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"I discovered that films based on literature are actually more a product
of their social and historical context than they are products of the
literature.
Throughout the duration of this course, we have studied many
childrens literature books, as well as the films that are adaptations of
them. One of the most significant skills I have acquired in this class is
the ability to step beyond simply comparing a book to a film, but
taking the time to analyze why the changes were made between the
two. It has been nice to watch the film immediately after reading the
book during this course because it highlights these differences much
more clearly than if I decided to watch the film years after reading the
book. I not only discovered how to question the reasons behind
changes in interpretation, but I also learned how to analyze film itself,
which is a skill I had limited knowledge in before this class.
We began with Charlottes Web, a beloved classic that I read as
both a child and an adult (when I was teaching it for a group of
students). The first module of the course was primarily about learning
how to talk about books and film. So, we began by reading the novel
and discussing its literary elements, which is an activity likely all of us
have done before. We discussed the major aspects of literature,
including setting, theme, plot, characters, and style. Becoming
familiar with these terms was beneficial as a stepping-stone for the
rest of the course because it provided us with language for discussing
literature, and as we watched film versions, it was important to note
how these literary elements were modified.
When we watched the two film versions of Charlottes Web
during the second week of the first module, my knowledge of reading
films was greatly enhanced. The articles we were given to read
provided a language for discussing films, so that we could do that as
easily as we had discussed the original text. Again, this provided the
basic understanding I needed for analyzing literature, which helped in
the following modules. I found myself looking at all films and television
shows with a more critical eye as this course has progressed, as I
notice cinematography more than I used to. For instance, the way a
camera is tilted and the effect that has on the audiences perception of
a character. Right away, I realized that every single aspect of a film
has a purpose, just like every single word in a novel was chosen for a
reason (something I always tell my students to get them to pay
attention to word choice and diction in the books they read). If nothing
else, the first module got my brain thinking about some of the reasons
why these decisions were made.
Another thing that became evident very quickly in the first
module is how different film interpretations can be from the original
text as well as one another. The 1973 version of the film we watched
was a cartoon musical, while the more recent version was a live action
film with real talking animals. There were many differences in
characterization and plot, but even the styles of the films were
different, likely because of the social context in which they were
released, which takes me back to the quote with which I began this
paper. The older version likely went for the Disney type of approach,
with feel-good songs throughout in order to entice and entertain child
audiences. Even if a child is too young to fully understand the theme
or message of the story, he/she may still be entertained by the music
and colors of the film. At the time of its release, most childrens movies
were cartoons, and many of them did have music. The filmmakers also
made it a cartoon likely because technology was limited for special
effects. In the newer version, the filmmakers were able to take live
animals and make it look like they were really talking through the use
of computer animation that did not exist thirty years prior. Modern
audiences, both children and adults, seem to prefer that things look
realistic, and special effects become a big part of entertainment (which
I will address later). Therefore, the two film versions of Charlottes
Web were very different because of the expectations of audiences in a
social and historical context.
In the next module, we started by looking at what happens when
picture books are made into feature-length films by studying Chris
VanAllsburgs books, Jumanji and The Polar Express. It was at this time
that I realized one of the biggest reasons why a film may not be
exactly like the bookfor the obvious reason that a thirty-page book
cannot possibly be translated into a two-hour movie without changes.
Until this point, I thought I was a person who wanted the movie to be
exactly like the book: the same events, the same dialogue between
characters, and the same mood. The beginning of this module was
very helpful for me as an interpreter of films and literature, as it made
me realize that sometimes changes just have to be made.
