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剑桥雅思12Test8Section3听力答案解析 presentation on film adaptation of Shakespeare’s plays

剑桥雅思12Test8Section3听力答案解析 presentation on film adaptati […]

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剑桥雅思12 Test8 Section3听力答案解析

第21题答案：classification

对应原文：And in one of his books he came up with a  straightforward   classification  of film adaptations based on how faithful they are to the original plays and novels.

答案解析：听到books意识到答案即将到来，根据空与adaptations所构成的所有格关系，确定答案为classification。

第22题答案：worst

对应原文：I thought that next I’d ask the class to come up with the  worst  examples of Shakespeare adaptations that they’ve seen

答案解析：听到ask class意识到答案即将到来，空前词suggest对应come up with，再加上从题干可以推测出空上应该填一个形容词，因此锁定worst。

第23题答案：slides

对应原文：   OK, well, I’d better do some slides instead, saying how various films relate to what she says

答案解析：前一单元格的Rachel Malchow离答案较远，我们只能根据问答节奏去定位答案所在的句子。空前词prepare与do同义替换，some原词出现，由此锁定slides为正确答案。

第24题答案：issues

对应原文：Next I want to say something about how plays may be chosen for  adaptation  because they’re concerned with issues  of the time when the film is made.

答案解析：听到next意识到录音进行到第24题，虽然听力原文并没有体现并列关系，但根据词性，以及后面的at the time of…依然可以锁定issues为正确答案。

对应原文：That’s right. It was a very loose  adaptation , using the same situation and story, but moving it to 16th century Japan instead of 16th century Britain

答案解析：原文提到，Ran将原本发生于16世纪英国的故事挪到16世纪的日本，即更换了国家，由此确定答案为F。

对应原文：And I think filming it in Italy, where the play is set, makes you see what life was like at the time of the play

答案解析：录音提到，Much Ado About Nothing拍摄于意大利，让人们能够看到当时的生活是怎么样的。其中当时对应A选项中的historical period，由此确定答案。

对应原文：Er, next. I thought Romeo & Juliet, the 1996 film, which moves the action into the present day

答案解析：录音中提到，1996年的罗密欧与朱丽叶，将剧情时间挪到了现在。由此确定E为正确答案。

对应原文： but I’ve picked the 1996 film of  Hamlet .  It included every line of the text，but it’s more like a typical action hero movie 

答案解析：原文中提到，1996年的哈姆雷特虽然包含了文本中的每一句台词，但它更像是典型的动作电影。对应C选项another kind of film，由此锁定答案。

对应原文：Didn’t it include dance and singing and  animation  as well as live actors

答案解析：原文中提到，Prospero’s Books在演员之外，还有舞蹈，歌唱和动画，即采用了各种艺术形式，由此确定G为正确答案。

对应原文：But I’ve read about it. It was a blend of a  documentary  with a few scenes from Richard III, wasn’t it

答案解析：原文中提到，Looking for Richard其实是部纪录片，只包含几个来自Richard III的场景，由此确定B为正确答案。

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A Definitive List of the Best Shakespeare Film Adaptations

Julia Rittenberg

Julia is a professional nerd who can be spotted in the wild lounging with books in the park in Brooklyn, NY. She has a BA in International Studies from the University of Chicago and an MA in Media Studies from Pratt Institute. She loves fandom, theater, cheese, and Edith Piaf. Find her at juliarittenberg.com .

View All posts by Julia Rittenberg

There is nothing I miss more right now than live theatre. At the beginning of lockdown, I took advantage of the National Theatre’s pro-shot productions that they released on YouTube. (Their production of A Midsummer Night’s Dream with Gwendoline Christie as Titania/Hippolyta is one for the history books.) St. Ann’s Warehouse also made the Phyllida Lloyd–directed all-female Shakespeare trilogy available for streaming. However, watching these theatre productions from my apartment made me depressed and miss the theatre even more, so I turned to the cinematic universe of Shakespeare film adaptations.

William Shakespeare’s plays are nearly all based on myths, history, and other stories that he brought to life with his fantastic words—there are 410 adaptations on film and television of his works. A lot of film adaptations of his work attempt to re-contextualize these plays into the contemporary moment, while others focus on doing the plays as written in the “original” time period. There are merits to both methods, but it’s not really about the set design—it all depends on the strength of the actors. There are movies set in modern times where an actor might deliver Shakespeare speeches in a deadly dull fashion, and movies set in Shakespearean times where the dull scenes are brought to life by excellent acting and cinematography.

Although I’m a bit of a Shakespeare purist (in terms of the language, not the all-male cast element), I think some of the best Shakespearean film adaptations just give Shakespeare a “story by” credit and go in a completely different direction. The ‘90s and early 2000s were a big time for these kinds of adaptations that use Shakespeare as a launching pad, from Disney to raunchy teen comedies. There are plenty of interpretations for every kind of fan. These films are perfect for a nostalgic watch night or a missing-theatre sort of night.

Original Language Shakespeare Adaptations

Othello Directed by Trevor Nunn (1990)

With Willard White as Othello and Ian McKellen as Iago, this is a must-see production. Adapted from a stage version, this is very clearly a play that was reformatted for television release. They move the setting to Cyprus, and all of the characters look like they stepped out of the American Civil War. If you’re like me and first found Ian McKellen as Gandalf and Magneto, it’s extremely exciting to see him as an intensely conniving villain. Sir Willard White is a similarly electrifying actor who brings a nuanced performance to the role of Othello. What else can I say? British actors are generally very good at Shakespeare.

Romeo and Juliet Directed by Franco Zeffirelli (1968)

This version sets itself in the period of the original play and hews closely to the classic ideal of a Shakespeare production. However, it was sort of an outlier at the time because it was the first production to use teenage actors close to the age that they were supposed to be portraying, hence its major popularity among teenagers. Leonard Whiting and Olivia Hussey have amazing chemistry and speak the lines with a kind of ease that makes the movie come alive.

Much Ado About Nothing Directed by Joss Whedon (2012)

Although Whedon has been continuously chipping away at his reputation for the past several years, this adaptation of “Much Ado” still numbers among my favorites. Shot in black and white in 12 days, the movie has an intimacy that often missing when film productions go hard on the period set design. Set in modern times with a bunch of favorite actors from Firefly , Avengers , and Angel , the movie sticks close to the original characters and language. Since the actors seem so comfortable with each other, it really does feel like a weekend trip where everyone gets a little drunk and loose. There’s very little capital-A acting (outside of the one scene where it’s revealed that Hero might have had sex) so it’s a perfect cozy couch watch.

Titus Directed by Julie Taymor (1999)

Shakespeare’s bloodiest revenge play ( Titus Andronicus ) gets the surrealist treatment from Julie Taymor. Starring Anthony Hopkins, Jessica Lange, Alan Cumming, and a bunch of puppets, the movie goes hard on the generational trauma of war and how it breeds constant bloodshed, even off the battlefield. Taymor also plays with presentation, confusing her audience about the time period and setting. There isn’t a happy ending waiting at the end of all of this bloody business, but it’s a good tragedy to watch on a dark and stormy night.

Shakespeare as a Starting Point

Ran Directed by Akira Kurosawa (1985)

If you’re in the mood for a cinephile, extra dramatic, war tragedy sort of movie, this is the one for you. Adapted from King Lear , Kurosawa’s interpretation has three sons who turn against their aging warlord father, Ichimonji Hidetora. Despite the gender swap, the story hews pretty closely to the tragic story of the original play. Kurosawa focuses in on the horrors of war and the general chaos that power causes. The samurai imagery is also hugely influential—it’s one of those movies that rewards many watches, like Shakespeare rewards rereads.

Rosencrantz & Guildenstern Are Dead Directed by Tom Stoppard (1990)

Based on the play by Tom Stoppard, this film adaptation takes the perspective of the side characters who die offstage in Hamlet . If you’ve ever mocked Hamlet for having wild plans and no follow through, this is probably the movie for you. Rosencrantz (Gary Oldman) and Guildenstern (Tim Roth) have big parts to play in Hamlet , but it’s mostly offstage. This is an absurdist take on Hamlet and the horror of existence in general. Most of what happens in the play occurs in between Hamlet scenes from Rosencrantz’s and Guildenstern’s perspective, so it’s perfect for true Hamlet heads.

The Lion King Directed by Roger Allers and Rob Minkoff (1994)

This cartoon lion epic is the definitive Hamlet interpretation of the 20th century. That might be an overstatement, but this is certainly among the most widely known. Moving the drama of Elsinore to the Pride Lands, the movie starts with a bit more explanation about the kingdom and why we should care about the father Mufasa’s death that kicks Simba into action, as opposed to starting with Hamlet’s depression. Jeremy Irons as Scar takes the Claudius character in both hilarious and evil directions, and he’s afforded more explanation for his evil plan in the iconic song “Be Prepared.” For this adaptation, they chose to focus mostly on the family drama and eschew most of Hamlet’s failed plans in Simba’s journey—he fights Scar and the hyenas directly in the first place instead of testing Scar with a play (although I would have loved to see Simba set up a play to incite guilt in Scar and prove his evil).

She’s the Man Directed by Andy Fickman (2006)

Twelfth Night gets a pretty faithful adaptation in the form of this high school comedy. The cross-dressing premise leads to delightfully overdone explorations of boys vs. girls, especially in Amanda Bynes’s performance as Viola Hastings. This movie that furthered the rise of Channing Tatum as Duke Orsino, which is a great service. Viola impersonates her brother Sebastian for two weeks in order to play soccer at Illyria, and her rise to popularity as her brother is also pretty fun and campy. At the end, the point is that Viola can not only play soccer as well as the boys, but also that being a boy for a little bit helped her be more comfortable as a girl.

10 Things I Hate About You Directed by Gil Junger (1999)

This reimagining of The Taming of the Shrew is much easier and more pleasant to watch than a straight reading of the play. Patrick Verona (Health Ledger) is a far more handsome and sympathetic version of Petruchio, and Kat (Julia Stiles) gets to have more adventures and explanations about what she wants and who she is outside of her relationship and prickly personality. It’s a teen classic for good reason, with some great Shakespeare nerd jokes thrown in.

