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Write a 9 pages paper on film adaptation issues. There are other reasons but that they all underscore the fact that this kind of strategy in filmmaking will always be here so long as books and stories
Write a 9 pages paper on film adaptation issues. There are other reasons but that they all underscore the fact that this kind of strategy in filmmaking will always be here so long as books and stories come out of the printing press. Richard Beach (2006) cited different types of adaptations: the loose, the faithful and the literal. To quote: .In loose adaptation, a director may only use the original situations, story idea, or characters to create a film that bears little resemblance to the original text… Faithful adaptations attempt to recapture the original text as closely as possible… Literal translations are typically older video versions of play productions with limited cinematic effects. (p. 204).
There are those who criticize literature adaptations. This criticisms focus a lot on what they call as “fidelity.” Those who criticize views adaptation as a translation from text to the cinema and, so, for an adaptation to be true and successful, they said it must be faithful to the original. Unfortunately, filmmakers today change a lot of elements from the original story in order to achieve cinematic effects. For example, the film adaptations created by Walt Disney from the classic children’s stories like Snow White, Cinderella and Pinocchio demonstrated several alterations from the original texts in such a way that it significantly made it difficult to match the original to the films in terms of characters, plot, meaning, and spirit (Cullinan and Person 2003, p. 104). This is why under most literary examination, literary cinema represents a falling off from the original book and that it is considered to be an inferior reproduction of a superior original - a failed translation (Eliott 2003, p. 128).
On the other hand, there are also those who defend the way literature are being adapted for cinematic exhibition. .The main argument is that there should be a balanced translation model: on one hand, there’s the film’s duty to be faithful to the original work. on the other, to its own system of cinematic signs, conventions, audiences and genres.
