A look into george Bluestones Novels into Films, Book


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A look into george Bluestones Novels into Films

A look into george Bluestones Novels into Films A look into George Bluestone’s Novels into Films The first chapter of George Bluestone’s book Novels into Film starts to point out the basic differences that exist between the written word and the visual picture. It is in the chapter "Limits of the Novel and Limits of the Film," that Bluestone attempts to theorize on the things that shape the movie/film from a work of literature. Film and literature appear to share so much, but in the process of changing a work into film, he states important changes are unavoidable. It is the reasoning behind these changes that Bluestone directs his focus, which is the basis behind the change. He starts to look at the nature of film and literature, as a crucial part in the breakdown of this problem. It is only through a discussion into nature of each of these, that Bluestone can discover where film and literature seperate, and also develop a close to accurate theory on the laws that direct the course of change from novel to film. It is important to notice that the opening chapter acts essentially as an introduction to a wider discussion throughout his book. In an effort to give his exploration some order and consistency, Bluestone organizes his discussion under five sections. He identifies five main points, which composes the process of adaptation. Despite these efforts to contain each discussion under such headings, Bluestone’s discussion goes off track during his analysis, which only makes the laws that govern adaptation harder to understand. Some of his discussion becomes repetitive, and he discusses topics that were already covered. In his section entitled "A Note on Origins" must be associated with his discussion on a later section entitled "The Audience and the Myths," because in both he discusses the role of the spectator and how those who produce and those who patronize film and literature have portrayed form to them. It is here in these later chapters that the points he discusses in his opening statements come together. Bluestone’s main plan to is to explore the complex relationship between novel and film. Bluestone’s major claim is that the two media cannot be compatible and are opposed simply by the natural differences. He sees film and literature as two mediums and each medium delivers a different type of view, and requires unique skills to translate them. In beginning his chapter with an examination of the "two ways of seeing," he looks for the difference of perception when comparing physical sight through our eyes, and the constructed sight we imagine with our minds. Bluestone’s plan for the rest of this chapter is to give explanation for and demonstrate his claim that the relationship between the two mediums are compatible and on the other hand, also very hostile or unsteady. Between 1934-1935 one third of films produced were adapted from literary sources. Bluestone links the close relationship between the film and the novel, and validates the compatible element of his claim, with references to Griffith’s cinematic adaptations Tolstoy’s Resurrection, Charles Reade’s The Cloister and the Hearth, and productions from RKO, Paramount and Universal. Bluestone points out that it proves profitable for both mediums. The apparent link between film, literature and commerce becomes obvious because of increased book sales of novels following cinematic releases. Bluestone then proceeds to prove his claim that the two media are, as he put it, “secretly hostile,” once the relationship between novel and film are established. Bluestone traces its exploration of movement, of sound, of dialogue, light and photography at the point where cinema began as a "gadget." He discusses the fact that criticism and analysis of literary origins is without parameters and constraints. Bluestone calls upon others to help explain the role of language and, so explanations from Gide, Balzac and Sartre are utilized to help clarify his point. Bluestone does take a theoretical approach, and ably recognizes and theorizes upon the major forces, which shape the "overtly compatible" but "secretly hostile" relationship between film and literature. Bluestone does not fail to point out film and literature appear to share so much, but in the process of changing a work into film, he states important changes are unavoidable. Bibliography:

Word Count: 719