LiteraturaLiteratura

InglesaInglesa

DE CINE DE CINE

““The Cinema is a much more The Cinema is a much more momentous invention than momentous invention than printing was. Before printing printing was. Before printing could affect you, you had to could affect you, you had to learn to read; and until 1870 learn to read; and until 1870 you mostly had not learned to you mostly had not learned to read. But even when you had, read. But even when you had, reading was not a practical reading was not a practical business for a manual business for a manual laboreer. Ask any man who laboreer. Ask any man who has done eight or ten hours has done eight or ten hours heavy manual labor what heavy manual labor what happens to him when he happens to him when he takes up a book. He will tell takes up a book. He will tell you that he falls asleep in you that he falls asleep in less than two minutes. Now, less than two minutes. Now, the cinema tells its story to the cinema tells its story to the illiterate as well to the the illiterate as well to the literate…And that is why the literate…And that is why the cinema is going to produce cinema is going to produce effects that all the books in effects that all the books in the world could never the world could never produce.”produce.”

(Bernard Shaw, (Bernard Shaw, 1912)1912)

Visual TripVisual Trip

roundround

English English

Literature Literature

AdaptedAdapted

into Filmsinto Films

MAKING MAKING

FILMSFILMS

Poster for the cinématographe (1895))

The Jazz SingerThe Jazz Singer, Alan Crosland (1927), Alan Crosland (1927)

Shooting a scene at the Warner Bros. studio

Charlie Chaplin Charlie Chaplin

ShawShaw

Devis Devis

Louis B. Mayer Louis B. Mayer

Clark GableClark Gable

POETRYPOETRY

INTOINTO

FILMSFILMS

The Canterbury Tales, The Canterbury Tales, Geofrey Chaucer (1387)Geofrey Chaucer (1387)

Pier Paolo Pasolini (1971)Pier Paolo Pasolini (1971)

DraculaDracula, , Bram Bram Stocker Stocker (1887)(1887)

The Rhyme of The Rhyme of the Ancient the Ancient MarinerMariner,,S. T. S. T. Coleridge Coleridge (1798)(1798)

Nosfearatu, F.W. Murnau (1922)

The Sentimental Bloke, Longford (1919)The Sentimental Bloke, Longford (1919)

Australian cockney verseAustralian cockney verse

Over the Hill to the Poor House, Over the Hill to the Poor House, W.Carleton (1832)W.Carleton (1832)

William FoxWilliam Fox

September 18, 1920

Seldom has a motion picture been so deliberately sentimental as this one. Its assault upon the emotions is undisguised and sweeping.

Henry Millarde (1920)

Theda BaraTheda BaraA Fool There wasA Fool There was, Frank Powell (1919), Frank Powell (1919)

vamp_n. 1 an unscrupulous flirt. 2 a woman who uses sexual attraction to exploit men. _v. 1 tr. allure or exploit (a man). 2 intr. act as a vamp.

Etymology abbr. of VAMPIRE"The Concise Oxford Dictionary,"

The VampireThe Vampire, Rudyard Kipling (1888-89), Rudyard Kipling (1888-89)

We are the hollow menWe are the stuffed menLeaning togetherHeadpiece filled with straw.

The Heart of Darkness, The Heart of Darkness, J. Conrad ( 1902)J. Conrad ( 1902) The Hollow Men, The Hollow Men, T. S. Eliot (1925)T. S. Eliot (1925)

Francis Ford Coppola (1979)

FILMS FILMS

FROMFROM

ENGLISHENGLISH

PLAYSPLAYS

Richard III, Richard III, William Shakespeare (1595)William Shakespeare (1595)

Laurence Olivier (1955)

Henry V, Shakespeare (1599)Henry V, Shakespeare (1599)

Lawrence Olivier (1955)

Kenneth Branagh (1989)

Romeo and JulietRomeo and Juliet, William Shakespeare (1595), William Shakespeare (1595)

Baz Luhrmann (1996)

Hamlet, Hamlet, William Shakespeare (1601)William Shakespeare (1601)

Laurence Olivier (1948)

Julius Caesar, Shakespeare (1599)Julius Caesar, Shakespeare (1599)Macbeth, Shakespeare (1602-1604)Macbeth, Shakespeare (1602-1604)

Mankievicz (1953)

Roman Polansky (1971)

Othello,Othello, William Shakespeare (1602-1604) William Shakespeare (1602-1604) King Lear, William Shakespeare (1604-1606)King Lear, William Shakespeare (1604-1606)

Akira Kurosawa

(1985)

Oliver Parker (1995)

The Importance of Being EarnestThe Importance of Being Earnest, Oscar Wilde , Oscar Wilde (1895)(1895)

Anthony Asquith (1952)

PygmalionPygmalion, Bernard Shaw (1914), Bernard Shaw (1914)

Anthony Asquith (1938)

George Cukor (1964)

Look Back in Anger, John Osborne (1956) Look Back in Anger, John Osborne (1956) The Entertainer, John Osborne (1958)The Entertainer, John Osborne (1958)

Tony Richardson (1960)

Tony Richardson (1958)

FILMS FILMS

FROMFROM

AMERICANAMERICAN

PLAYSPLAYS

Greta Garbo

Anna ChristieAnna Christie, Eugene O’Neill (1920), Eugene O’Neill (1920)The The Iceman Cometh,Iceman Cometh, Eugene O’Neill (1939 Eugene O’Neill (1939))

Clarence Brown (1930)

