Children and Young Adults 1

English Literature for

Literature versus film. A century old dilemma

The significance of literature and films in contemporary times
Literature in past time was considerate as the only source of
accumulate information and knowledge. It meant all that the world
can know about developments in the field of culture, science,
technology, biology, psychology, etc. Thus, literature has always
served as the only source of information from all around the world.
People also used literature as way of passing time in their leisure

But with the apparition of films, this has changed. Films

offered them a more easy way to access all this. Reading was
replaced with watching images and the information was transmitted
much faster.
Since then the two fields became competitors. Some people still
prefer book and other prefer only films or both. Each of them can
bring positive and negative aspects.
Literature and films have become these days so important in the
life of an individual that it can be said that they are both part of our
culture. Therefore they both contribute to the intellectual and
emotional development of a person. They became interdependent to
each other and they cannot be separated. Nevertheless some people
will split them and talk only from one perspective.

Interactions between film and literature

USA: The Johns Hopkins University Press. Film Adaptation and Its Discontents: From Gone With the Wind to the Passion of the Christ . Therefore there is a history of bond between film and literature. a decade later categorized other three modes of adaptation under other names: borrowing (extend the material. 1 But was not an easy job to connect literature with films. idea more or less). There are a lot of 1James M. UK: THE SCARECROW PRESS. 2007.POP LOREDANA Children and Young Adults 1 English Literature for Both literature and films melt in the same place where a variety of cultures are reunited with history. Films are telling and retelling stories. The Literature/Film Reader: Issues of Adaptation. and most of those stories are still being (or have been) appropriated from literary or dramatic sources. p 7 2 Thomas M. Peter Lev. Different genres of literature as poetry. Welsh. novels and plays are present in film scripts that can be seen as literature. intersecting (the uniqueness of the original text is left unassimilated) and transforming (fidelity for the book is lost). 2 All these explain why the film is like the book or the film is not like the book. People in the film industry decide what is better for public and they will anticipate or predict the verdict. commentary (“re-emphasis or restructure” in which the original is altered) and analogy (departure for “the sake of making another work of art”). Adaptation has always been central to the process of filmmaking since almost the beginning. p 93 2 . Leitch. 2007. Geoffrey Wagner said that to make an adaptation of a book implies three types of transition: transition of fiction into films (a book is given directly on the screen with a minimum of apparent interference). from theatrical narratives of the silent film era to recent blockbuster adaptations of Shakespeare and Jane Austen. Dudley Andrew.

Films not only that they give the text already imagined by someone else but they offer a bigger opening to the world.1134742. 16:24] 4 . Films try to put thoughts into words. That is way both have an important contribution.com/time/magazine/article/0. Sunday.2012.06. Movies.com/time/magazine/article/0. 7:15] 3 .4 There is one difference that separates them: images. the characters. Books Vs.2012.00. 2005http://www. Films can adapt books to contemporary times and to emphases what is important or not important. And adapters try to satisfy almost every reader also please the audience.06. 27. 27.html [24. This small difference makes them important as individual creation.1134742. Therefore both literature and films can help each other for a better understanding. Movies Sunday. In one word they “savored” every word that they read. Films also can offer one understanding that opens new perspective. descriptions into actions.00.time. RICHARD CORLISS .9171. 2005http://www. Nov. but together they have a stronger force. Sometimes a person cannot understand the message of a book but after seeing the film things are more visible.POP LOREDANA Children and Young Adults 1 English Literature for persons who read first a book and then see the film and then say that "The book was better. the actions. Nov. Books Vs.9171. emotions into gestures.3 They had become witnesses of their own thinking that was shaped by their background knowledge of world." This happens because they have already made their own perfect film version. In books the images are in the mind of the reader who creates them and in films are in front of the viewer made by someone else.time.html[21. A person who wants to deliberate and discover the message by himself can read the book that offers more details. They have visualized it: the locations. 3RICHARD CORLISS.

