The Book ' Smarter 's Is Pointed Out By Robert Stam

When a book becomes a movie which is better the book or the movie? The same question is debated with Cyrano De Bergerac a play written by Edmond Rostand and the movie Roxane by Director Fred Schepisi. The differences between the play and the modern movie are extremely unalike.

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. 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.

In recent years, it has become popular for many of America's great literary masterpieces to be adapted into film versions. As easy a task as it may sound, there are many problems that can arise from trying to adapt a book into a movie, being that the written word is what makes the novel a literary work of art. Many times, it is hard to express the written word on camera because the words that express so much action and feeling can not always be expressed the same way through pictures and acting. One example of this can be found in the comparison of Ken Kesey's novel, "One Flew Over the Cuckoo's Nest, and the film version directed in 1975 by Milos Forman.

Many books and stories are made into movies that are shown all around the world. However, not everyone likes the way the motion picture turns out. Sometimes, the movie is very close to the book, but most of the time certain details are lost or changed to make the movie look more appealing. This may take away or change the actual meaning of the original story. For example: Night, a book by Elie Wiesel, is about his personal experiences with the Holocaust and has emotional as well as shocking details.

An example would be the bombing of Baba-Levy's house. In the book, the bombing occurred while Marjane was at the mall on her way to her house. The movie showed this scene close to the last section of the first half of the movie and didn't mention her at the mall. The text however, showed a clear description of her reaction to the news of the bombing and running to her house for fear of her neighbors and her family's safety. In total, the text summarized and transitioned the plot better than movie.

Victoria de Zwaan is a professor of experimental fiction, film theory, and adaptation studies at Trent University in Ontario, Canada, and argues in this article that while fidelity studies could be considered a stagnated and outdated vain of research in adaptation theory, it can be examined from various angles to achieve a deeper understanding of the source text instead of cutting up both sources only to fight one other for superiority; in this case Zwaan uses the film, Midnight’s Children, to expand upon her theory. Zwaan takes note of George Bluestone’s capstone work, Novels into Film, and states that most of the work done, outside of his book, on the subject was merely a mode to break down the film adaptation and highlight the lack of “justice”

When a book becomes a success, that book usually gets adapted into a movie. However, a movie adaptation can be very different from its book, because it’s pretty difficult to fit everything from a book into a movie. Some events may need to be omitted from it and some may need to be added, according to the movie director. Books and their movies can be very different, but their objective has to remain the same. The book, “Mrs. Frisby and the Rats of NIMH” and its movie adaptation, “The Secret of NIMH” both have the same objective, with some minor changes throughout the story of the movie, because what works in one might not work in another. This essay will discuss and compare the similarities and differences between the book and the

A common answer to a question people are always debating over is whether the book or the movie is better. So which one is better, the Divergent book or the Divergent movie? When comparing and contrasting the Divergent book and the movie based off of the book, you notice there are some features that are the same, and some features that are different. Some examples of these features are the details, the process, and the accuracy.

The difference between the developing way of books and movies is magnificently huge because the way of emotion transmitting is different; the movie is based on vision, while the book is based on words.

Adaptation from one medium to another is a slippery slope that adapters have to be very cautious of. Any form of misrepresentation of the characters, scenery & plot can cause a film to plummet and receive harsh criticism. One can only ask how well adapters are without the guidance of the original author. Would William Shakespeare be satisfied with the many adaptations of his infamous play Romeo & Juliet? Or would Jane Austen be content with how well Keira Knightley portrayed the eccentricities of the main character Elizabeth Bennet? These are questions we must ask ourselves when depicting how well adaptors mimic the original context. One thing that comes into play are the visual texts and the alterations the adaptors make when trying to bring

From the very outset, it is worth noting that the article’s central theme is the practice of adaptation. Adaption is used in the article to describe the practice of transforming an already existing work of art to come up with a new form of art. In essence, adaptation involves developing a new work of art (such as a film) from an existing one (such as a novel or play). The new work of art is said to have transformed or adapted the original. As such, it is inevitably referred to a reproduction or adaptation of the original. In this sense, the focus of the article is on how different artistic and literary works have been transformed into films through adaptation.

Literature can, at times, have a fascinating connection with film. Whether it is a film or a piece of literature, both are written by someone that wants to leave an impact on an audience. However, movies and books have different roles. They each have different strong points wherein books give better characterization, stronger revelations, and inner conflict, but movies create a better mood with music and visuals, showing much more emotion. It's a totally different kind of experience, of course, and there are a number of differences between the book and the movie. The novel of 2001: A Space Odyssey by Arthur C. Clarke, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium. The movie version of 2001: A Space Odyssey, directed by Stanley Kubrick, on the other hand, is essentially a visual, nonverbal experience. It avoids intellectual verbalization and reaches the viewer's subconscious in a way that is essentially poetic and philosophic. The film thus becomes a subjective experience, which hits the viewer at an inner level of consciousness, just as music does, or painting. Utilizing its verbal medium, Clarke is able to explain his narrative, whereas Kubrick creates a visual and audial experience, through means of ambiguity, in which the viewer sees everything, is told nothing, and in which one cannot detect the presence of the film as one at all.

From the very outset, it is worth noting that the article’s central theme is the practice of adaptation. Adaption is used in the article to describe the practice of transforming an already existing work of art to come up with a new form of art. In essence, adaptation involves developing a new work of art (such as a film) from an existing one (such as a novel or play). The new work of art is said to have transformed or adapted the original. As such, it is inevitably referred to a reproduction or adaptation of the original. In this sense, the focus of the article is on how different artistic and literary works have been transformed into films through adaptation.

The purpose of this thesis is to come up with a clear justification on the reasons why screenwriters and filmmakers would modify books. It should be understood that the book and the film are two different subject matters. But the film would not exist without the help of the elements from the

* In today's world, the packing is more important that the content. The cover of the book is more important the book itself. The cast of the movie attracts the audiences to theatres than the storyline.