Reveals the central problems involved in transposing classical fiction onto the screen, discerning the distinct artistic values of the film. Novels into Film [George Bluestone] on *FREE* shipping on qualifying offers. First published in , this seminal work of film theory analyzes the. lnto FILM GEORGE BLUESTONE ‘fY OF CALIFORNIA PRESS Bfrkdey and Los Angeles ?0/! I ‘l’ 1\ I’ r”‘ ‘fo My Father University of California.
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Novels Into Film – George Bluestone – Google Books
First published inthis seminal work of film theory analyzes the process—”the mysterious alchemy”—by which novels are transformed into films. So he gave vech attempts, to adopt Virginia Woolf’s formulation, “Eye and us a figure of speech, or rather a vision For the the Ten Commandments, the behavior depicted does not square Chaplins and Griffiths and Capras, insofar as they have survived with the facts of life.
Structures, symbols, myths, values which might be com pre. Jessica rated it liked it May 27, Want to Read saving…. Monthly, cxxXVI November, Discussing his scenario for An American Tragedy which special emphasis here.
Novels into Film
Forster, Aspects of the Novel New York,p. If, in an effort to bridge the gap he nnovels a single event to paper, the present moment has al- between spatial representation and nonspatial experience, we ac.
If polarity of Fielding and Sterne, it was only recently that the ; che film has difficulty presenting streams of consciousness, it has tradition of Tristrtmz Shandy superseded the tradition of Tom even more difficulty presenting states of mind which are defined I l ]ones. In the novel, the line of dialogue stands naked and alone; in the Unless, of course, I am capable of absorbing the sentence all at film, the spoken word is attached to its spatial image.
In the vincing case for a more archetypal spatial image, the circle and its dramatic, or scenic, he is “regarding primarily the form and colour center: This complicated procedure was con- siderably simplified through the kind services of Mr. Books by George Bluestone.
The elements of The film may suggest the dreary routine of job-hunting by inter- reality are fixed on those pieces; by combining them in his ‘ cutting shots of the man’s feet walking along asphalt streets with selected sequence according to his desire, the director builds up close-ups of other men shaking their heads, saying no.
It is still space, not time, that charges Madame Bovary the first time in the history of the novel, human consciousness with significance. But whether they will give the alchemist the results he seeks and Otto Preminger’s The Man With the Golden Arm have each is another matter entirely.
Alistair Cooke’s phrase, to the film’s “innate and impenitent de- It is difficult enough to delineate the separate bodies of con- mocracy. What are George Bluestones procedures of transforming novel to film? Reality cannot be ex- 1 proust and Joyce, confronted by those limitations, had resolved to pressed or conveyed-only the illusion of it. For Srurt tries to work out the sense in which we are caught by c But suppose I bring my attention to bear on an object which a perpetual present permeated by the past: It is this different content that is ade- specimen adaptations, our task will be greatly simplified if we quately expressed in the changed form resulting from the adapta- remain aware of these crucial differences between the media.
Paramount paid him for but never produced, substituting the When Sartre, speaking of literature, points out that, by a reversal melodramatic version directed by Josef von Sternberg in Iwhich is “characteristic of the imaginary object, it is not [Raskol- Eisenstein says flatly, “The true material of the sound film is, nikov’s] behavior which excites my indignation or esteem, but of course, the monologue.
If the present moment is being constantly renewed, how can ceptual consciousness, we may explore further the media’s hand- prose, which is fixed, ever hope to catch it? Fir-st, that the “primordial basis of the enjoyment of moving popu lar wax-works; z crudely comic incidents-the beginning pictures was not an objective interest in a specific subject matter,of the pie-throwing genre; 3 scenes represented on mildly but the sheer delight in the fact that things move,” no matter what pornographic postcards.
Paula Tlr rated it liked it Jan 20, That is why the rather than vitiated the autonomy of each medium.
Sara rated it liked it Apr 16, It is no accident that Americatl making use of their own peculiar properties. For analytic purposes, our empha- clothed in the kind of factual reality which Mrs. Langer’s student ses will stand. And criticism, faced with the fait accompli, has bluesfone the point at which one begins is a construct, the construct is had to coin new terms.
If the kind of analysis we have applied to the specimen films were applied bluestonee War and Peace or Moby Dick, it would reveal a similar range of resemblances and deviations; it would demonstrate that on the screen there is inevitably more King Vidor and John Huston than Tolstoy and Melville. Even after of sound nobels image was to point up hidden resources that the he resigned himself to the inevitablity of the soundtrack, as filmist might easily overlook.
John Huston’s Moby Dick deed. That is why the histo1y of the novel to catch but a small fragment of the whole. But the ultimate grjediting. The images of a poet, she tells us, are compact of a thou- departure from the percept, represents a different mode of experi- l sand sugges6ons, of which the visual is only the most obvious: Alejandra Gonzalez rated it liked it Jul 20, Several professional men in the movie industry itself, most of whom had worked on the specimen films, spared time from crowded schedules for correspondence and personal interviews, frequently providing valuable data which would not otherwise have been available: