An Adaptation "The film Romeo + Juliet" (1996)

Introduction

Drama is"The film Romeo + Juliet (1996), an adaptation, a piece of writing that tells a story and is performed on a stage.  Similarly, film is also a narrative that combines both theatrical and dramatic elements. The drama and the film imitate human life. The drama and the film are complementary to each other because they are the works of fiction.  However, both are independent art forms.  Hence, the adaptation of the drama to the film is a multidisciplinary process. 

Shakespeare’s Romeo and Juliet (1597) has been performed and adapted as a film by making  different transformations using diverse devices on different media, by different people. The timeless nature of the 16th century play is evidenced by the reappearance of several film versions throughout the 20th century. Baz Luhrmann’s kaleidoscopic film adaptation of Romeo + Juliet (1996), the most significant adaptation, presents a fascinating modern interpretation of the 16th century drama.

In 1996, director Baz Luhrmann decided to take Shakespeare’s play Romeo and Juliet for its adaptation as a film Romeo + Juliet. This movie showcased a soundtrack of modern music, characters in contemporary dress, and a modern-day setting in Verona Beach, Florida. Shakespeare’s Elizabethan dialogue, however, remained the same. The film Production Company is Bazmark Productions. The film is distributed by Twentieth Century Fox, a film distributing agency.  It is produced as well as directed by Baz Luhrmann. The screenplay of the film is written by Craig Pearce and Luhrmann.  Music of the film is composed by Nellee Hooper.  The film is starred by Leonardo DiCaprio (Romeo) and Claire Danes (Juliet).

Luhrmann’s colorful direction forces new life into a well-known, much-adapted tale. The film adaptation of the drama Romeo and Juliet further made it famous and its popularity reached up to the peak. The film won 13 awards out of 23 nominations. The film won BAFTA Awards (1998), Australian Cinematographers Society (1997), Berlin International Film Festival (1997), Blockbuster Entertainment Awards (1997), London Critics Circle Film Awards (1998), Academy Awards, USA (1997) and so on.  Its declared budget was $ 14.5 million while it earned a net gross revenue of $ 147,554,999.

Truly, the film remains faithful to the writing of William Shakespeare, although, the two lovers are transported to the contemporary period. This is an American movie that transports Verona in the neighborhoods of New York by keeping a contemporary decor of the 20th century. This film has the particularity of having kept the dialogues of the Shakespearean play.

2) William Shakespeare’s Romeo and Juliet

Romeo and Juliet (1597) is a tragedy by William Shakespeare. He composed it early in his career about two young star-crossed lovers whose deaths ultimately reunite their feuding families. It was Shakespeare’s most popular play during his lifetime.

Romeo and Juliet belong to a tradition of tragic romances stretching back to antiquity. The story revolves around three families from Verona i.e. The Ruling House, the House of Capulet from where Juliet hails and that of Montague, the male protagonist’s family. The story commences with a street fight fired by the feud between the Montague and the Capulet families. Where the Prince of Verona threatens that any further feud would result in punishment. Count Paris of the ruling house expresses his desire to marry Juliet, from the House of Capulet, who is only thirteen.

Meanwhile, after the clash, Benvolio learns about Romeo’s lost-love Rosaline, one of Lord Capulet’s nieces. The strange meeting between Romeo and Juliet takes place at the ball arranged for Count Paris to meet Juliet. Romeo meets and falls in love with Juliet. Romeo discloses his identity to her on being ‘encouraged in love’. He finds her love to be bright, sunny, and warm when she says: "O Romeo, Romeo! wherefore art thou Romeo?". They seek the support of Friar Laurence, Catholic advisor, longs for settlement between the two families and, therefore, he secretly marries them. Tybalt, Juliet’s cousin challenges Romeo to a duel on discovering that he had sneaked into the ball. However, because of Juliet, Romeo refuses to fight him and calls on the anger of Mercutio, who accepts the duel in spite of Romeo. When Mercutio is wounded in the duel, Romeo slays Tybalt and is exiled for the latter’s death. Juliet’s grief is worsened when Lord Capulet makes plans for her wedding with Count Paris. She seeks help from Friar Laurence. The plan they come up with is that Juliet would consume a drug that would take her into a coma for nearly two days. Romeo was to be informed of the plan via a messenger, but unfortunately he doesn't reach him in time. On the other hand, as per plan, on the eve of her marriage to Count Paris, Juliet takes the drug and is declared dead.

