runaway success. Interestingly, fidelity to the original script coupled with brilliant photograpy and background music,