Shakespeare Regenerated

There are so many Shakespeare adaptations that you could do lists ranking the adaptations of individual plays and occupy yourself for months. What is frustrating about cinematic Shakespeare adaptations is that they’re still pretty white and heterosexual. Experimental theatre tends to push the gendered and racial boundaries of Shakespeare. It’s pretty easy for a small theatre company to put on a diverse, prop-spare production of a Shakespeare play, since they’re all in the public domain and don’t require licensing fees. Like my dad always says, constraint is the soul of creativity, which is why so many theatrical Shakespeare productions are fun. The movies are helping ease the lack of theatre. Shakespeare movies are a different beast and do require a fair amount of reimagining to work as movies instead of just filmed plays, and there are so many great ones to choose from. Although I didn’t include Kenneth Branagh on this particular list, all of his Shakespeare adaptations are extremely well done.  

Now that William Shakespeare has received the COVID-19 vaccine , who knows will Shakespeare adaptations will go? I imagine there will be a Shakespeare adaptation set in a house or quarantine pod where all of the actors slowly degenerate into madness while speaking the Bard’s famous words. If you still have the Shakespeare itch, dive into his many amazing puns and a whole series of articles about great Shakespeare retellings .

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What Is an Adaptation?

• ADAPTING SHAKESPEARE

     A film adaptation transfers a dramatic or literary narrative to the cinematic form. Far from being “derivative” or a secondary form of art, film adaptations are highly original artistic ventures. An adaptation achieves far more than simply visualizing a textual narrative. The following diagram shows one of the misconceptions about adaptation, with a so-called original text on the left and a “product,” a film adaptation, on the right. 

     Scholars such as Thomas Leitch, Linda Hutcheon, and Robert Stam have regarded adaptation as a dialogic process. Adaptations of literature are in dialogue with pressing social issues of our times and with past literary masters. 

     The following non-hierarchical honeycomb diagram shows what really happens in adaptation. As shown by the diagram, an adaptation is part and parcel of many texts, intertexts, and pragmatic concerns. The so-called “original” text is merely one part of this network of cultural resources rather than a point of origin for artistic creativity.

     When there are multiple adaptations of the same story, these adaptations form a network of cross-references and enter into intriguing conversations with one another. Adaptation may even form a self-reinforcing feedback loop, as shown by the following diagram. What is perceived to be canonical or important will be more frequently performed and adapted. The stories that are more frequently adapted will then become better known and more widely circulated. As a result, these stories will become more canonical. 

     Therefore, it is more productive to examine adaptations as works of art in their own right rather than to conduct a survey of how “faithful” an adaptation may be to the “original.” Think of film adaptation as a vital part of an ongoing dialogue with history.

Examples of Film Adaptation

     Examples of film adaptations of distinguished or historically important works include Greta Gerwig’s adaptation of Louisa May Alcott’s novel Little Women (2019), Steve McQueen’s Twelve Years a Slave (2014 Oscar Best Picture award), based on the abolitionist Solomon’s memoir, Cary Fukunaga’s 2011 Jane Eyre , based on Charlotte Brontë’s novel, Ang Lee’s Sense and Sensibility in 1995, based on Jane Austen’s novel, Robert Zemeckis’ Forrest Gump (1994), an award-winning adaptation of Winston Groom’s novel, and Baz Luhrmann’s 2014 The Great Gatsby, based on F. Scott Fitzgerald’s novel.

     Literature has always been a source of inspiration for the film industry. In fact, when film was invented, the genre competed with theatre as high art. Filmmakers drew on classical literature to legitimize their creative work. The literary canon is seen as a proven source of archetypal stories with enduring cultural resonance.

     Film adaptation is both a trans-historical and trans-genre enterprise. Adaptations may change the historical setting of the works. Adaptations may also change the genre from a novel to a narrative film, or from tragedy to parody.

Your Turn : What is your favorite film that is an adaptation? Why?

Film Adaptations of Shakespeare

     In particular, Shakespeare’s words have often been used as proof of concept or launch material for new technologies, such as radio and early cinema. Shakespeare played an important role in the birth of film as an art form. Directors of silent film drew on the canonicity of Shakespeare to validate and legitimize their new art form when only theatre was widely regarded as highbrow. 

     The history of Shakespeare on film begins with the invention of film as a new medium in the late nineteenth century! The history of Shakespeare parallels the history of film. Samuel Crowl divides the history of Shakespeare on film into the phases of

• Silent film era
• Hollywood’s early experiments with sound
• An international expansion of Shakespearean filmmaking after World War II (notable directors include Laurence Olivier and Orson Welles)
• The golden age of televised Shakespeare
• The age of commercial feature films in late 20th century. 

     Here is an example from 1909, a silent film adaptation of A Midsummer Night’s Dream . 

A Midsummer Night’s Dream , a silent film co-directed by Charles Kent and J. Stuart Blackton in 1909. Source: Vitagraph.

In 1944, Laurence Olivier produced the first screen adaptation of Henry V to encourage British patriotism during World War II. In contrast to his predecessors who primarily filmed stage productions, Olivier—as an established actor but a first-time film director—designed his film to be “cinematic” in the sense that he treated film not as a documentary tool of the stage but as a comprehensive art consisting of camera work, blocking, soundtrack, and many other elements.

There are now hundreds of films that are based on or have been inspired by Shakespeare’s comedies, tragedies, and history plays. There are ready audiences eager to see their favorite stories on screen. Film adaptations do not so much “replicate faithfully” what Shakespeare wrote. Rather, films give us new pathways into familiar stories and thereby shed new light on what we took for granted.

Here is a short lecture on the history of Shakespeare on film by Professor Joubin. The lecture covers the key phases of adapting Shakespeare to screen.

     Adaptations may shift the perspective through which a well-known story is told. Claire McCarthy re-told the story of Hamlet from the perspective of his love interest, Ophelia, in her 2018 Ophelia,  a feminist retelling of the famous character from  Hamlet . The film is based on Lisa Klein’s novel  and stars  Daisy Ridley  (of  Star Wars fame; she played female Jedi Rey Skywalker ).

Claire McCarthy’s Ophelia (2018)

Adaptations may also amplify historically suppressed themes within a story, often with artistic flourishes such as dramatic lighting or music. An example is the emphasis on feminism and Romeo’s “soft masculinity” as performed by Leonardo DiCaprio in Baz Luhrmann’s William Shakespeare’s Romeo + Juliet (1996).

Your Turn : What are the challenges in adapting canonical literature to the screen?

Further Reading

• Cartmell, Deborah, ed. A Companion to Literature, Film, and Adaptation . Hoboken, NJ: Blackwell, 2012.
• Desmet, Christy, Sujata Iyengar, and Miriam Jacobson, eds., The Routledge Handbook of Shakespeare and Global Appropriation . London: Routledge, 2019.
• Hutcheon, Linda.  A Theory of Adaptation , 2nd edition.  London: Routledge, 2012.
• Iyengar, Sujata.  Shakespeare and Adaptation Theory .  London: Bloomsbury, 2023.
• Leitch, Thomas. Film Adaptation and Its Discontents: From Gone with the Wind to The Passion of the Christ . Baltimore: Johns Hopkins University Press, 2007.
• Sanders, Julie. Adaptation and Appropriation , 2nd edition. New York: Routledge, 2015.

BERKELEY FICTION REVIEW

From Pages to Premiers: The Case for Book To Movie Adaptations

The book is always better than the movie. Everyone knows that. But what if that’s not the point? 

From the saturation of book-based rom coms on Netflix to the high-production Hollywood book-adapted films that seem to pop out every month, it feels like book-adapted movies are a fairly recent 2000’s phenomenon. On the contrary, this film genre actually made its mark in media history over a century ago. 

The first recorded film based on literature was the 1899 movie Cinderella , directed by French director Georges Méliès in 1899. The film was adapted from the original Cinderella text written by French author Charles Perrault and was the first ever film adaptation of the classic tale. 

As the decades rolled on, more adaptations started to arrive on the silver screen. This resulted in the creation of a whole new film genre. Eventually, these adaptations became academy-award winning, iconic titles such as The Godfather I and II (1972 and 1974), Jaws (1975), Schindler’s List (1993) and Fight Club (1999)—each based on books of the same name. 

With this popularity came the now age-old debate: are the books better than the movies?

Past the 1900’s, popular book-to-movie adaptations included defining titles of the young adult literature genre, including the Harry Potter, Twilight, and Divergent series. The existence of these movies has defined pop culture history, and fan bases and fantastical worlds of these series have taken on lives of their own. With this popularity came the now age-old debate: are the books better than the movies? Though the discourse tosses and turns, the short answer to that question is always yes. But so what? 

Books and movies have often been pitted against each other as conflicting forms of media, especially when the latter is derived from a preexisting piece of literature. Some argue against its necessity—what’s the point of making books into movies? It seems like with the recent mass production of book-adapted films and series, quantity is prioritized over quality to satisfy fans. With the media oversaturation of book-based movies and series, it’s only expected for a debate regarding the devaluation of literature to emerge.

For some, compromising a book’s essence to fit ninety minutes of screentime is a crime against the original text. Characters are distorted and plot points are morphed, betraying the original soul of the story. Should literature be kept just that, literature, in order to preserve the narrative in its purest art form? Is fan service worth the warped adaptations of initially wonderful stories? 

For the longest time, I have been the book’s strongest defender in this debate. To me, books are always better, no debate is even warranted. But as I started to grow as a reader, writer, and conscious consumer of all forms of media, I soon realized it doesn’t really matter. 

But as I started to grow as a reader, writer, and conscious consumer of all forms of media, I soon realized it doesn’t really matter.

Art lives to be loved. If turning books into movies makes these stories more accessible, leading more people to love the tales being told, what’s the harm? 

It is almost unbelievable, the way that transforming books into movies ensures the immortality of the original text. What is on the internet stays on the internet forever, and for book-adapted movies, this is a good thing. They take on a life of their own. From Harry Potter to Twilight, most of these young adult series have shaped childhoods (including mine!). They inspired a love for stories within budding brains. Their movies spark a sense of curiosity and fantasy, and even encourage viewers to read. If you think the movie was good, wait till you read the book!

I remember being a part of these fantasy worlds and escaping into the movies and books with my friends. It was the purest form of excitement, and the popularity of these books and collective universes would not have been possible without its evolution into movies. By becoming large scale franchises, these books became worldwide phenomena. With that, they were able to take even more fans under their wing—to invite more people to love the stories being told.