Frankenheimer (1973)

AA Streetcar Named DesireA Streetcar Named Desire, T. Williams (1947), T. Williams (1947)Cat on a Hot Tin Roof, Cat on a Hot Tin Roof, T. Williams (1954)T. Williams (1954)

Elia Kazan (1952)

Richard Brooks (1958)

Death of a SalesmanDeath of a Salesman, Arthur Miller (1949), Arthur Miller (1949)

Laslo Benedek (1951))

Who's Afraid of Virginia Woolf?Who's Afraid of Virginia Woolf?Edward Albee Edward Albee (1962)(1962)

.Mike Nicholson (1966)

FILMS FILMS

FROMFROM

ENGLISH ENGLISH

NOVELSNOVELS

Le Morte D’ArthurLe Morte D’Arthur, Tomas Malory (1485), Tomas Malory (1485)

Excalibur, John Boorman (1981)

Tom JonesTom Jones, Henry Fielding (1749), Henry Fielding (1749)

Tony Richardson (1963)

Sense and SensibilitySense and Sensibility, Jane Austen (1811), Jane Austen (1811)Pride and PrejudicePride and Prejudice, Jane Austen (1813), Jane Austen (1813)

Ang Lee ( 1995).

Robert Z. Leonard (1940)

FrankensteinFrankenstein, Mary Shelley (1818), Mary Shelley (1818)

.John Whale (1931)

Wuthering HeightsWuthering Heights, Emily Bronte (1837), Emily Bronte (1837)

) William Wyler (1939) William Wyler (1939)

David CopperfieldDavid Copperfield, Charles Dickens (1849), Charles Dickens (1849)

George Cukor (1935)

..Alice in WonderlandAlice in Wonderland, Lewis Carroll (1865), Lewis Carroll (1865)

Walt Disney (1951)

The Man Who Would Be KingThe Man Who Would Be King,,

Rudyard Kipling (1892)Rudyard Kipling (1892)

John Huston (1975)

DraculaDracula, Bram Stocker (1897), Bram Stocker (1897)

Tod Browning (1931)

The Secret AgentThe Secret Agent, Joseph Conrad (1907), Joseph Conrad (1907)

Sabotage / A Woman Alone, Hitchcok (1936)

Women in LoveWomen in Love, D.H. Lawrence (1920), D.H. Lawrence (1920)

Ken Russell (1969)

D.H. D.H. Lawrence (1920

A Room with a ViewA Room with a View, E.M. Forster (1908), E.M. Forster (1908)

.James Ivory (1985)

Dubliners (The Dead )Dubliners (The Dead ), James Joyce (1914), James Joyce (1914)

.The Dead, John Huston (1987)

The Third ManThe Third Man, , Graham Greene (1950)Graham Greene (1950)

Carol Reed (1949)

FILMS FILMS

FROM FROM

AMERICANAMERICAN

NOVELSNOVELS

The Last of The Last of tthe Mohicanshe Mohicans, Fenimore Cooper (1826), Fenimore Cooper (1826)

Michael Mann (1992)

The Scarlet LetterThe Scarlet Letter, Nathaniel West (1850), Nathaniel West (1850)

Victor Seastrom (1926)

Moby Dick, Moby Dick, Herman Melville (1851)Herman Melville (1851)

Billy BuddBilly Budd, Herman Melville (p p.1924), Herman Melville (p p.1924)

John Huston (1956)

Peter Ustinov (1962)

Little WomenLittle Women, Louisa May Alcott (1868-1869), Louisa May Alcott (1868-1869)

George Cukor (1933)

Gilliam Armstrong (1995)

The BostoniansThe Bostonians, Henry James (1886), Henry James (1886)

.James Ivory (1984)

The Age of InnocenceThe Age of Innocence, Edith Wharton (1920), Edith Wharton (1920)

Martin Scorsese (1993)

The Big SleepThe Big Sleep, Raymond Chandler (1939), Raymond Chandler (1939)

.Howard Hawks (1946)

Intruder in the DustIntruder in the Dust, William Faulkner (1948), William Faulkner (1948)

.Clarence Brown (1948)

For Whom the Bell TollsFor Whom the Bell Tolls, Ernest Heminway (1940), Ernest Heminway (1940)

Sam Wood (1943)

Gone with the WindGone with the Wind, Margaret Mitchell (1936), Margaret Mitchell (1936)

Victor Fleming & others (1939)

The Grapes of WrathThe Grapes of Wrath, John Steimbeck (1939), John Steimbeck (1939)Of Mice and MenOf Mice and Men, John Steimbeck (1937), John Steimbeck (1937)

John Ford (1940)

Gary Sinese (1992)

ADAPTATIONSADAPTATIONSare not copies but imitations in the are not copies but imitations in the sense established by Coleridge who sense established by Coleridge who stated in his work stated in his work On Poesy or ArtOn Poesy or Art: : “In an imitation a certain quantum “In an imitation a certain quantum of difference is essential ... and an of difference is essential ... and an indispensable condition and cause indispensable condition and cause of the pleasure we derive from it, of the pleasure we derive from it, while in a copy it is a defect, while in a copy it is a defect, contravening its name and contravening its name and purpose.”purpose.” So we shouldn’t claim So we shouldn’t claim that the literary work is not found that the literary work is not found in a film since it has been adapted. in a film since it has been adapted. It is not very clever to say that films It is not very clever to say that films are not books.are not books.

TO BE TO BE

CONTINUED...CONTINUED...