Romeo learns about her ‘death’ and buys poison before visiting her tomb. Fate has other plans as Paris encounters Romeo and is killed by the latter. Romeo believes that Juliet is dead, and, so to follow her he drinks poison. Dramatically, Juliet awakes to discover Romeo's corpse, and in sorrow, stabs herself. The two lovers die a tragic death to make the story immortal. The two families meet at the tomb and hear the story of the lovers from the friar. They reconcile and the violent feud is declared over.

3) Baz Luhrmann’s Romeo + Juliet

Baz Luhrmann adapted this classic Shakespearean romantic tragedy for the screen, updating the setting to a post-modern city named Verona Beach. In this version, the Capulets (Juliet's lineage) and the Montagues (Romeo's lineage) are two rival gangs.

Baz Luhrmann’s second feature film Romeo + Juliet is a bold and vigorous adaptation of the most famous tragedy. He offers a stylish, contemporary re-telling of the classic love story with Leonardo DiCaprio in Romeo's role and Claire Danes in Juliet's role. Set in the gangs and gun culture of Verona Beach, the Capulets and the Montagues are two rival corporate dynasties with generations of hatred behind them. Juliet (actress: Claire Danes) is attending a costume ball thrown by her parents. Her father Fulgencio Capulet (actor: Paul Sorvino) has arranged her marriage to the rough Paris (actor: Paul Rudd) as part of a strategic investment plan. Romeo (actor: Leonardo DiCaprio) attends the masked ball and he and Juliet dramatically fall in love. They race towards a secret marriage, and when it seems that there may be some hope to bring the two warring sides together, events take a tragic turn.

Luhrmann courageously sticks to the drama but maintains the zeal of contemporary life. The film is shot beautifully with vivid and curious sets. Luhrmann makes the Capulets ball a colourful affair. The music is loud and the pace fast. In all, there are thirteen songs and tunes are used at the proper places in the film. The wild camerawork drives the audience through the film as the ill-fated pair dashes towards their doom. Its overwhelming effect is observed when Romeo, at last, utters: "Death, that hath sucked the honey of thy breath, hath had no power yet upon thy beauty".

4) Creative Elements in the film Romeo + Juliet

Romeo and Juliet is a tragedy deals with two young star-crossed lovers scarify themselves which ultimately, by chance, reconciles their feuding families. It is the most famous love story in the English tradition. Love is naturally the play’s as well as the film's dominant and most important theme. The play as well as the film focuses on romantic love. Specifically, the intense passion that springs up at first sight between Romeo and Juliet is realistically captured by the dramatist as well as the film makers. Romeo and Juliet are the major characters in the drama as well as the film. From the beginning of the plot, the ancestral hostility (enmity) between the Montaigue and the Capulets is always seen influencing every turn in the story. The scene of the ball is also conserved from the opening. At the end of this scene, the two lovers discover their identities. Luhrmann had a challenge to maintain the original locale in England in conformity with  the  contemporary scenario. This transposition is simply impossible without the emergence of some alterations. Here are certain major deviations in the movie Romeo + Juliet which are in fact the creation of the film producer as well as the director:

1) A mere glance at the film and the drama shows that the film is different in terms of setting, costume, casting, music and props.

2) The setting of the film there are surprising shifting of the locale. Instead of original Verona, Italy, events take place in a crowded seaside metropolis called Verona Beach, Florida, USA . Verona Beach is a modern-day city, with cars, huge and high buildings, gas stations, and hot dog stands.

3) Luhrmann’s costumes are shown highly modernized.  This opening scene finds the Montague boys parading around in Hawaiian shirts and sporting unnaturally colored hair, while the Capulet boys favour leather and metal-heeled boots.  These are some drastic changes from the traditional Elizabethan wear of the time to the contemporary aristocratic lifestyle.

4) In the film, the audience is provided with modern hip-hop, electric guitar sound effects, a sign to musical themes. Luhrmann explains in an interview on the Music Edition of Romeo + Juliet that Shakespeare used all the varieties of music to reach the highly varied audience in the Globe Theater: church music, folk music, and popular music of the times.  Luhrmann echoes this in his version of the film.