Even when the movies are so terrible they are shunned for existing (not looking at you at all, Percy Jackson), the discourse it inspires only markets the original text. The debate becomes an endearing aspect of the book’s culture, and the excitement around the books live on.

As someone who loves escaping into the make-believe world of books and movies, the line between them has always been the most exciting to walk. The anticipation of seeing characters I’ve imagined come to life on screen and the teetering between satisfaction and disappointment is a process I always enjoy no matter the outcome.

Instead of just one version of the story, there are multiple that take on narratives of their own.

Turning these books into movies means making these worlds infinite. Instead of just one version of the story, there are multiple that take on narratives of their own. For instance, the infamous discrepancy between the way Dumbledore calmly questioned Harry in the Goblet of Fire, as the book says, and the way it was portrayed in the movie (who can forget “HARRY DID YAH PUT YAH NAME IN DA GOBLET OF FIYA!!”)

Adapting books into movies also means a new chance at diversifying and refreshing outdated plot values. Iconic books, though well-loved, are often written from western-centric and patriarchal perspectives with little or no space for diverse characters. Adapting these stories into modern movies means getting the chance to retain the heart of the story while refreshing it to be more inclusive. For instance, Hollywood’s most recent adaptation of the 1965 sci-fi novel Dune by Frank Herbert starring Timothee Chalamet and Oscar Isaac—though remained mostly faithful to the original text—included some significant casting differences in an efforts to be more inclusive. The character of Liet Kynes, originally written to be a white male, was gender swapped and played by Black actress Sharon Duncan-Brewster in the 2021 adaptation. The character of Chani, originally portrayed by white actress Sean Young in the 1984 production of Dune, was recast and played by Black actress Zendaya. In this case, it is clear to see how adapting books into movies gives young, diverse audiences the chance to see people like themselves playing the characters they love. 

And when did catering to fans become bad practice? Isn’t pleasing the audience and inspiring excitement the very point of these movies? Turning books into movies intensifies the existing adoration for these stories. The way I see it, the existence of these movies bring about so much good that the quality of them doesn’t matter in comparison. Art lives to be loved, and isn’t it a good thing that there is more to love in the world?

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Published by Vicky Chong

Vicky Chong is a senior at UC Berkeley who has written for the Berkeley Fiction Review, the Daily Californian, and Tatler Magazine Malaysia. Her favorite things include (in no particular order) dim sum, bathrobes, and chinchilla Instagram accounts. She can be found on Instagram herself @v1ckychong. View all posts by Vicky Chong

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Questions 1-4  Listen from here

Complete the table below.

Write ONE WORD ONLY for each answer.

Presentation on film adaptations of Shakespeare’s plays

Questions 5-10  listen from here.

What do the speakers say about each of the following films?

Choose SIX answers from the box and write the correct letter, A-G , next to questions 5-10 .

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Film Studies

• Introduction
• Basic information on film
• Finding a specific film title
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Subject Librarian

Other library resource(s)

These are resources for actual scripts.

Internet resource(s)

Keeping up with the journal literature

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Don't own or use a mobile device? You can still use BrowZine! It's now available in a web version. You can get to it here . The web version works the same way as the app version. Find the journals you like, create a custom Bookshelf, get ToCs and read the articles you want.

A definition for 'Adaptation' & a mention of Shakespeare

A pre-existing work that has been made into a film. Adaptations are often of literary or theatrical works, but musical theatre, best-selling fiction and non-fiction, comic books, computer games , children’s toys, and so on have also been regularly adapted for the cinema. Adaptations of well-known literary and theatrical texts were common in the silent era ( see silent cinema ; costume drama ; epic film ; history film ) and have been a staple of virtually all national cinemas through the 20th and 21st centuries. Bram Stoker’s Dracula (1897) and Arthur Conan Doyle’s Sherlock Holmes stories (1887–1927) have been adapted in a range of national contexts but probably the most adapted author is Shakespeare, whose plays have appeared in film form as a large-budget Hollywood musical ( West Side Story (Jerome Robbins and Robert Wise, US, 1961)), a historical epic set in feudal Japan ( Kumonosu-jo / Throne of Blood (Akira Kurosawa, Japan, 1957)), a Bollywood musical ( Angoor (Gulzar, India, 1982)), and a children’s animation ( The Lion King (Roger Allers and Rob Minkoff, US, 1994)), to name but a few. Adaptations often sit within cycles associated with a particular time and place, as with the British heritage film in the 1980s ( see cycle ). It is claimed that adaptations account for up to 50 per cent of all Hollywood films and are consistently rated amongst the highest grossing at the box office , as aptly demonstrated by the commercial success of recent adaptations of the novels of J.R.R. Tolkien’s Lord of the Rings trilogy and J.K. Rowling’s Harry Potter series. Other varied US adaptations include: computer games ( Resident Evil (Paul W.S. Anderson, 2002)), graphic novels ( Ghost World (Terry Zwigoff, 2001)), comic books ( The Avengers (Joss Whedon, 2012)); see also cinematic universe ; superhero film ), and children’s toys ( Transformers: The Last Knight (Michael Bay, 2017)). A number of films also display a certain level of self-reflexivity regarding the process of adaptation, as can be seen in Adaptation (Spike Jonze, US, 2002) and The LEGO Movie (Phil Lord and Christopher Miller, 2012). A property ripe for adaptation is referred to as pre-sold ; older works in particular are attractive to film producers because they are often out of copyright ( see deal, the ).   ...

Kuhn, A., & Westwell, G. (2020).  Adaptation . In  A Dictionary of Film Studies . Oxford University Press. Retrieved 31 Aug. 2022

In the Library's collections

The following are useful subject headings for searching the online catalog. The searches are limited to Shakepeare's Macbeth and King Lear . You can browse the collection in the PR 3093 call number range on Baker Level 6 .

• shakespeare william 1564 1616 film adaptations This is an example subject search for adaptations for a specific author.
• shakespeare william 1564 1616 macbeth This subject search will lead you to resources about Macbeth .
• shakespeare william 1564 1616 king lear This subject search will lead you to resources about King Lear .
• polanski roman This subject search for the director finds works about his work.
• godard, jean-luc 1930 - This is a subject search for the director.

Introductory reading(s)

Selected book title(s)

Finding scholarly journal titles & articles

Articles and other writings about Shakespeare adaptations can be found in many publications. Our collection has one journal that looks exclusively at film adaptations, Adaptation . You can use Film & Television Literature Index below to find articles. However, it may be easier to use our new Discovery system at the top of the page. The new system allows you to find all types of articles from magazines to newspapers to journals. You can easily limit your searches within this new system also.

Macbeth & Hamlet adapted on film

Here is a short list of adapted films for King Lear and Macbeth located in the Jones Media Center. To find other adapted Shakespeare titles , use the online catalog.

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Fiction to Film: A Brief History and a Framework for Film Adaptations

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This chapter discusses certain theoretical prospects in film adaptation, addressing the question of narration in fiction and in film by commenting on the differences in approach between Geoffrey Wagner and Dudley J. Andrew and the significance of Brian McFarlane's theory of adaptation from fiction into film. To this end, the chapter offers a structural reading of the narrative using Satyajit Ray's Charulata , which is based on Rabindranath Tagore's novella ‘Noshto Neerh’ (1901), at the level of textual praxis. Andrew emphasizes the sociological significance of adaptation, while Wagner describes three possible modes of adaptation on the basis of Bela Balaz's thesis: transposition, commentary, and analogy. By taking into account both Andrew's socio-cultural and Millicent Marcus's ‘sum total of encounters’, this chapter proves that it is possible to analyse in detail the internal and external dynamics of narration, ideology, and intertextuality in an adaptation.

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Film Adaptations: Strategies for Teaching a Complex Narrative Practice

In his significant work Novels into Film: The Metamorphosis of Fiction into Cinema (1957), George Bluestone notes that the process of making novels into films has been “overtly compatible [yet] secretly hostile” (2). Bluestone prompts us to think of a common reaction we have when watching a film adapted from a favorite novel: “I can’t believe they butchered the book like that!”

Instructors at all levels have an especially difficult task when teaching film adaptations. The term “adaptation,” as it applies to narrative, is one of the most widely-used yet often-confused terms in classrooms. Many instructors often ask the following questions: How can I maximize educational impact when teaching adaptations? Where does one start? Are all adaptations the same? For that matter, what is an adaptation, and what does it look like?

Narrative adaptation, simply put, is the process of interpreting one text for translation into a new text which may or may not be in a different medium. It is widely believed that adaptations are studied only in English classes, where literature-to-film adaptations are prevalent. But we must dispel that belief—adaptations are taught in classes of all kinds, including history, modern languages, psychology, sociology, political sciences (aka “civics”), math, and even the hard sciences such as biology and chemistry, to name but a few. 

It is also widely believed that narrative adaptations are primarily literature-into-film. We must dispel that belief as well. Adaptations exist in myriad forms, including films into literature, literature into plays/musicals, plays/musicals into film, video games into films, films into video games, films into television series, films into new films, and even individual songs into feature-length films. 

One example of the emerging trends in film adaptation studies is the focus on specific genres that oftentimes aren’t thought of as “literature.” For instance, The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Genre , by Liam Burke (UP Of Mississippi, 2016), is a book devoted entirely to comic books adapted into film. In short, the process of “adapting” one text into a new text is a wide-ranging and complex process. 

Teaching adaptations occur in classes of all kinds, including history, modern languages, psychology, sociology, political sciences (aka “civics”), math, and even the hard sciences such as biology and chemistry, to name but a few.

In order to effectively teach film adaptations in the classroom, the instructor should start by focusing on a handful of important issues. In particular, encourage students to:

• Focus on “what’s different” in the narratives (i.e., what does the film have that the book does not, and vice versa?), but realize that this is only a discussion starter—push students out of their comfort zones into more sophisticated conversations;
• Examine the critical receptions of each narrative—how was the book received? How was the film received? What does this say about the effectiveness of the adaptation?
• Identify and reflect upon the choices that the “adapter” made in order to create the film—were these choices financially driven by the film’s budget? Were they driven by the length of the book, causing either radical omission if the book is long or creative addition if the book is short?  Were they driven by national and world political climates?  These are but a few choices to consider; and
• Wrestle with key adaptation issues such as fidelity (i.e., the “faithfulness of the adaption”) and the different degrees of translation, such as faithful vs. radical (i.e., the adaptation bears very little resemblance to the original source material).

In addition, instructors might consult the following works in order to effectively prepare lesson plans and frame class discussions (and student learning outcomes for units that involve adaptations). Considering the need for teachers to stay up to speed on teaching film adaptations, librarians are encouraged to include these types of publications in their collection:

• Novels into Film: The Metamorphosis of Fiction into Cinema (1957), George Bluestone
• Film Adaptation (Rutgers Depth of Field Series) (Rutgers UP, 2000), James Naremore
• Literature and Film: A Guide to the Theory and Practice of Film Adaptation (Wiley-Blackwell, 2004), Robert Stam and Allesandra Raengo (eds.)
• Literature Through Film: Realism, Magic, and the Art of Adaptation (Wiley-Blackwell, 2004), Robert Stam
• Adaptation: Studying Film and Literature (MacGraw-Hill Education, 2005), John Desmond and Peter Hawkes
• Literature into Film: Theory and Practical Approaches (McFarland, 2006), Linda Costanzo Cahir
• The Cambridge Companion to Literature on Screen (Cambridge UP, 2007), Deborah Cartmell and Imelda Whelehan (eds.)
• Film and Literature: An Introduction and Reader , 2nd Ed. (Routledge, 2011), Timothy Corrigan (ed.)
• A Companion to Literature, Film, and Adaptation (Wiley-Blackwell, 2012), Deborah Cartmell (ed.)
• A Theory of Adaptation , 2nd Ed. (Routledge, 2012), Linda Hutcheon (with Siobhan O’Flynn)

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Lesson Plans Using Film Adaptations of Novels, Short Stories or Plays

— with discussion questions and assignments.

For a list of movies frequently shown as adaptations of literary works, see TWM’s Adaptations Index .

Used appropriately, movies based on novels or short stories can supplement units based on the written original, enhance students’ interest in analyzing the written work, and motivate classes to excel in completing assignments that teach the skills required by the ELA curriculum. Filmed versions of plays supply the same benefits and often provide an experience that is close to viewing a live performance. Studying a cinematic adaptation of a literary work will show students how words are converted to visual media and allow a comparison of the written original to the cinematic version, permitting teachers to highlight the techniques of both film and the written word in telling a story. Presenting a filmed adaptation with high production values will demonstrate that movies can be an art form which communicates differently, but no less importantly, than the written word. Moreover, when used as a reward for having read a novel, a filmed adaptation can demonstrate that novel-length works of fiction usually contain a wealth of detail, information, and subplot that cannot be included in a movie. For all of these reasons, filmed adaptations of novels, short stories, or plays, are excellent resources for lessons requiring students to learn and exercise the analytical and writing skills required by ELA curriculum standards.

Note that novels and short stories can be analyzed for their use of the devices of fiction. Plays employ most of the devices of fiction but add the theatrical devices of music, sound effects, lighting, acting, set design, etc. Movies employ most of the fictional and theatrical devices as well as a separate set of cinematic techniques such as shot angle, focus, editing, etc. This essay focuses of the literary devices shared by written works, theatrical works, and film. For an analysis of theatrical and cinematic devices, see TWM’s Introducing Cinematic and Theatrical Elements in Film .

I. SHOWING THE FILM BEFORE READING A NOVEL, SHORT STORY, OR THE SCRIPT OF A PLAY

Usually, a filmed adaptation of a written work is best shown after a novel or short story has been read by students. This avoids the problem of students watching the movie in place of reading the book or story. However, in certain instances, where the written work is hard to follow or when students have limited reading skills, it is better to show the film before reading the written work or to show segments of the film while the writing is being read. Students who have difficulty reading a novel or a short story can often follow the conflicts, complications, and resolutions in a screened version that they would otherwise miss. For example, obscure vocabulary and difficult sentence structure in The Scarlet Letter and Billy Budd make these classics difficult reading for today’s students. The PBS version of The Scarlet Letter and the Ustinov version of Billy Budd are excellent adaptations which can serve as an introduction and make the reading more understandable. Viewing a filmed adaptation of a book by Jane Austen enables students to understand the story and avoid getting lost in the language as they read. (See “Emma Thompson’s Sense and Sensibility as Gateway to Austen’s Novel” by Cheryl L. Nixon, contained in Jane Austen in Hollywood, Edited by Linda Troost and Sayre Greenfield, 1998, University of Kentucky Press, pages 140 – 147.)

Plays, which were meant to be watched rather than read, are usually a different matter. Viewing a staged presentation with actors, a set, sound, and lighting is an experience more like watching a movie than reading a script. One of the few exceptions are the plays of Shakespeare which are usually better when read and studied before they are seen. Students need to be introduced to the Bard’s language in order appreciate a performance.

II. SCREENING ALL OR PART OF THE MOVIE IN SEGMENTS

A film can be segmented, or chunked, and shown before or after the corresponding segment is read by students studying the novel, story or play on which the movie is based. Have students keep up with the reading so that the timing is accurate and the events in the film do not get ahead of their presentation in the written work.

Several of the assignments suggested in Section IV can be modified for segmented viewing. The following assignment will allow students to exercise their analytical and writing skills after a segment of the film has been shown. The assignments can be modified to focus on specific elements of fiction or literary devices.

Discussion Question: What is the difference in the presentation of the story between this segment of the film and the corresponding sections of the [novel/story/play]? [Lead students into a discussion of any important elements of fiction or literary devices which are present in both or which are present in one but not the other.]

Assignment: [Describe a scene in the film.] Compare this segment of the movie with the corresponding sections of the [novel/story/play]. Cite specific examples to illustrate how the presentation in the two media either differ or are the same. Your comparison should include: (1) any elements of fiction and literary devices which are present in both or which are present in one but not in the other; (2) a discussion of the tone of the two presentations; and (3) an evaluation of the two presentations stating which you think is more effective in communicating the ideas contained in the story, including your reasons for that opinion. When you refer to the [novel/story/play], list specific pages on which the language you are referring to appears.

III. WATCHING THE MOVIE AFTER THE BOOK HAS BEEN READ

Comparing film adaptations with their literary sources can enhance students’ ability to analyze, think, and critique the writing, imagery, and tone of a literary work. Differences between the movie and the written work can be used to explicate various literary devices. The discussion questions and assignments set out below, as they are written or modified to take into account the needs of the class, will assist teachers in making good use of a filmed adaptation of a novel, short story, or play.

Before showing the film, think about whether you want to point the students’ attention toward any issues that you want them to think about as they watch the movie. This could be the use of a motif or other literary device or changes in theme. Many of the discussion question and assignments set out below can be easily adapted to be given to students before they watch the film, the discussion to be held, and the assignment completed after the movie is over.

IV. DISCUSSION QUESTIONS AND ASSIGNMENTS FOR USE WITH FILMED ADAPTATIONS

Fill in the blanks with a number appropriate to the abilities of the class and the relationship of the written work to the filmed adaptation. To make sure that students complete the assigned reading, the exercises set out below require a thorough knowledge of the written work with references to page numbers of the text.

• Discussion Question: How is the presentation of [name a major character who appears in both versions] different in the [book/story/play] and the movie? [Follow up with:] Why did the filmmakers change the way in which this character was presented?

Assignment: Describe _____ characters which appear in both the film and the [book/story/play]. At least one of them should be a minor character. Specify how dialogue, action, and physical appearance in the movie define the individual. Using direct quotes from the written work, citing page numbers, describe the characters using the same criteria. Evaluate which presentation is best in allowing either the viewer or the reader to fully grasp the nature of the characters.

• Discussion Question: Were any scenes described in the [book/story/play] substantially altered in the filmed adaptation? [Follow up with:] Why did the filmmakers change the scene?

Assignment: Select at least _____ scenes from the film that were altered considerably from similar scenes described in the [novel/story/play]. Use direct reference to details in order to illustrate the differences. Cite specific page numbers when you are referring to anything appearing in the [book/story/script]. Evaluate the changes in terms of how well the intention of the scene is made manifest in either media.

• Discussion Question: What elements of fiction appear in the [book/story/play] but not in the film? Did this detract from the quality of the story told by the movie?

Assignment: Note _____ examples of elements of fiction that have been left out of the film but seem important in the [book/story/play]. Suggest reasons that may justify the elimination of the scenes, characters, subplots, or settings. Be sure to use direct reference, with page numbers, to the written work in order to support the opinion offered.

• Discussion Question: Did the filmmakers add any characters or events that do not appear in the [book/story/play]? Did this help to tell the story first suggested in the literary work?

Assignment: Often in movies, the screenwriters will add characters or events that do not appear in the original [book/story/play]. Note _____ examples of these additions and suggest reasons that they may have been written into the film.

• Discussion Question: How does the tone of the story told in the film differ from the tone of the story told in the [book/story/play]?

Assignment: Evaluate the tone created in the movie. Cite clear examples of color, visuals, editing, and music that may have contributed to the tone of any particular scene. Compare the tone created in the film to the tone created in the [book/story/play] using the same scene. Cite specific examples, giving page numbers, of the description that created the tone in the written work.

• Discussion Question: Did this film change the theme or any of the ideas presented in the [novel/story/play]? What were they? Did these changes improve on the story underlying both the written work and the movie?

Assignment: Ideas are the reasons stories are told. Themes are the major ideas in a story; however, most stories contain other ideas as well. Some films change the ideas presented in the work of literature from which they were adapted. Pay close attention to theme and other ideas in both the written version and in the movie and write about how they were changed. Evaluate the changes.

• Discussion Question: Which told the story better, the [novel/story/play] or the movie?

Assignment: Often a story will seem to be deprived of beauty or meaning by the changes made in a filmed adaptation. On other occasions, the experience of the written story will be enriched by watching a filmed version. Write an informal essay stating your opinion of the quality of the story told by the movie as compared to the [novel/story/play]. Justify your opinion with direct reference to both the film and the written work; for the latter, cite the specific page numbers for the passages on which you rely.

• Discussion Question: Compare the settings of the story in the written work and in the movie. Is the movie faithful to the [novel/short story/play] in terms of the settings used?

Assignment: How do the settings in the movie reflect the images of place found in the [novel/story/play]? Describe specific details in both the film and the work of literature that support your conclusion. When referring to the written work, cite page numbers.

• Discussion Question: Compare the use of visual images in the movie and in the [novel/story/play] in the description of the various characters.

Assignment: Using specific examples of written descriptions in the literary work and visuals in the movie, discuss the presentation of character contained in both.

• Discussion Question: Describe any important differences in theme between the story appearing in the written work and the story told on screen.

Assignment: Attitude toward subject, meaning the basic topic (such as war, love, politics) can shift dramatically between a [novel/story/play] and its movie adaptation. Explain through example any changes that can be seen between the attitude toward the subject expressed by the filmmakers and presented by the author of the [book/story/play].

• Discussion Question: Were any important motifs, symbols, or allusions included in the work of literature missing or changed in the movie adaptation? Why do you think the filmmakers made these changes?

Assignment: Important motifs, symbols, or allusions contained in a written work of fiction are sometimes missing or changed in the movie. Specify examples of these literary tools that are not a part of the filmed adaptation. Note any replacement motifs, symbols or allusions contained in the movie.

• Discussion Question: What, if any, were the changes in the plot between the [book/story/play] and the film?

Assignment: Rising action, an important part in the plots of both written fiction and movies, may be different in filmed adaptations. Note any changes. Describe details which are important in the written work that have been removed from the movie and details which are not in the [book/story/play] which have been added by the filmmakers. When referring to the written work, give the page numbers of any passages or details to which you refer. Justify the changes.

• Discussion Question: Which ending did you like better, the conclusion of the [book/story/play] or the way in which the movie ended? Explain why.

Assignment: Compare the ending of the [book/story/play] to the ending of the film. Illustrate how any differences either reiterate or obscure the intention of the original work. Cite specifics and support all assertions.

Movies with screenplays that are carefully adapted from novels, short stories, and plays can be an important part of lesson planning. Using the techniques described above, teachers can make film adaptations an integral part of the learning process.

Written by Mary RedClay and James Frieden .

From Page to Screen: Adapting Books into Movies

By Film Threat Staff | June 21, 2023

It’s no secret that audiences and critics alike have been flocking to films adapted from novels in recent years. The staff at Blazzio Casino enjoys watching adaptations of popular books like Harry Potter, Lord of the Rings, The Hobbit, and Ready Player One. So, we did a little research to see how the cinema business is affected by films based on books. Adapting a novel into a film is a challenging and intricate undertaking that presents filmmakers with a wide variety of opportunities and challenges. In this article, we will explore the interesting world of book-to-film adaptations by talking about how being loyal to the source material is crucial, how the adaptation process works, how adaptations have an impact, and how to identify and create a good adaptation.

1. Understanding the Art of Adaptation

1.1 the essence of the source material.

Books have a certain characteristic that makes them perfect for film or television adaptations. They create complex and engaging storylines by frequently delving into the inner workings of their characters’ minds, hearts, and minds. The success of a film adaptation depends on faithfully capturing the book’s spirit and major ideas without changing them.

1.2 Selecting the Right Source Material

It’s not possible to adapt every novel into a film or TV series. Filmmakers must be selective when deciding which stories to adapt. Popular subgenres that work well on the big screen include fantasy, science fiction, and romance. Books that have compelling plots, likable protagonists, and ideas that can be applied to a wide audience tend to be effectively adapted.

2. The Adaptation Process

2.1 translating literature to film.

Bringing a book’s story to the screen requires skill and finesse. Visually representing the depth and nuance of the written word is a difficult task for filmmakers. Visual analogies, animated facial expressions, and other evocative techniques might help with this.

2.2 Changes and Creative Liberties

It is usual custom to make changes to the story or the characters when adapting a book into a film. Producers and directors need to make creative decisions to enhance the cinematic experience without significantly altering the content. When adapting a novel for the big screen, it’s very uncommon for writers to make changes to the narrative, characters, and even add completely new chapters.

2.3 Challenges and Solutions

Difficulties arise when adapting novels with complex storylines, many viewpoint characters, or extensive internal monologues. Writers and filmmakers have to get creative to condense an entire story into the running time of a film. Methods like voice-over narration, visual narrative, and meticulous editing may help overcome these challenges.

3. The Impact of Adaptations

3.1 audience expectations and reception.

Existing fans of the original material sometimes have high expectations for cinematic adaptations of books. These individuals add their own ideas and interpretations to the film, hoping that their ideas and interpretations will be accurately reflected in the final product. Filmmakers often face a challenging balancing act between satisfying their existing fan base and reaching out to potential new viewers.

3.2 Critical and Commercial Success

A movie’s success as an adaptation of a book depends on how well it does both at the box office and with critics. Some adaptations are able to win over both fans and critics with their nuanced presentation. A good adaptation relies on staying true to the book’s major principles while updating the screenplay, improving the visuals, and employing talented performers.

4. Case Studies: Successful Book-to-Movie Adaptations

4.1 the harry potter series.

The Harry Potter film franchise, which was based on books by J.K. Rowling, is a phenomenal success. The films were aesthetically gorgeous and emotionally compelling, capturing the enchantment of the novels on the big screen. The franchise’s immense success and critical praise may be attributed, in part, to the filmmakers’ and the author’s commitment to accurately portraying the characters and worlds they’re adapting.

4.2 The Lord of the Rings Trilogy

The Lord of the Rings, an epic fantasy trilogy written by J.R.R. Tolkien and adapted by Peter Jackson, is widely regarded as a cinematic masterpiece. Jackson brought Middle-earth to the big screen with his rigorous attention to detail and dedication to the source material. Audiences throughout the world were attracted by the trilogy’s epic scope, stunning graphics, and commitment to its central themes of brotherhood, courage, and the struggle between good and evil.

4.3 The Social Network

Books of many genres have been adapted into films. The successes and failures of adapting real-life events were on full display in David Fincher’s movie version of Ben Mezrich’s non-fiction book, “The Accidental Billionaires,” which details the creation of Facebook. The Social Network brilliantly conveyed the nuanced workings of the IT sector and the intricate human interactions that led to the development of a worldwide social media behemoth. Its critical success may be attributed to its analytical examination of topics like ambition, treachery, and the meaning of success, as well as to its crisp writing and captivating performances.

5. Conclusion

In conclusion, converting books into films calls for in-depth familiarity with the original work, the capacity to make imaginative choices, and the finesse to find the right balance between being faithful to the source material and making full use of the advantages of the cinematic medium. Movies based on popular books have the potential to fascinate viewers, give new life to well-known tales, and have a long-lasting effect on society. The craft of turning books into films will exist so long as literature has the power to move and engage its audience.

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Film Adaptations of Literature

Mar 27, 2019

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Film Adaptations of Literature. Print vs. Film!. Standard. ELACC8RL7: Analyze the extent to which a filmed or live production of a story or drama stays faithful to or departs from the text or script, evaluating the choices made by the director or actors. . Why do books become movies?.

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Film Adaptations of Literature Print vs. Film!

Standard ELACC8RL7: Analyze the extent to which a filmed or live production of a story or drama stays faithful to or departs from the text or script, evaluating the choices made by the director or actors.

Why do books become movies? • Often, film producers and directors love to turn popular books into movies, shorts, musicals, or television shows. • Why? Hollywood is all about making $money$ • If a book has already earned money for an author, then chances are it will earn money for a director or producer. It will likely draw fans of the book PLUS new fans.

That isn’t how it happened in the book! • Often, directors, writers and producers make changes to a book when they adapt it to film. Words on a page certainly don’t translate directly to pictures on a screen. • Therefore, a movie will not always stay faithful to a book. • Sometimes a film, TV, or stage adaptation will depart from the original text.

Doesn’t that Make the Author Mad? • Probably not. It makes the author wealthy. When an author sells the rights to a story, he/she generally signs over all choices to the director and produce. So, it’s really out of the author’s hands. • Occasionally, the director/producer will have the author help write the script or cast the production. This was true in Twilight and Hunger Games.

Strengths and Limitations Books and films both have : • strengths (things they do well) • limitations (things that they are incapable of). Example: One strength of a book is the audience can really get into a character’s thoughts, one limitation of a movie is that a character must be nearly entirely conveyed through dialogue and actions. Example: One strength of a movie is that everything can be experienced visually, one limitation of a book is that it relies completely on the author’s description and the audience’s ability to imagine.

Changes Filmmakers Make Version of Events: The way the events in a story play out or happen. A filmmaker might: • Add events • Take out events • Change the order of events • Change parts of an eventCompletely change an event • Change which characters participate in events

Changes Filmmakers Make Why change the version of events? • Sometimes a film simply can’t last long enough to contain all of the events (audiences don’t generally like devoting more than 2.5 hours to a movie) • Sometimes a story must be simplified to account for time limitations. • Sometimes a film needs to add a part because the audience doesn’t have enough back story to understand what’s happening • Sometimes a film adds a part to make a story more compelling • Sometimes to attract the desired “rating” a film must tone scenes down

Changes Filmmakers Make Characters: The people in the story • Sometimes the character looks different than in the book because the casting director wanted to hire an actor who would draw an audience • Sometimes characters get left out to make a film less confusing and because there is no time to build them up • Sometimes several characters get combined into one new character • Sometimes a totally new character gets added to appeal to a wider audience.

Changes Filmmakers Make Details • Sometimes filmmakers leave out details about the plot, characters or setting to simplify the story or address rating or time limitations. • Sometimes filmmakers Change/add details to make up for storyline that is lost in translation from the page to film. • Sometimes filmmakers change/add details to make the film appeal to a larger audience.

Product Placement • Product Placement is including brand name goods, services, or institutions because a company is paying the filmmakers to do so. • For Example, sometimes a director will change a character’s vehicle, clothing, or favorite foods because a company has paid to be included in the movie. • The assumption is that people will purchase the product because they saw it in the movie.

Tomorrow… • As you watch the film, take notes on how the film stays true to or departs from the book (just like it says in our standard!)

Sample based on: 101 Dalmatians

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What is an “adaptation”?

Answer: A pre-existing work, often literary or theatrical, that has been made into a film. More commercial properties such as musical theatre, best-selling fiction and non-fiction, comic books, and so on, are also regularly adapted for the cinema. Adaptations of well-known literary and theatrical texts were common in the silent era (see  silent cinema ;  costume drama ;  epic film ;  history film ) and have been a staple of virtually all national cinemas through the 20th and 21st centuries. Bram Stoker’s  Dracula  and Arthur Conan Doyle’s Sherlock Holmes novels have been adapted in a range of national contexts but probably the most adapted author is Shakespeare, whose plays have appeared in film form as a large-budget Hollywood musical ( West Side Story  (Jerome Robbins and Robert Wise, US, 1961)), a historical epic set in feudal Japan ( Kumonosu-jo / Throne of Blood  (Akira Kurosawa, Japan, 1957)), a Bollywood musical ( Angoor  (Gulzar, India, 1982)), and children’s animation  The Lion King  (Roger Allers and Rob Minkoff, US, 1994)), to name but a few. Adaptations often sit within cycles associated with a particular time and place, as with the heritage film in Britain in the 1980s, or the cycle of Jane Austen adaptations in the late 1990s. It is claimed that adaptations account for up to 50 percent of all Hollywood films and are consistently rated amongst the highest-grossing at the box office, as aptly demonstrated by the commercial success of recent adaptations of the novels of J.R.R. Tolkien and J.K. Rowling. A property ripe for adaptation is referred to as pre-sold; older works in particular are attractive to film producers because they are often out of copyright. Video game ( Resident Evil  (Paul W.S. Anderson, US, 2002)) and comic book/graphic novel ( Ghost World  (Terry Zwigoff, US, 2001)) adaptations are increasingly common and a certain level of self-reflexivity regarding the process of adaptation itself can be seen in films such as  Adaptation  (Spike Jonze, US, 2002).

Source: Kuhn, A., & Westwell, G. (2012). “ Adaptation .” In  A Dictionary of Film Studies . Oxford University Press. Retrieved 27 Mar. 2017

The Essentials of Adaptation

Literature and film, movies and books, compare like apples and giraffes, said contemporary American writer Dennis Lehane. But they do compare. They do interbreed. As do history and film. But the question is: How and why do history, literature, and movies fruitfully nourish one another? When apples, giraffes, and other exotica interbreed what results?

Many thousands of movies are adaptations from historical or literary sources. Hence the recent internet vernacular of “litflicks”—literature adapted into flicks, the flickering medium of the motion pictures.

Although literature, history, and movies are distinct forms of communication thousands of solutions and accommodations have been found so they can get along and have fruitful relationships. The first key is the nature and tradition of adaptation itself. Tales evolve and one generation adjusts the stories of the past to the present time and to its modern needs and ways of storytelling. “My dramas are but slices cut off from the great banquet of Homer’s poems,” wrote the Greek dramatist Aeschylus (525–456 B.C.E.). But Aeschylus’ dramas were leaner and meaner, in search of a higher truth which synthesized moral opposites, profoundly simpler than anything all-embracing Homer ever wrote. For it is the singer, not the song, that makes the splendor of communication successful. And a story retold, as Aeschylus retold Homer, continues. What is beneath the surface of the story that has been told before and will be told again—a story that has been alive among humans for centuries or millennia?

Consider how information exists and knowledge is distilled. How a story is told is as important as its subject matter. Thus, three fundamental points about how the nature of literature and history effect their relation to movies:

First, legend precedes historical fact. Did Nestor and Ajax in the  Iliad  ever actually exist and do what Homer claims they did? Until factual, textual proof is found this remains, at the least, an open question. The  Iliad  remains legend rather than history, literature rather than history, superstition rather than science. Hence, human culture as we know it shows that literature precedes history as a practice of inquiry, as a creative record of human events.

Second, a fundamental distinction exists between history and memory. History is then, memory is now. A judicious, critical management of documentary evidence allows history to get as close as possible to the facts of the past; then as it was then. Memory is the past remembered and reconstructed through the lens of the present and its building blocks. 5 Movies flourish in a popular, contemporary marketplace. They must entertain the sensibilities of the present. Anachronism is their delight and pleasure. Memory is their very breath. So history inevitably gets short-changed in movies—with some notable exceptions.

Third, with regard to the history of ideas, one distinguishes between an older meaning of literature as literacy and the cultivation of reading (dominant through the eighteenth century) and a newer reality and reference to literature as a body of writing which contrasts with erudition and which emphasizes wit, talent, and taste (which begins to dominate the older meaning by the end of the eighteenth century). Storytelling movies that are not straight documentary or raw, live footage have a much stronger generic affinity to literature than to history. Thus the movie-history relation is more a connection rather than a similarity, an association rather than nearness. The difference is subtle but meaningful. The viewer can expect a movie to be like literature. But can you expect a movie to be history?

Literature and Film as Culture

Culture is not handed on like a baton in a relay race from one generation to another or from one nation to another. As it evolves, culture has to be reproduced. “A culture does not have an independent inertia.” In classical terms, cultural history is a secular humanist, Aristotelian approach to culture. My a priori assumption is that all knowledge is gained and perpetuated by the close association between the human mind, spirit, and body conditioned by the environment of its time. No Greater Power—from archetypes to Godhead, to Platonic “forms”—exists independently of our sensible world, of our human need to construct, guide, give and get what we require as human beings. Man is his own maker.

The ancient art and craft of adaptive communication means recreation. Beneath the surface of a story refurbished over the ages and updated by different media lies a heritage of useful knowledge which adds to well-being in proportion as it is communicated. The genesis of the forms themselves can now help us to figure out the relationship of literature to film, the written word to the visual image.

Converting Words to Images Using Technology

One last point about the material and conceptual nature of literature, history, and movies. Literature and history must have the word— logos . Their particular nature as media consists “precisely in the abstractness of language, which calls every object by the collective name of its species and therefore defines it in only a generic way, without reaching the object itself in its individual concreteness . . ., hence the spiritual quality of its vision, the acuteness, and succinctness of its descriptions.” As literature and history advance beyond their oral stage, they demand the written word (or print) conveyed by reading. The medium of movies needs images in motion which are conveyed by a projection onto a screen. In all works of art, there is a hierarchy of media. For movies the image, iconos , dominates.

A movie gets to places literature and history do not. And then it delivers that place to its audience in a way literature and history cannot. The audience, in turn, must use their eyes for a movie to work. After all, are not literature and history forms of communication which are more available to a blind person? With literature and history the audience sees with their inner eye, not as much with their outer, physical eye. “Film creates a fully defined and immediate physical reality that requires dramatization and exploration; it brings characters visually realized into direct relationship with their environment and in immediate proximity to the viewer.”

Cinema also needs electricity. Movies could never have existed without the necessary technology. Print advanced literature beyond the spoken word and the written page and allowed mass media. But technology midwifed movies into their very existence. Technological determinism has played a much greater part in the creation of movies. From its modern inception, the technology also helps to distinguish the entertainment film from the documentary. In 1893 the American inventor and businessman Thomas Edison created the first film company to make and show movies to the public. The Edison Company filmed in a tar paper barn set on a swivel, in which the roof could be opened or closed so as to adjust to the sun. Edison’s unwieldy camera, the Kinetograph, was a large, fixed machine run by an electric motor to ensure smooth motion. The point here is that Edison’s “camera did not go out to examine the world; instead, items of the world were brought to it—to perform. Thus Edison began with a vaudeville parade: dancers, jugglers, contortionists, magicians, strong men, boxers, cowboy rope twirlers.”

Types of Adaptation

For almost as long as film has been an art form, books have been adapted for film. In fact, the earliest known motion picture based on a literary source was filmed in 1896. (It’s a 45-second scene from George DuMaurier’s 1894 novel Trilby. )

And for just as long we’ve adapted books for the screen, we have also discussed the question: What makes a good adaptation? Which matters more: the quality of the film itself, or how “accurate” it is to the book it’s based on?

Of course, there is some complexity, even difficulty, to these questions. Novels and films are different art forms. To expect a 90-minute film, or even a longer TV series, to be an exact rendering of every detail of a book is a bit unreasonable. Novels also use many devices that are just impossible—or at least extremely difficult—to film. So filmmakers have to get creative, which is when it gets interesting.

The Literal Adaptation (a.k.a. “Museum”)

A strong expression of a literal adaptation is often a play performed as a movie. A historical museum exists to preserve and protect historical artifacts and records; to alter them in any way is considered taboo. A museum is also concerned with placing artifacts and records within their historical context, through interpretive signage and other materials. In the same way, a “Museum” Adaptation is concerned with preserving every possible detail of the book exactly how it exists in the book, just transferred to the film medium.

Example: Pride & Prejudice (1995)

If there was ever a perfect example of a Museum Adaptation, it is the 1995 TV miniseries of  Pride & Prejudice . This version includes nearly every scene from the book, however brief or fleetingly mentioned and even some scenes that are NOT in the book. Everything is perfectly preserved and nice to look at, but we are not allowed to touch. For many fans, this near-perfect preservation makes this adaptation their favorite.

The Faithful Adaptation (a.k.a. Artistic)

The faithful adaptation takes the literary or historical experience and tries to translate it as close as possible into the film experience. Sometimes there are equivalents in film to the original way of saying or doing what happens in literature and history, and sometimes not. And “faithful” depends on the movie makers’ knack to be true to the original spirit of the raw stuff, the primary source. Faithful works from the inside out; loose works from the outside in. Loose has no problem with dismantling and reassembling, breaking up and remaking totally anew. Faithful wants to stay loyal to the intention of the original, to convey the heart and soul. So in a faithful adaptation, even if the movie went so far as to change the original story’s ending, the movie makers would want to make sure that they did not betray the core meaning.

This type of adaptation is most concerned with finding a balance between being true to its source material, and creating a film that can stand on its own as a work of art. Its a sort of a conversation between the book and the audience. Rather than preserving every detail like a museum, an Artistic Adaptation finds the essential elements of the book and interprets them in ways that are meaningful for the audience.

Example: Pride & Prejudice  (2005)

The more artful elements are part of what turned a lot of Austen purists off to the 2005 adaptation of  Pride & Prejudice . Its aesthetic is grittier but warmer than the 1995 version. Its set and costume design are less concerned with historical accuracy than with reflecting the characters’ personalities and relationships. It also by necessity cuts or combines plot points from the novel to fit within its two-hour runtime. This is definitely an artful film, and the most essential elements of the book are all present and imbued with meaning for modern audiences.

The Loose Adaptation

The loose adaptation takes the raw stuff and reweaves it into a movie as the director, producer, or studio wishes and as the movie needs. Contemporary cultural norms are often a determining factor. We’ve all seen a movie that we would call a “Loose Adaptation,” a film that keeps a few elements or some semblance of the premise of the book it’s based on, but then more or less does its own thing with them. We often discuss this type of adaptation in negative terms, as if its lack of exact similarity to its source material is somehow a failing. And for many people, it is. But a Loose Adaptation can still be a really good movie.

Example: Pride & Prejudice (1940)

Nineteen-forty was an interesting time, and in many ways, the adaptation of Pride & Prejudice  from that year is typical for the time. The story is sort of there, but the film rearranges or omits plot points seemingly haphazardly, and adds arguably unnecessary scenes. The costumes are decidedly more Victorian than Regency. Characters’ personalities have even changed, most noticeably Lady Catherine’s. But despite all that, this version is actually an enjoyable movie.

The Transformative Adaptation

We most often see Transformative Adaptations of well-known classic works from the English literary canon. Works by Shakespeare, Austen, and Dickens, as well as fairytales like “Cinderella,” are common Transformative Adaptations. These films set their source works in a time period other than that in which they were written, often in the contemporary era. They may also take place in a different culture from the source work, or in a subculture of modern Western culture.

Through changing the setting, Transformative Adaptations seek to accentuate the timelessness and universality of their source works’ messages and themes. They can also be useful for commenting on the traditional whiteness and heteronormativity of literary canon. And while setting a Shakespeare adaptation in a non-European culture and casting actors of color should never serve as a replacement for elevating actual works from that culture, it can serve as a bridge.

Examples: Bride & Prejudice (2004)

Austen works in general, and  Pride & Prejudice  in particular, probably have the most Transformative Adaptations of any author or work.  Bride & Prejudice sets the story in modern India, Britain, and the U.S., turning Elizabeth and Darcy’s class differences from the original novel into a clash of cultures, as well. It retains the essentials of the book, but introduces new significance to the themes through viewing them with fresh eyes.

The Cinematic Process

Second, the producer has to figure out what the film will cost once it is adapted from this work of fiction and if he can pay for it. If the work is no longer copyrighted, all the better. Then there is no original intellectual property to worry about and no royalties to pay for a primary text. If it is an old story, the primary text might also be attractive because it is a costume drama—such as an adaptation from Charles Dickens or Henry James.

Third comes the matter of precedent. Has this kind of thing sold before? Since movies are a commercial industry—like cars, pencils, or the production of different brands and flavors of toothpaste, well, you figure it out—the bank wants to back merchandise with a good track record. If one brand of toothpaste hits upon peppermint as a smash hit with the consumer, then many other peppermint-flavored brands will soon follow. As Ralph Waldo Emerson said: “If a man can write a better book, preach a better sermon, or make a better mousetrap than his neighbor, though he builds his house in the woods, the world will make a beaten path to his door.”

One should see movies not only as fulfilling the requirements of a genre, but as part of a cycle, as film critic Jonathan Muby has insisted. A “cycle” was the term commonly used in America for movie types prior to World War II. This is where censorship—which has affected both literature and movies in America—enters in. Both violence and gangsterism in literature and movies can be socially threatening. They are dangerous expressions “of a larger disorganizing and destructive force,” cycles of violence and crime which threaten society. Especially when displayed in the mass media of movies they threaten society from within—they are cycles “vocalized from within the machinery of cultural administration.”

The fourth step in the modern creative process of film-making is the pre-sale. In the movie industry, pre-sale has two meanings. Before you sell your commodity to the general public, you conduct a private sale of the product. This way one gains financial support to complete the product and may provide eventual profits for the investor. And as pre-sale is the formative period before sale, product production may be distant from the actual place of production and initial distribution. The maker can sell a product not yet produced in one country in yet another country far away. It is all part of the movie game. With a movie, one can have outstanding actors, special effects, and a great story in hand—from which basis one sells the distribution rights prior to completion. Particularly abroad; overseas is a good place to sell. They buy on conceptual credit—Sherlock Holmes from the British for the Americans, Sylvester Stallone or Clint Eastwood from the Americans for the Europeans. If the final film is a bomb, the producer has made more money this way. If it is a blockbuster, everyone profits. Either way, the studio and the producer can enhance the initial production budget.

Fifth is a series of complications in the practical work of actually adapting fiction into film, the actual making of the movie, the production itself. This is a time and a place when words have to be juxtaposed with images. That is to say, when the original letter matters. But “fidelity to the original spirit of the piece is not always to the letter, because the letter does not necessarily work on film.” Actions have to be transferred from descriptions to dramatizations, from slow to snappy timing. Time strictly controls the adaptation possibilities—90 to 180 minutes for a film, which is much less time than it takes to read and digest most books. The written story may be richly textured, and minor incidents, settings, and characters have to be cut out, or down, or be consolidated. When a tale goes from fiction to film “shaping a story to be told with the minimum necessary number of scenes and characters and the most contained list of locations is a necessary part of the game.” Most people in professional, corporate life are now acquainted with this practice—the need to adapt to a concise, word and visual presentation. This happens when one goes from a free-flowing, person-to-audience presentation of information to a form-fitting, powerpoint presentation. One has to fit into the given frame. To accomplish this can be a straight jacket experience. Or it can condense and order one’s efforts like the composition of a sonnet for the one you love.

Finally, the sixth concern in the practical work of adaptation is the audience—or, as the American lyricist, musical comedy, author, and theatrical producer Oscar Hammerstein II reportedly called them: “That big black giant.” They are a devouring abyss that the producer ultimately cannot control and who finally decides if the creation works or not.

The whole collaborative and creative process of filmmaking itself shows us that adaptation is not one element transferred to another singular element. As with U.S. popular culture, the realistic paradigm is culture as a whole. Perhaps the fundamental issue is not zero to five stars, a series of qualitative rankings that range through poor, fair, good, better, and best. (Although, to be fair, excellence happens—as does its opposite.) But the fundamental issue is that “there is a totality of culture that pervades and surrounds a society rather than a culture that exists in tiers.” A story is told and retold.

Case Study:

The old guard, from variety:, ‘the old guard’ review: gina prince-bythewood delivers netflix’s best 2020 action movie, charlize theron stars in a comic-book movie with a point of view, creating a marriage of expectations and twists unlike little else in the genre., by kate erbland, 3 july 2020.

Being a superhero isn’t an easy gig, an idea that has inspired recent cinematic explorations ranging from the sublime (“Logan”) to the ridiculous (Tobey Maguire going goth in “Spider-Man 3”). That same concept also drives  Gina Prince-Bythewood ’s “ The Old Guard ,” a  Netflix -produced take on Greg Rucka and Leandro Fernandez’s 2017 comic book miniseries of the same name, but her version is as fresh as any comic book movie made since superhero mania swept the multiplex.

Even the film’s own star  Charlize Theron  previously interrogated the weirdly relatable theme that being a superhero can be a real slog in Peter Berg’s “Hancock.” Here, she’s the oldest member of the Old Guard, kick-ass mercenaries who happen to be a) very old and b) mostly immortal. And as the film opens, she finds herself again pondering the value of fighting the seemingly same battles on an unending timeline. Despite the familiarity, “The Old Guard” manages to be both  very  grounded and  very  entertaining, a marriage of expectations and twists unlike little else the genre has inspired even during its most fruitful times.

Prince-Bythewood, while still best known for her singular romantic drama “Love & Basketball,” is no stranger to comic book work, having been long attached to direct “Silver and Black” (a Sony production meant to team up Spiderman stars Silver Sable and Black Cat) and even directing an episode of Marvel’s short-lived “Cloak & Dagger” series. But her greatest strength lies in her interest in complex people, making “The Old Guard” a perfect fit for her wide-ranging sensibilities. Oh, and the action. Did we  mention  the action? We will.

Still, Prince-Bythewood is not entirely free of the constraints of the genre and some of the film’s narrative trappings will not surprise, from an undercooked villain and a winking conclusion that just barely subverts the standard post-credits reveal (this time, the twists are  before  the credits!). But the film (and particularly Rucka’s script) leave plenty on the table for further incarnations, making it another rarity: a comic book movie that earns its franchise potential.

Andy (aka Andromache of Scythia, if you’re feeling historical) has seen it all before, and Theron enters the film with a world-weariness that’s understandable even to beings that haven’t lived for thousands of years. “The Old Guard” opens as Andy makes tentative steps to return to her clan and their self-imposed duty to do good through all manner of holy ass-kicking. Their mantra is simple enough (do what they  think  is right) and while it’s kept them alive for hundreds upon hundreds of years, it doesn’t seem to be making much difference in the world itself. “The world isn’t getting any better, it’s getting worse,” one character spits, an observation that’s tough to fight, even removed from a world in which superheroes are possible.

Pulled back into the fray — and eager to reunite with the only other three beings like her (portrayed by Matthias Schoenaerts, Marwan Kenzari, and Luca Marinelli) — Andy and her team take on a mission to save a group of kidnapped schoolgirls in the South Sudan. The plan came from a new ally (a wonderfully understated Chiwetel Ejiofor) and when it all goes topside, the foursome must root out who sold them out, and why. And while that does sound familiar, that’s part of its sneaky power: Nothing the team has dealt with before is new (even if the film’s bad guy, played by Harry Melling, who doesn’t quite let his baddie get icky enough, thinks it is), and maybe nothing ever will be again.

And yet. Rucka’s screenplay works out a clever entry point that not only helps to explain some of the weirder aspects of their mythology (key: they’re not  actually  immortal, but close) and enlivens a narrative that is built on being sick of the same old shit. While Andy and her guys have known others like them — including Andy’s closest compatriot, played by Veronica Ngo in a series of emotional flashbacks — it’s been just the four of them for centuries now. Now caught in the drama of another big fight (against the world, the man, plain old hubris), they suddenly become aware of another member: Sprightly young Marine Nile Freeman (KiKi Layne) is understandably freaked out to discover that she can heal from even the most grievous of wounds. (And that’s to say nothing of the reaction of her beloved squad-mates.)

What the film ignores in terms of propulsive plotting — again, you likely know where this is going — introspection and intelligence more than make up for it. It’s a movie that wants its audience to think and if that sounds like a weird fit for the genre, you’ve surely never pondered what it would mean to be all-powerful in a world that only wants to see things go boom. That said, “The Old Guard” also takes the time to kick some serious ass. Andy and her pals have spent centuries trying to make the world better, but that has also required them to learn how to really fuck up someone along the way.

