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    Reading Film and Literature: Brian Mcfarlane, 2007

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    sheela sinha
    Brian McFarlane refutes the idea that film requires less imagination than reading literature. While films may seem more straightforward than novels, understanding film actually requires effort to interpret techniques like shot length, camera angles, and editing. Both novels and films immerse the viewer/reader in an alternate world. While novels are narrated in past tense, films occur in present tense. Properly analyzing adaptations requires understanding both the original text and filmmaking techniques.

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    Reading Film and Literature: Brian Mcfarlane, 2007

    Uploaded by

    sheela sinha
    67 views11 pages
    Brian McFarlane refutes the idea that film requires less imagination than reading literature. While films may seem more straightforward than novels, understanding film actually requires effort to interpret techniques like shot length, camera angles, and editing. Both novels and films immerse the viewer/reader in an alternate world. While novels are narrated in past tense, films occur in present tense. Properly analyzing adaptations requires understanding both the original text and filmmaking techniques.

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    - Brian McFarlane

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    Brian McFarlane refutes the idea that film requires less imagination than reading literature. While films may seem more straightforward than novels, understanding film actually requires effort to interpret techniques like shot length, camera angles, and editing. Both novels and films immerse the viewer/reader in an alternate world. While novels are narrated in past tense, films occur in present tense. Properly analyzing adaptations requires understanding both the original text and filmmaking techniques.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    67 views11 pages

    Reading Film and Literature: Brian Mcfarlane, 2007

    Uploaded by

    sheela sinha
    Brian McFarlane refutes the idea that film requires less imagination than reading literature. While films may seem more straightforward than novels, understanding film actually requires effort to interpret techniques like shot length, camera angles, and editing. Both novels and films immerse the viewer/reader in an alternate world. While novels are narrated in past tense, films occur in present tense. Properly analyzing adaptations requires understanding both the original text and filmmaking techniques.

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    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    of 11

    Reading Film and

    Literature

    Brian McFarlane, 2007


    • Need not necessarily focus on fidelity to the original
    text
    – A criterion insufficient in addressing and discussing lit-to-
    film adaptations
    – Seems likely, if we have read and seen we compare and
    contrast
    – Instead might be used to find a way to utilize and delve
    deeper into this response
    • Film makes fewer demands on the imagination than
    a book does
    • McFarlane refutes - reading a continuous narrative
    with a set of characters operating over a period of
    time requires greater effort than viewing a film
    based on that movie
    • McFarlane - In coming to serious terms with a film,
    much more is being required by us
    • Some sorts of literature are more susceptible to
    screen adaptations than others
    • McFarlane - complex and difficult novels and plays
    are not unamenable to film adaptation, but require
    the most intelligent and resourceful talents to
    address the issue
    • Films are not as subtle or complex as the novel
    • McFarlane – their literary training had equipped
    them to recognize subtlety and complexity in the
    verbal medium but not in the film
    • Along with literary training , a requirement for
    studying lit-to-film adaptation is also at the least a
    basic understanding of how film works, and not only
    how film works, but how filmmaking works
    • Written word not merely preceded but (invariably)
    outranked the audiovisual moving image
    • McFarlane – study after study has determined that it’s
    important for children to have books read to them, to
    develop an association between words on a page and
    words spoken
    • When children are being read to, they love to ask
    questions, or point out pictures, and the adult might
    respond correspondingly
    • The film has its value, but saying not nearly ready for an
    entirely image-based and voice-recognition-based society
    • McFarlane – it might be more helpful to consider
    what film and literature have in common than
    either to require film to ‘reproduce’ the experience
    of the book … or to insist simply on the autonomy
    of the film
    • Compatibility between novel and film
    • McFarlane - In semiotic terms, it is perhaps true to
    say that, in the novel and immeasurable more so in
    the film, the gap between the signifier and the
    signified is narrower than it is in drama or poetry …
    in both cases the imagination is kept active in
    creating this world, whether by a conceptualizing
    based on the words given on the page or by a
    conceptualizing based on the diverse perceptual
    information taken in while watching the screen and
    listening to the soundtrack.
    • Either reading a novel or watching a movie, you
    enter a different world, an alternate universe
    • McFarlane – film has its own codes: we are required
    to distinguish to length of shot, distance of action
    from the camera, angles from which the action is
    viewed, the kinds of editing employed … these all
    signify differently; [so that] … it is hard to maintain
    that accessing the information of film narration is a
    pushover compared to the serious reading of a
    literary text.
    • Robert Stam – only in present as we view it in front
    of our eyes to take place
    • McFarlane – novels are characteristically narrated in
    the past tense and the film is always happening in
    the present tense
    • Leitch – intertextuality
    • McFarlane - intertexts within a text
    • He also refers to the texts we bring with us when
    we read a text
    • The way we respond to any film will be in part the
    result of those other texts and influences we
    inescapably bring to bear on our viewing
    – Read a novel, Watch a movie, Read a novel

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