5) The film is a shortened modernization of Shakespeare’s play. The Montagues and the Capulets are represented as warring mafia empires and swords are replaced with guns. The fight scene provides an excellent example of the difference in choreography.  In the text, all the characters fight with swords.  In the ultra-modern film Romeo + Juliet, the characters possess pistols bearing the name of their respective houses and make use of the surrounding cars.  Interestingly enough, though, when Benvolio (actor: Dash Mihok) requests his fellow Montagues and the hostile Capulets to lower their weapons, the wording does not exchange swords for guns, but remains as it reads in the original text.

6) The scene which undergoes the greatest influence of this modernity is probably that of the balcony. Since the terrace is under video surveillance, the reality of the scene changed somehow. So, the two lovers meet in the swimming pool, far from prying eyes, to kiss and whisper words of love. Luhrmann finds alterations to suit the realities of the 20th century.

7) In the drama, the marriage of Juliet and Paris is described in a detailed way whereas, in the film, it is curtailed only to a single reference of it because it doesn't affect the spirit of the film.   

                            

8) The drama ends with Romeo’s final fight with Paris (actor: Paul Rudd). Paris is displayed as a strong character.  However, in the film, this fight is deleted and Paris is shown as a stupid, traditional senator and a mere side note. He lived in the shadows of Romeo and Juliet’s all powerful love and, therefore, did not deserve Shakespeare’s final showdown. There were many cuts and changes observed in the final product and all were necessary in Luhrmann’s vision.

9) In the play as well as in the film, the core is love. Luhrmann changes one of the most famous scenes in history for the sake of heightening the groundbreaking sexuality and the romanticism. Luhrmann enhanced the intensity of the action, violence and the romance equally as to make the movie more appealing.

10) In the film, names of the some of the characters are also changed from Montague  to Ted Montague (actor: Brian Dennehy) and Capulet to Fulgencio Capulet (actor: Paul Sorvino). Friar Lawrence becomes Father Lawrence (actor: Pete Postlethwaite), and Prince Escalus is renamed as Captain Prince (actor: Vondie Curtis-Hall) .

11) Finally, in the drama, at the time of the death of Romeo and Juliet, Paris, Balthazar and the pastor are shown.  Where Paris blames Romeo for the death of Juliet.  Romeo kills Paris and then Juliet woke up to find Romeo's death on taking poison for her sake.  She also stabs herself and dies. This takes place at the family tomb. However, in the film, this scene takes place in a church in the center of the city where Paris and Balthazar are absent, and Juliet wakes up when Romeo takes poison. Then Juliet realizes this and shoots herself to follow him.  Both of them see each other before everyone dies. The two lovers are discovered dead in each other’s arms.

All these changes, brought to the film, are due to the transposition of the plot suited to the taste of the world of globalization. In the film, the characters are ‘big’ and the movements are detailed. Everything is enriched, the emotions as well as the gestures and actions are given catchy effect. The tragic is made more tragic and the comic is made more comical. The actor is not playing for the camera; he plays for the spectators who are gathered in the showroom. What Luhrmann has done is to be faithful to the creation of Shakespeare.

5) Conclusion

Sir Philip Sidney states in his Apology for Poetry that poetry should both delight and instruct, and both, the text and the film, serve this purpose well—each is suited to the time in which they are presented. Shakespeare incorporated jokes of the time, mentions of royalty, and references to historical events in his plays.  Luhrmann does this as well, by dragging in numerous references from recent pop culture.  Both Shakespeare and Luhrmann tried to delight their audience with beautiful costumes and familiar music, and to teach them with the basic moral precepts inherent in the story.  Moreover, Luhrmann takes Shakespeare’s task of teaching the masses against the folly of ridiculous family feuds and cleverly updates it for the 20th century, retaining its essential moral argument while making it something to which modern audience can more easily relate.

Origin Of Cinematic Representation Of Literature (Final)

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7) Adapters are Interpreters and Creators

           Hutcheon states very good points in her book A Theory of Adaptation. She says there are many forms of adaptations and each producer will adapt an original text in his own unique way. Producers can change the story to fit the new genre or put a new twist that will keep the audience interested. Hutcheon explains the elements that should be adapted. For instance, she states that themes are easy to be adapted across the different genres. Characters are easily transported because they are such a big part of the original work. The ending or conclusion of the adaptation can be totally altered.  Changing the ending can really set apart the adaptation making it very distinctive. In the process of adaptation, she says that the adapters take on a big responsibility because they have possession of another author’s story. The adapters have to be “first interpreters and then creators”. 

8) The Story, Theme and Character are the Common Denominators of the Adaptation Theories

          Most theories of adaptation assume that the story is the common denominator, the core of transposition across different genres. It deals with different modes of engagement - narrating, performing and interactive. Besides, theme is the easiest element for framing contexts.  Moreover, character can be transported from one text to another, from one medium to another medium.  Psychological development is a part of the narrative and dramatic arc when character is the focus of adaptation.      

9) Adaptation - a Literary Heresy?

          Hutcheon says that adaptation commits a literary heresy that form (expression) and content (ideas) can be separated. To any media scholar, form and content are inextricably tied together, thus, adaptations provide a major threat and challenge, because to take them seriously suggests that form and content can be somehow taken apart. This raises another difficult question: what is the content of an adaptation? What is it that is actually adapted? One might consider this to be the “spirit” or “tone” of a work. Adapting a work to be faithful to the spirit may justify changes to the letter or structure in the adaptation. According to pragmatic perspective, the content of adaptations is (or should be) the world of the adapted text. 

10) Adaptation and Intertextuality

             There is an issue of intertextuality when the reader is familiar with the original text. There can become a corpus of adaptations.  There are series of adaptations, as Hutcheon mentions, such as Dracula films as well as Jane Austen’s works. These works are “multilaminated” and they are referential to other texts and these references form part of the text’s identity as a node within a network of connected texts. Intertextuality is an inevitable thread in the process of film adaptation.  Intertextuality, a term invented by Julia Kristeva, uses to signify the multiple ways in which a literary text is framed out of the other text, by means of its open or covert citations and allusions, its repetitions, transformations as well as its impressions of the formal and informal characteristics.  In Word, Dialogue, and Novel, Kristeva draws the term ‘intertextuality’ from her discussion of Mikhail Bakhtin’s theory of the polyphonic novel.  Kristeva’s definition of ‘intertextuality’ clearly stresses that any text is in fact ‘intertext’ because it is an intersection of a number of other texts.

11) Adaptation and Readers Engagement

           A final dimension, in adaptations, is the reader’s engagement, their immersion. Readers engage with adaptations with different modes of engagement. Adaptations are frequently “indigenized” into new cultures. As far as the artistic factors are concerned, it should be noted that a piece of literature is a single-track medium because it communicates through words only and film has five tracks namely 1. Theatrical performance, 2.Words, 3.Music, 4.Sound effects and 5. Photographic images. When texts contribute images to imageless works, they permanently change the reader’s experience of the text. For example, in the film Laila Majnu (1976: Harnam Singh Rawail), the male lover has been turned as ‘majnu’ in his childhood.  Actually, this is not correct but it is a deviation.  His real name was Qays and he intensely loved Layla and the intensity of love practically made him mad and, thus, he was called ‘majnun’.  This is witnessed, nowadays, in India and elsewhere. 

12) Art film and Commercial Film

               However, one should make a distinction between an art film and a commercial one; where the director communicates a moral or social message in an art film.  The best example is Shyam Benegal’s film Mandi (1983) clearly portrays the ups and downs in the lives of the Indian dancers.  The film portrays how the dancers become the ‘commodities’ (cheez) of the ‘market’ (mandi).  It is an art film. Normally, the production units are always captivated by the material which is likely to be accepted by the masses.  Such commercial attitude of sowing a few amounts and reaping a vast profit is commonly seen all over the world.  The increasing commercial aspects, sometimes, pave the way for a number of rumours, for example, the individual life of the film artist also becomes a matter of discussion in the leading film magazines. The film is made popular by hook or crook.  Such units have practically no relation with the authenticity of the information, for example, Lai Bhari (2014). While adapting the any piece of art, the director / the producer has to decide whether he wants to create commercial film or art film.   

13) Conclusion

              According to its dictionary meaning, "to adapt" is to adjust, to alter and to make suitable.  This can be done in many number of ways.  It is a repetition also but it is a repetition without replication.  It is an acknowledged transposition of a renowned work, it is a creative and an interpretive act of  appropriation and an intertextual engagement.  Therefore, an adaptation is a derivation that is not derivative - a work that is secondary without being secondary. 

                                                       

-:Finish:-

F.Scott Fitzgeraid's - Gatsby Book outline

Hello Friends, 

        The Great Gatsby is a 2013 romance drama film based on F. Scott Fitzgerald's 1925 novel of the same name. The film was co-written and directed by Baz Luhrmann and stars Leonardo DiCaprio as the eponymous Jay Gatsby, with Tobey Maguire, Carey Mulligan, Joel Edgerton, Isla Fisher and Elizabeth Debicki. Production began in 2011 and took place in Australia, with a $190 million budget. The film follows the life and times of millionaire Jay Gatsby and his neighbor Nick Carraway (Tobey Maguire), who recounts his encounter with Gatsby at the height of the Roaring Twenties on Long Island.

       The film polarized critics, receiving both praise and criticism for its acting performances, soundtrack, visual style, and direction. Audiences responded more positively and Fitzgerald's granddaughter praised the film, stating "Scott would have been proud."As of 2017, it is Luhrmann's highest-grossing film, grossing over $353 million worldwide. At the 86th Academy Awards, the film won in both of its nominated categories: Best Production Design and Best Costume Design. 

       One day, Nick is invited to accompany Tom, a blatant adulterer, to meet his mistress, Myrtle Wilson, a middle-class woman whose husband runs a modest garage and gas station in the valley of ashes, a desolate and run-down section of town that marks the convergence of the city and the suburbs. After the group meets and journeys into the city, Myrtle phones friends to come over and they all spend the afternoon drinking at Myrtle and Tom's apartment. The afternoon is filled with drunken behavior and ends ominously with Myrtle and Tom fighting over Daisy, his wife. Drunkenness turns to rage and Tom, in one deft movement, breaks Myrtle's nose.

       Following the description of this incident, Nick turns his attention to his mysterious neighbor, who hosts weekly parties for the rich and fashionable. Upon Gatsby's invitation (which is noteworthy because rarely is anyone ever invited to Gatsby's parties — they just show up, knowing they will not be turned away), Nick attends one of the extravagant gatherings. There, he bumps into Jordan Baker, as well as Gatsby himself. Gatsby, it turns out, is a gracious host, but yet remains apart from his guest — an observer more than a participant — as if he is seeking something. As the party winds down, Gatsby takes Jordan aside to speak privately. Although the reader isn't specifically told what they discuss, Jordan is greatly amazed by what she's learned.

       As the summer unfolds, Gatsby and Nick become friends and Jordan and Nick begin to see each other on a regular basis, despite Nick's conviction that she is notoriously dishonest (which offends his sensibilities because he is "one of the few honest people" he has ever met). Nick and Gatsby journey into the city one day and there Nick meets Meyer Wolfshiem, one of Gatsby's associates and Gatsby's link to organized crime. On that same day, while having tea with Jordan Baker, Nick learns the amazing story that Gatsby told her the night of his party. Gatsby, it appears, is in love with Daisy Buchanan. They met years earlier when he was in the army but could not be together because he did not yet have the means to support her. In the intervening years, Gatsby made his fortune, all with the goal of winning Daisy back. He bought his house so that he would be across the Sound from her and hosted the elaborate parties in the hopes that she would notice. It has come time for Gatsby to meet Daisy again, face-to-face, and so, through the intermediary of Jordan Baker, Gatsby asks Nick to invite Daisy to his little house where Gatsby will show up unannounced.

       The day of the meeting arrives. Nick's house is perfectly prepared, due largely to the generosity of the hopeless romantic Gatsby, who wants every detail to be perfect for his reunion with his lost love. When the former lovers meet, their reunion is slightly nervous, but shortly, the two are once again comfortable with each other, leaving Nick to feel an outsider in the warmth the two people radiate. As the afternoon progresses, the three move the party from Nick's house to Gatsby's, where he takes special delight in showing Daisy his meticulously decorated house and his impressive array of belongings, as if demonstrating in a very tangible way just how far out of poverty he has traveled.

