ame complication occurred with the book “Fahrenheit 451” written by American well-known science fiction author Ray Bradbury and the screen adaptation of this story presented by Francois Truffaunt in 1966.
Principally, neither the book nor the movie has up-to-date special technical effects, as the level of scientific development nowadays is higher than half a century ago. Nevertheless, unlike the movie, the book plot refers to the imagination of the reader. On the contrary, owing to its constancy across the time, the movie as a visual representation of sense requires periodic elaboration to save public interest to the plot. Consequently, the book can touch the feelings of people from different epochs; in contrast, the semantic movie rapidly becomes old-fashioned and even comic.
Another important discordance occurred in the plot. Mainly, the screen version saved all the key events from the book without any conversions. Both the book and the movie plot is turning around the story of firefighter Guy Montag whose social role on the contrary of contemporary vision on this profession is to find and burn books. However, the problem emerged with the presentation of the plot. The book events are described by the author in such a way that reader’s imagination inevitably draws an image of highly contrasted high-tech utopian world full of fantastic speeds on the background of frozen morality. The correlation between outside development and internal stagnation is the central idea of Bradbury’s narration, but the movie absolutely lost that opposing because of trying to play the scenes literally. And so, the movie spectator does not understand the main idea of the story.
Finally, the movie made by Truffault particularly and cinema art in general face the problem of personal interpretation freedom. According to the recent brain scan research made by psychologists from Washington University, people while reading the book simulate each new situation, and so change their ...
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