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The discursive rendering of a novel with lights, camera, and action taking over from dialogues, background descriptions and narration, not to mention the colossal difference in the budget involved makes for Stam's line of thinking on why novel and its film adaptation are apart.
Bremer is not expressive about the writer's style, setting and structure in a novel; and the extent of its application to its film adaptation. In this regard, Bremer quotes Bluestone's Novels Into Films, (According to Bluestone, literature and film are autonomous forms of artistic 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 Stam's reason about fidelity is more of the nature of that element in the novel which may not be successful in its film adaptation.
A film may be adapted in its totality - chapter to chapter, paragraph to paragraph, summarized, edited and cut down or stretched to the required length of time directly from a novel and transported to the cinemas. This 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 problem 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. ...
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