       At this point, Nick again lapses into memory, relating the story of Jay Gatsby. Born James Gatz to "shiftless and unsuccessful farm people," Gatsby changed his name at seventeen, about the same time he met Dan Cody. Cody would become Gatsby's mentor, taking him on in "a vague personal capacity" for five years as he went three times around the Continent. By the time of Cody's death, Gatsby had grown into manhood and had defined the man he would become. Never again would he acknowledge his meager past; from that point on, armed with a fabricated family history, he was Jay Gatsby, entrepreneur.

       Moving back to the present, we discover that Daisy and Tom will attend one of Gatsby's parties. Tom, of course, spends his time chasing women, while Daisy and Gatsby sneak over to Nick's yard for a moment's privacy while Nick, accomplice in the affair, keeps guard. After the Buchanans leave, Gatsby tells Nick of his secret desire: to recapture the past. Gatsby, the idealistic dreamer, firmly believes the past can be recaptured in its entirety. Gatsby then goes on to tell what it is about his past with Daisy that has made such an impact on him.

       As the summer unfolds, Gatsby and Daisy's affair begins to grow and they see each other regularly. On one fateful day, the hottest and most unbearable of the summer, Gatsby and Nick journey to East Egg to have lunch with the Buchanans and Jordan Baker. Oppressed by the heat, Daisy suggests they take solace in a trip to the city. No longer hiding her love for Gatsby, Daisy pays him special attention and Tom deftly picks up on what's going on. As the party prepares to leave for the city, Tom fetches a bottle of whiskey. Tom, Nick, and Jordan drive in Gatsby's car, while Gatsby and Daisy drive Tom's coupe. Low on gas, Tom stops Gatsby's car at Wilson's gas station, where he sees that Wilson is not well. Like Tom, who has just learned of Daisy's affair, Wilson has just learned of Myrtle's secret life — although he does not know who the man is — and it has made him physically sick. Wilson announces his plans to take Myrtle out West, much to Tom's dismay. Tom has lost a wife and a mistress all in a matter of an hour. Absorbed in his own fears, Tom hastily drives into the city.

       The group ends up at the Plaza hotel, where they continue drinking, moving the day closer and closer to its tragic end. Tom, always a hot-head, begins to badger Gatsby, questioning him as to his intentions with Daisy. Decidedly tactless and confrontational, Tom keeps harping on Gatsby until the truth comes out: Gatsby wants Daisy to admit she's never loved Tom but that, instead, she has always loved him. When Daisy is unable to do this, Gatsby declares that Daisy is going to leave Tom. Tom, though, understands Daisy far better than Gatsby does and knows she won't leave him: His wealth and power, matured through generations of privilege, will triumph over Gatsby's newly found wealth. In a gesture of authority, Tom orders Daisy and Gatsby to head home in Gatsby's car. Tom, Nick, and Jordan follow.

       As Tom's car nears Wilson's garage, they can all see that some sort of accident has occurred. Pulling over to investigate, they learn that Myrtle Wilson, Tom's mistress, has been hit and killed by a passing car that never bothered to stop, and it appears to have been Gatsby's car. Tom, Jordan, and Nick continue home to East Egg. Nick, now disgusted by the morality and behavior of the people with whom he has been on friendly terms, meets Gatsby outside of the Buchanans' house where he is keeping watch for Daisy. With a few well-chosen questions, Nick learns that Daisy, not Gatsby, was driving the car, although Gatsby confesses he will take all the blame. Nick, greatly agitated by all that he has experienced during the day, continues home, but an overarching feeling of dread haunts him.

       Nearing dawn the next morning, Nick goes to Gatsby's house. While the two men turn the house upside down looking for cigarettes, Gatsby tells Nick more about how he became the man he is and how Daisy figured into his life. Later that morning, while at work, Nick is unable to concentrate. He receives a phone call from Jordan Baker, but is quick to end the discussion — and thereby the friendship. He plans to take an early train home and check on Gatsby.

       The action then switches back to Wilson who, distraught over his wife's death, sneaks out and goes looking for the driver who killed Myrtle. Nick retraces Wilson's journey, which placed him, by early afternoon, at Gatsby's house. Wilson murders Gatsby and then turns the gun on himself.

