comparing/contrasting push: the novel and precious: the book?
this assignment is a comparison of the novel push and the film precious. the assignment is a chance for you to explore what the book does that the film cannot and what the film offers the viewer in addition to reading the book. what strikes you most forcibly in comparing push and the film version precious? in thinking about this, you might want to consider the voice of the narrator, the agency of the main character and the development of characters in the story. or you might want to consider the element of interpretation the selection from the material the book offers us the portrayal of precious. what is lef out the movie? how are the main themes of the story articulated differently in the book and the movie. as you plan your essay, remember that you may compare book and movie (showing similarities) or contrast book and movie (showing differences) or do a combination of comparing and contrasting. the challenging part of writing comparison /contrast is arriving at the analytical conclusions about the topic. it is easy to see differences or similarities; it is sometimes difficult to think about why it is important. in this case, you may want to focus on any aspect of understanding precious that is added by the movie or taken away- on how your interpretation or analysis of precious tragedies, and triumphs are affected by both reading the book and seeing the movie . while the main sources for this paper are the book and the film and your thinking about them, it is ok for you to bring in outside sources such as reviews of film or book, the kinds of sources can deepen your understanding of the text. please do not review the plot. that is not what i am looking for in this, provide a plot summary will result in a zero you need to be critically analyze what you have watched. in text citation needed.
- 8 years agoFavorite Answer
Books Vs. Movies
By RICHARD CORLISS
Tis the season when Hollywood gets literate. Since the Oscar deadline coincides with New Year's Eve and a bookish pedigree is a sure way to get Academy members' attention, studios turn to acclaimed novels for their holiday fodder. But there's a risk involved. Ask any reader who has seen the movie version of a favorite novel, and the answer will usually be, "The book was better."
That's because readers of a novel have already made their own perfect movie version. They have visualized it, fleshed out the locations and set the pace as they either zipped through the book or scrupulously savored every word. Often they have even cast it. In the late 1930s, by the thousands, readers of Gone With the Wind demanded that Southern rogue Rhett Butler be played by that damn yankee Clark Gable. Readers are a very possessive bunch. So in taking a novel from page to screen, movie adapters must tread carefully, like a new visitor at Lourdes.
Carefully but critically, for it's simply not an option to be totally faithful to a fat novel. The movie version of Arthur Golden's Memoirs of a Geisha takes 2 hr. 24 min.; reading his text could take weeks. Almost any novel's plot must be compressed into a black hole of incident and image. Then there's the challenge any movie faces of putting thoughts into words, emotions into gestures, descriptions into actions. And always the adapters must worry not just about satisfying those persnickety readers but also about pleasing the audience ignorant of the book.
The time has long passed when popular fiction was almost inevitably filmed by Hollywood and when, as in the 1940s, seven of the 10 Best Picture Oscar winners were based on novels. Today graphic novels inspire as many big-budget crowd pleasers as the old-fashioned unillustrated kind. Which means that somewhere someone is saying, of the Fantastic Four movie or even Sin City, "The comic book was better."
Books don't have to be serious to be adapted, as the many movie versions of Elmore Leonard novels attest. But since they're often how people experience a story first, debates will always rage over the merits of each version. We're here to add kindling to that fire. Six books, six movies, 12 constituencies. Which ones win? We'll say, but you'll decide.
PRIDE AND PREJUDICE -- Winner: Book
CHALLENGES: Hello? It's only, like, one of the most acclaimed pieces of literature ever (although director Joe Wright had never read it). Those who love it love it a lot. To others, it smells a bit like homework. Not to mention that this is the third adaptation, including one of those BBC behemoths.
HOW THE BOOK WAS BETTER: It's hard to match wits with the woman who wrote, "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." The movie doesn't try. It opens on a sunrise. The book is much funnier, the dialogue much cleverer, the social satire more nuanced. Oh, and some Austenites are spitting mad because the movie ends with a kiss.
HOW THE MOVIE IS BETTER: There's a lot more of the grit of everyday life in 18th century rural Britain that was commonplace to Austen but is new to us. Animals wander through the house. There's mud everywhere. Also, it ends with a kiss.
DEFINITIVE VERSION: The movie. Calm down: I'm kidding. The book, of course. But is there such a thing as too much Mr. Darcy?