They give lots of possibilities of thinking. For Lowry films are seen as “enemies of poetry in poetry’s terms” because the camera “is reduced to functioning outside the whole”. 7:00 am] 4 . Therefore almost like a rhythm. January 18. 5 That is way we need to read books but also to watch films. He points out that it's very hard to distinguish the difference in our society between a book and a movie. There are poems that each time you read each time you understand something else.com/items/125864-literature-vs-film [24. vibrantly.6 5 John Poff. He thinks that “there is little future for poetic drama or Shakespeare in movies”. immediately and also evocatively and symbolically. With the development of the cinematic techniques the images are functioning abundantly. Poetry as a source of emotions is hard to be translated into a film.POP LOREDANA Children and Young Adults 1 English Literature for John Poff says in an article that “when the five minute story is read or the two hour movie is finished what have we really learned about ourselfs other than what we've been able to simply relate to” is a lot. Online: http://www. Poetry in films What makes a movie more interesting is when is inspired by poetry. Malcolm Lowry saw a difficulty of combining the rhythm of a spoken word with the visual rhythm.06.helium. Films that are inspired from there poems are made in the same perspective that to understand each time something else. 2007 Last Updated: May 08. 2007. Literature vs film. it is inferior to poetry because they belong to separates worlds and time. Camera does not compete with the poetry.2012.

it also appears in relatively complicated ways with respect to narratives.James Doyle. These two values are used by filmmakers for length and limitation of films. USA: University of Texas Press. in an abstract. It is needed a limited duration for audience that can be consumed in a single sitting so that the single effect of the film not be lost. Poetry is considerate more than just another “high art.Flora Roy. It is necessary to talk about the author intentions in his poems in order to talk about the films.129. 2004.POP LOREDANA Children and Young Adults 1 English Literature for The use of poetry in a film is a signal of cultural status.James Doyle.Flora Roy. 1978 p. with deliberation. The imagers pauses narratives with motionless space. p 7 8 Jane Campbell. in “one sitting” so that the “single effect” will not be diminished or destroyed by interruption. . 7 Steven Dillon. The use of poetry is conventional and depends what degree of use has in films: if it’s self-referential (the poems name the film) or are arguably deidealized. Poe means “the excitement or 6 Jane Campbell. single effect and beauty.”7 Poetry stands in between the narratives. By “beauty” he means a poem or a story length capable of being read in completion. The Practical Vision: Essays in English Literature in Honour of Flora Roy.” The adapters try to understand the intention of the poet for a better understanding of the poem. 10 5 . To demonstrate this I will talk about Edgar Allan Poe and his poems transposed in films. p. By “beauty” or the “poetical”. contrast and clarity. Ontario: Wilfrid Laurier University Press.8 Orson Welles said that “A film is never really good unless the camera is an eye in the head of a poet. Poe talks about three basic qualities of process of writing: brevity. Derek Jarman and Lyric Film: The Mirror and the Sea. timeless space of sheer repetition. a noble fiction with a compelling plot.

217 6 . a pursuit that is the act of madness as humdrum existence of life which led as the business of trivialities.1931-1946. The Raven can be seen as a film about the kind of madness and focus on an exploitation of frequently distorted views of the writer and his work. The London Times (August 4. p. 1935) explained that the films were made for “horror” and for “for horror’s sake”.The Cambridge Companion to Edgar Allan Poe. 9 In “The Poetic Principle” he talks about the superior reality-the absolute ideal of beauty. p.147 13 Kevin J.12 The intention of the films was to construct Poe’s torture device in his cellar which became part of revenge. In the films is domination for “his fascination with pain and torture”. From this perspective madmen are visionaries. 139 12 P. Cambridge: Cambridge University Press. Hayes.Michael Brunas.189 11 Tom Weaver.2002. 2007.USA: McFarland. but their visions are “only the dubious apparitions of 9 Linda Costanzo Cahir.POP LOREDANA Children and Young Adults 1 English Literature for pleasurable elevation of the soul”.Literature Into Film: Theory And Practical Approaches. 2006. 13 Poe’s try to show in his poem the pursuit of “la idée”.188 10 P. Carolina: McFarland. p.Universal Horrors: The Studio's Classic Films. 11 This explains the dark side of the films. Roger Corman finds the distorted camera scenes closer to capture the authentic nightmare of Poe’s horror.John Brunas. 10 He expressed his agonies in the body of his work which reflected his inner torment. That is way the reason that his protagonists from his poems are alone and alienated and progress to this ethereal ideal.

He's straddling both worlds and sort of exploring through it and using all the sorrow in his life as an alchemist to turn it into all this cool stuff.” 16 Images."15 Megan Suckut give a verdict to the movies and says “ The Raven tends to be unbelievable in its explanations of Poe's life and death. John Cusack plays the role of the embattled writer. Filmmakers needed to expand the poem and add some action. They kept only the essentials.the evil Scarabus has turned him into a raven and he needs someone to change him back.POP LOREDANA Children and Young Adults 1 English Literature for truly mad men. One evening. the quality of its acting and writing make it a movie worth watching. p. Literature Into Film: Theory And Practical Approaches. USA: McFarland.189 15 Megan Suckut. He also tells the reluctant wizard that Craven's long-lost wife Lenore. The same they did with The Raven from 2012.”14 The bird is transformed into an annunciator of a sorrowful of terrifying. Craven is the son of a great sorcerer (now dead) who was once himself quite skilled at that profession. whom he loved greatly and thought dead. April 27 2012. Here is not about the person in the poem but about the author. who solves a series of Baltimore murders based on his own gruesome tales in the fictional last days of his life. but it wasn’t enough for the public. Online: http://northbynorthwestern. The Raven upholds Poe's legacy while frightening viewers.com/story/the-raven-and-the-legacy-ofpoe/ 7 . lighting. angles and camera movements respect the 14 Linda Costanzo Cahir. 2006. This first film took some elements from the poem. but has since abandoned it. He's like Orpheus descending. a cowardly fool of a magician named Bedlo comes to Craven for help. The actor who interprets his role said that "Poe is sort of a journeyer into the subconscious. is living with the despised Scarabus. The film from 1963 is not totally faithful to the Poe’s poem: Dr. and is sometimes reminiscent of National Treasure.

In conclusion literature is an inspiration for films and a source of supply. Film Adaptation and Its Discontents: From Gone With the Wind to the Passion of the Christ. Sunday. 2005. Thomas M.com/time/magazine/article/0. They need each other to irrigate the deserts that our lives have already become.time.06. Seeing the film and reading the poem would provide a better understanding. Online: http://www. Techniques in films develop during the years and so the psychological terror and mystery grew.00. 27.html [24. Movies. The question is why is a tendency for the people to identify the person from the poem with the author? They are not the same persons even if the piece of art was shaped by the author’s life. USA: The Johns Hopkins University Press.9171. Nov. Films can become literature and can become useful in the individuals’ intellectual growth.POP LOREDANA Children and Young Adults 1 English Literature for deteriorating mental states and also an impressionistic style of psychological in terror and mystery. Bibliography 1) Corliss. They have a powerful impact on individual’s mind and enrich the soul. 7:15] 2) Leitch. The uses of heavy camera blur and the extremely unsteady scene pull the audience into the shoes of Poe. 16 8 . Richard. 2007. Books Vs.1134 742.2012.

2007. Ontario: Wilfrid Laurier University Press.06. 6) Dillon. 5) Campbell. Jane. Universal Films. 2007. 2007. John.2012] 9 . 1931-1946. 2002. Literature Into Film: Theory And Practical Approaches. The Literature/Film Reader: Issues of Adaptation. Steven. UK: THE SCARECROW PRESS. Lev. 2007 Last Updated: May 08. Raven April upholds 27 Poe's legacy 2012. Brunas. Tom. 2004 7) Cahir. Carolina: McFarland.POP LOREDANA Children and Young Adults 1 English Literature for 3) Poff. 1978. Linda Costanzo. The viewers.. Doyle. 8) Weaver. Literature vs film.helium. while Online: http://northbynorthwestern.com/items/125864literature-vs-film [24. 10) Megan frightening Suckut. USA: McFarland.06. USA: University of Texas Press. Kevin J. The Cambridge Companion to Edgar Allan Poe. January 18. 2006. Peter. Online: http://www. The Practical Vision: Essays in English Literature in Honour of Flora Roy.2012. 9) Hayes. Cambridge: Cambridge University Press. 7:00 am] 4) Welsh. James and Flora Roy.com/story/the-raven-and-the-legacyof-poe/[21. Derek Jarman and Lyric Film: The Mirror and the Sea. Michael Horrors: The Studio's Classic and John Brunas. James M.

POP LOREDANA Children and Young Adults 1 English Literature for 10 .