One of the most salient articles I read in this course was by
Jessica Aldred during the study of these two films. In the article, All
Aboard the Polar Express, Aldred talks about the struggle between
narrative vs. spectacle in films that are based on books (Aldred,
158). Throughout the course, I found myself referring to this concept
over and over again because it was so evident in many films. The
narrative, in many cases, is out shadowed by the concept of the
spectacle, which includes computer graphic imagery (CGI) and special
effects. Both of VanAllsburgs films were valid examples of this. The
film version of Jumanji was extremely different from the original text
in my opinion, it strayed too farin order to invoke a sense of danger
and fear into audiences. The book was an adventure, but the movie
took this to an entirely new level, with characters perilously close to
death in every scene. Instead of the simple, whimsical plot of the
book, the film became inundated with subplots and new characters
and special effects, which, looking back on the technology of 1995, are
not very good. This is an example in which I feel the book was lost in
the creation of the film.
The Polar Express was another example of the struggle of
narrative vs. spectacle, which is logical since Aldred wrote the article
about the book-turned-film. Although this film used lines direct from
the book, and the computer animated world strongly resembled the
original illustrations, the spectacle still threatens to overtake the
narrative throughout the film. Rather than making the plot more
complex to fill a feature-length film, the way Jumanji does, The Polar
Express enhances the original plot by adding the spectacle. In effect,
the train ride to the North Pole takes up a huge amount of time in the
film, as opposed to three pages in the book, because of obstacles that
keep getting in the way. The audience is placed in the point of view of
Hero Boy many times, as in one case where he is on the front of the
train while it skids out of control on the ice. The audience experiences
the feeling of a roller coaster or amusement park ride right along with
the characters. This goes on for several minutes, and during the
course of the trains voyage to the North Pole it endures one
malfunction after another. As a result, this large portion of the movie is
primarily about adventure and fear, rather than on development of the
plot or narrative.
These Chris VanAllsburg books-turned-films are two examples of
picture books that had to be extended or developed in order to make a
quality, feature-length film. They both go about it in different ways
Jumanji complicates the plot, while The Polar Express adds more of a
thrill to the existing plot. In both cases, the spectacle becomes more
important than the narrative because it pulls us away from the original
story and serves merely to entertain audiences that want to sit back
and escape from the real world. This is much of what modern-day
audiences demand, especially in childrens films. Rather than feelgood, mushy stories that are rich in dialogue and theme, people prefer
to watch movies to relax without having to think too much. This is just
another example of how social context drives film interpretations.
We followed up with The Wizard of Oz, which is a film that
completely outshined the original book. Nearly everyone has seen the
film, or is at least familiar with it because of its integration into popular
culture. However, very few have read the book, and those who do read
it criticize Baum for making it too lengthy and filled with unnecessary
details. It is rare to see a movie become more popular than the book
on which it was based because often the demand for the movie arises
once the book is so popular that corporations want to seize the
opportunity to make money off it. The movie always seems to be a
visual interpretation of the book that so many readers know and love,
student sees it. If I tell them it is a favorite, it may sway their own
opinion, or they may not feel free to express disagreement. This is why
I feel it is important to teach students how to analyze and question
book-to-films rather than just exposing them to it. The conversations
should be open, much like ours were during this class, and students
should be pushed to ask why, rather than just notice differences
between the original books and their film interpretations. Every
student is going to notice different aspects of film in regards to the
original, just as our group and class discussions revealed, so in that
sense, teaching is a form of interpretation. However, the more ideas
that are presented, and the more voices that are heard, the more
comprehensive the interpretation will be.
Hopefully, the students in my class would be given the
opportunity to see that filmmakers make decisions and adaptations for
very specific reasons, the same way that authors and illustrators make
decisions when they write a book. In sharing the knowledge I have
learned through this course with my class, they would likely see the
connection between books and films, and how even though, for some,
books feel like work and movies feel like play, they work in very much
the same way. Reluctant readers may be more engaged if they found a
way to become interested in the ways the book and movie are
connected (an excuse to watch a movie in school? Great!), and it may
also help them develop the difficult skill of examining authors craft in
books if they can practice using that skill in movies. Overall, I have
found there to be many beneficial aspects of this course that I can take
with me to my fifth grade classroom to develop knowledgeable and
analytical readers.