       After Gatsby's death, Nick is left to help make arrangements for his burial. What is most perplexing, though, is that no one seems overly concerned with Gatsby's death. Daisy and Tom mysteriously leave on a trip and all the people who so eagerly attended his parties, drinking his liquor and eating his food, refuse to become involved. Even Meyer Wolfshiem, Gatsby's business partner, refuses to publicly mourn his friend's death. A telegram from Henry C. Gatz, Gatsby's father, indicates he will be coming from Minnesota to bury his son. Gatsby's funeral boasts only Nick, Henry Gatz, a few servants, the postman, and the minister at the graveside. Despite all his popularity during his lifetime, in his death, Gatsby is completely forgotten.

       Nick, completely disillusioned with what he has experienced in the East, prepares to head back to the Midwest. Before leaving, he sees Tom Buchanan one last time. When Tom notices him and questions him as to why he didn't want to shake hands, Nick curtly offers "You know what I think of you." Their discussion reveals that Tom was the impetus behind Gatsby's death. When Wilson came to his house, he told Wilson that Gatsby owned the car that killed Myrtle. In Tom's mind, he had helped justice along. Nick, disgusted by the carelessness and cruel nature of Tom, Daisy, and those like them, leaves Tom, proud of his own integrity.

       On the last night before leaving, Nick goes to Gatsby's mansion, then to the shore where Gatsby once stood, arms outstretched toward the green light. The novel ends prophetically, with Nick noting how we are all a little like Gatsby, boats moving up a river, going forward but continually feeling the pull of the past.

Origin Of Cinematic Representation of Litrature (Adaptation pt 3)

Hello friends here I am back with continuation  post of adaptations, here I am explaining you the remain points so please stay with me and like and comment for my post bcoz it will help me to improve and more beneficially represent the information to you.

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4) Adaptation is a Process of Transposition, Creation and Reception

There are three dimensions to looking at adaptations: a) as a formal entity or a product (transposition - shift of medium / genre), b) as a process of interpretation and (re-) creation, or c) as a process of reception. Adaptation is simultaneously a process and a product. Financially, it is better to produce an adaptation of an original work, according to Hutcheon, because the original work has already proven itself successful. Adapted works are popular among all because they are “proven” and already have a culture and fan base that are likely to be interested in the adaptation. However, literature has always been inspiring filmmakers to make films. The reasons for film adaptations of literary works are as follows.  First, there is the bestseller argument that the filmmaking is an expensive and very risky business.  But when the film is based on some famous novel having good sale, then, there seems a guarantee that the adaptation will be noticed by a number of people.  One of the major reasons why films are based on books is simply that the best story is often found between the covers of a novel.

Adaptation may be seen as a product or a process, the product oriented perspective treats it as a translation (in various senses), or as a paraphrase. The product oriented perspective is dependent on a particular interpretation. As a process, it is a combination of imitation (mimesis) and creativity. Unsuccessful adaptations often fail (commercially) due to a lack of creativity on behalf of the adapters. There is a process of both imitating and creating something entirely new, but in order to create a successful adaptation, one must make the text one’s own.

Thus, screen adaptation brings in some changes retaining only the story or the idea.  The writer’s job is over with the creation of the work of art but it is the director’s part to enliven that fiction. Therefore, according to the need of the story, he may add or delete some parts like songs, scenes and dialogues including the role of the characters from major to minor and vice versa. There may raise a question whether the work of art is superior or its adaptations for the screen.  Actually, they are complementary to each other.  Many times, a movie or serial is prepared on a popular novel and it also gets popularity like the original novel.  Many times, the director fails to achieve the sublimity of the source and the movie proves to be a failure though the novel is great.  However, a novel gets popularity when it is screened and as a result of the popularity of the movie, the concerned novel suddenly comes into limelight.  Basically, screen adaptation, a sort of translation of the literary text into a different medium, is a recreation of the text of the director’s point of view.

5) Is Adaptation a Secondary or Derivative Art?

Nevertheless, in both academic criticism and journalistic reviewing, contemporary popular adaptations are most often put down as secondary and derivative. Naremore, a film critic, scholar of English and Comparative Literature at Indiana University, enumerated that adaptation is “belated, middlebrow, or culturally inferior”. Hutcheon looks at adaptations as a secondary work from the original. Adaptation always exists in a secondary relationship with the original, but despite their supposed inferiority, adaptations are universal. Adaptations have dominated their own media. The most heavily awarded films are adaptations. Hutcheon suggests that the pleasure of adaptation from the perspective of the consumer comes from a simple repetition of a beloved story with variation.

6) Fidelity and Adaptation

Besides, the fidelity in adaptation is very crucial requirement in the process of creativity.  Popular classical works, may be dramas or novels, have been well-known to the people.  The film director must remain fidel to the literary art.  For the sake of increasing impact on the viewers, the film director sometimes has to deviate from the original story, plot, message or the character.  This is normally done either by addition or by deletion of the old ideas about the incidents.  In this respect, R. K. Narayan’s novel The Guide (1958) is basically set in the South Indian atmosphere in a fictitious town Malgudi.  Dev Anand produced a Hindi film Guide (1965) on the novel.  The film Guide was directed by Vijay Anand who set the entire film in Udaipur and North Indian places.  However, the end of the movie does not resemble to its original source.  The protagonist’s death presented in the film brings a sort of reward for the villagers.  Vijay Anand has always maintained that he was never interested in merely copying any work of art from one medium to another unless there was scope for value addition and to be fair to him.  He has transformed Guide into a rich and unforgettable cinematic experience.  In fact, he has deviated it from the original novel.  However, his film can also be treated as an important creative art.  It meant the films based on literary works must be judged primarily on the basis of whether they are faithful to nearly all of their storyline and mood of the book. The issues of fidelity can overlook the probabilities of witnessing cinematic adaptations as intertextual works.  Moreover, the film represents the filmmaker’s subjective understanding of the literary source.

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Game Of Thrones Novel And Television Series Part 2 (THEME)

Hello friends here I am back with continuation  post of  “Game Of Throne Novel And Series”, here I am explaining you the remain points so please stay with me and like and comment for my post coz it will help me to improve and more beneficiate represent to you.

Game Of Throne Theme:-    

           Throughout the novel, characters are often faced with decisions that match one redeemable trait against another. The Guardian outlines characters who are frequently "forced to choose between their love for those close to them and the greater interests of honour, duty and the realm." In Westeros, Ned ultimately decides to venture south with Robert, leaving much of his family in Winterfell. At the Wall, Jon wrestles with the predicament of joining his half-brother Robb in rebellion or staying with his sworn brothers in the Night's Watch. Daenerys has issue with the Dothraki treatment of those they conquered in Essos. These conflicts characters encounter oftentimes reflect inconsistent decision making. Catelyn initially is overwhelmed by grief and does not leave Bran's bedside while he is comatose, ignoring her political responsibilities, choosing family over duty. But soon after, Catelyn leaves Bran and her family for Kings Landing to inform Ned of potential Lannister treason, effectively displaying a more duty fulfilling role. Family, duty, and honor play major roles in conflicts that arise in the story arc, and qualities traditionally categorized as noble oppose each other in resolution. Character decision conflicts and consequence analysis are particular to how Martin wants to portray fantasy.

Martin characteristically deviates from the traditional fantasy model and clear-cut lines of good versus evil. Martin reflects: "I think the battle between good and evil is fought largely within the individual human heart, by the decisions that we make. It's not like evil dresses up in black clothing and you know, they're really ugly". This viewpoint characterizes the book and is evident in the actions of several different families which frequently have conflicts with each other. The Starks' and Lannisters' conflict is a central component of the novel, and the reader receives points of view from both sides. Likewise, Daenerys' storyline develops around the Targaryen's upheaval in Westeros, in which the Starks played a significant role.

Simply Concluded the Themes Point As given below:

·         7 Kingdom 1 Throne (Iron Chair);

·         Family;

·         Love;

·         Betrayel And Loyalty;

·         Gender;

·         Sexual Relationship;

·         Homo-Sexuality;

·         Politics And plotting;

·         Violence;

·         War;

·         Sorrow;

·         Death;

·         Secrets;

·         Tragedy;

·         Good VS Evil;

·         Power;

·         Magic;

·        Fairy-tale. 

        So it is the very nice mixture of human emotion which represent explained written and played by the Author, Actors,Director,Screen writer and teamwork.

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To Be Continued...