Through gritty, bruising action sequences and emotional flashbacks, the limits of their powers are revealed, as is the scariest bit: They can die, but they never know when it’s coming. Prince-Bythewood builds that fear into every single action sequence, among the best that Netflix has hosted in its growing body of action movies (and the very best of this year, which has already seen the release of the bone-crunching “Extraction”).

Steeped in hand-to-hand action (a sequence in which Theron and Layne go at it on a plane leaves a mark on them, the pilot, the audience, the guy walking around outside while you watch it inside your home,  everyone ), but with enough ballistic firepower to kit out a small civil war, every action sequence is more than awe-inspiring; they’re necessary to the film itself. Superhero battles that are eye-popping and  narratively motivated? Oh, yeah.

It all builds to the revelation that perhaps Andy and her team’s attempts to aid the world have not been as fruitless as they’ve feared, and that doing the right thing (or even  trying  to do it) is worthwhile, even when it comes with a steep price. That idea adds heft to an already deep-thinking movie, and it also sets up plenty of ideas worth exploring in its inevitable sequel (which, yes, we can only hope will sport even more nutso action). Being a superhero isn’t easy, but “The Old Guard” reminds us that it — and the entertainment it can inspire — might be the best way to explore what it means to be a person.

The Old Guard in Comics

The Old Guard on Film:

Netflix, 2020.

Where to Watch:

Storytelling Copyright © 2021 by Pamela Bond is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Book to Movie Adaptations: From Page to Screen

By Corrine Asbell

Updated November 14, 2023

The process of creating a successful book to movie adaptation is a complex alchemy that involves balancing the expectations of ardent fans, respecting the source material, and creating a compelling cinematic experience. 

The journey from the printed page to the silver screen is a well-trodden path in the world of storytelling. 

It’s a path that has led to both triumph and tribulation, as filmmakers attempt to capture the essence of beloved books while translating them into a different medium. 

Jump to the list of 11 examples of successful book to movie adaptations.

The Challenges of Adaptation

Adapting a book into a film is a daunting task, primarily because the two mediums have distinct storytelling methods. 

While books allow readers to dive deep into characters’ thoughts and emotions, movies rely on visual and auditory cues to convey the narrative. 

There are many challenges that filmmakers face when making a movie with a novel as the source material, but we’re going to discuss some of the major obstacles.

Pacing 

The difference in the length and format between books and movies poses a significant challenge when adapting novels into films.

Movies typically have a limited runtime, commonly around two to three hours.

In contrast, books have the luxury of spanning hundreds of pages, allowing for detailed character development, intricate subplots, and a leisurely exploration of the story’s world. 

This inherent time constraint in filmmaking necessitates careful selection and compression of material from the source material.

Condensing a sprawling novel into a concise film requires filmmakers to make strategic choices about which scenes, characters, and plot elements to include. 

This selective storytelling process is often guided by the central theme or the core narrative of the book. 

Filmmakers must identify the key moments that drive the story forward and contribute to character development while leaving out less critical elements.

Filmmakers often need to distill the essence of a book’s narrative into its most compelling and visually impactful elements. 

This may involve sacrificing certain subplots or minor character arcs to maintain a tight and engaging storyline. 

The goal is to ensure that the film remains focused on the central themes and conflicts of the original work.

Visual Interpretation 

Films are primarily visual storytelling mediums. 

They rely on moving images, cinematography, and various audio-visual elements to convey a narrative. 

Unlike books, which rely on written descriptions to paint a mental picture, films allow audiences to see the story unfold in front of their eyes. 

This visual aspect can enhance the emotional impact of a story by immersing viewers in a world that’s both tangible and immediate.

Films have their own visual language and techniques, such as camera angles, lighting, and editing, which can convey meaning and emotion in ways that written words cannot. 

For example, a close-up shot of an actor’s face can reveal their inner turmoil, while a sweeping landscape shot can capture the grandeur of a setting. 

These visual choices are instrumental in shaping the audience’s emotional connection to the story.

Characterization 

Books have the unique advantage of allowing readers to access a character’s inner thoughts and emotions through narration, inner monologues, and introspection. 

Authors can delve deep into a character’s psyche, sharing their fears, desires, and inner conflicts. This intimate access to a character’s mind enables readers to form a profound and empathetic connection with them. 

Readers can understand the character’s motivations, even if those motivations are complex or contradictory.

In novels, authors have the space to provide detailed character development, often spanning many pages or chapters. 

Readers can witness characters evolve, grow, and transform as they journey through the story. 

Authors can introduce backstory, childhood memories, and other significant life events to give depth and complexity to characters.

In contrast, movies rely on visual and auditory cues to convey character traits and emotions. 

Filmmakers must rely on the actors’ performances, dialogues, body language, facial expressions, and even the music score to communicate the inner workings of characters. 

This visual and sensory engagement can be incredibly powerful, as it immerses the audience in the character’s world and allows them to interpret emotions and intentions through non-verbal cues.

The filmmaking principle of “show, don’t tell” is essential when portraying characters on screen. 

Rather than directly narrating a character’s thoughts and feelings, filmmakers must find creative ways to depict them through actions and visuals. 

For instance, a character’s hesitation, a tear in their eye, or a subtle smile can speak volumes about their emotional state.

Fidelity vs. Creativity 

The tension between fidelity to the source material and creative reinterpretation is a perennial debate in the realm of book to movie adaptations. 

On one hand, there are purists who argue for strict adherence to the book, believing that the essence of the story lies in the author’s words and that any deviation diminishes the authenticity of the adaptation. 

On the other hand, there are those who champion creative freedom, recognizing that filmmaking is a distinct art form that should be allowed to flourish on its terms, even if it means departing from the source material.

Fidelity to the source material has its merits.  

It honors the author’s intent and provides a sense of nostalgia for fans of the book who relish seeing their favorite characters and scenes faithfully reproduced on screen. 

It ensures that the adaptation retains the core themes, characters, and plot elements that made the book beloved in the first place. 

Fidelity can be particularly important when adapting works with well-established and passionate fan bases, as any significant deviations can lead to backlash and disappointment.

However, strict fidelity can also stifle creativity and the unique possibilities of the cinematic medium. 

Filmmakers must often make adjustments to accommodate the constraints of time, budget, and the visual language of film. 

This necessitates condensing, omitting, or reinterpreting certain elements from the book. 

Creative book to movie adaptations can breathe new life into a familiar story, offering fresh perspectives, innovative visual storytelling, and sometimes even improved pacing and structure.

Ultimately, the balance between fidelity and creativity in book to movie adaptations is a delicate one. 

The most successful adaptations find a middle ground, staying true to the spirit of the source material while embracing the unique opportunities that film offers for visual storytelling. 

They recognize that fidelity should not be a rigid rule but rather a guideline that can be bent or broken when it serves the narrative and artistic vision. In the end, what matters most is that the adaptation captures the heart and essence of the story, even if it takes a few creative detours along the way.

Factors Contributing to Success

What separates these successful book to movie adaptations from others? While every case is unique, several common factors contribute to their triumph.

Skilled directors, screenwriters, and actors who understand and respect the source material can elevate an adaptation.

Effective use of cinematography, art direction, and visual effects can transport viewers into the world of the book.

Movies that focus on well-developed characters and their emotional journeys tend to resonate with audiences.

Successful book to movie adaptations find a balance between honoring the book and introducing new elements that enhance the cinematic experience.

Examples of Successful Book to Movie Adaptations

The lord of the rings trilogy : adaptation of jrr tolkien’s lord of the rings novels.

When J.R.R. Tolkien penned The Lord of the Rings nearly seven decades ago, little did he know that his epic fantasy masterpiece would one day become a benchmark for successful book to movie adaptations. 

Peter Jackson’s film trilogy, released between 2001 and 2003, not only captured the hearts of Tolkien’s dedicated fanbase but also garnered critical acclaim and introduced Middle-earth to a new generation. 

One of the primary reasons for the trilogy’s success was its unwavering dedication to the source material. 

Jackson and his team showed immense respect for Tolkien’s work, meticulously recreating the vivid world of Middle-earth, its rich lore, and its memorable characters. 

They took care to ensure that the essence of the books was preserved, resonating with fans who cherished the novels.

Tolkien’s narrative, renowned for its depth and complexity, could have been challenging to adapt to the screen. 

However, the filmmakers skillfully condensed and streamlined the story without sacrificing its essence. 

The trilogy’s pacing, character development, and intertwining storylines kept viewers engaged across three long films.

The films also pushed the boundaries of visual effects and cinematic technology, immersing viewers in the fantastical world of Middle-earth. 

The seamless integration of CGI and practical effects created awe-inspiring landscapes, epic battles, and mythical creatures. 

The attention to detail and the breathtaking visuals transported audiences into Tolkien’s universe.

LotR’s successful transition from book to movie is a testament to the collaborative efforts of talented filmmakers, a dedicated cast and crew, and an unwavering commitment to honoring Tolkien’s original work.

You can stream the entire LotR trilogy on Max.

Buy on Amazon

The Shawshank Redemption : Adaptation of Rita Hayworth and Shawshank Redemption by Stephen King

When Stephen King ‘s novella Rita Hayworth and Shawshank Redemption was first published in 1982, it garnered acclaim as a gripping tale set within the confines of a prison. 

Little did anyone know that this story would later become one of the most celebrated and enduring book to movie adaptations in cinematic history. 

The Shawshank Redemption , directed by Frank Darabont and released in 1994, is a shining example of how a book-to-movie adaptation can not only stay true to its source material but also transcend it in remarkable ways. 

Darabont’s screenplay remains remarkably faithful to Stephen King’s novella. 

While some adaptations take creative liberties, The Shawshank Redemption preserves the essence of the story, characters, and themes, capturing the emotional depth and moral complexity that made the novella so compelling.

The film boasts a stellar cast led by Tim Robbins as Andy Dufresne and Morgan Freeman as Red. 

These actors delivered unforgettable performances that brought depth and authenticity to their characters. 

Freeman’s narration, in particular, has become iconic and synonymous with the film itself.

Darabont’s direction and the screenplay’s adaptation of King’s work are both masterclasses in storytelling. 

The film successfully maintains the novella’s gripping narrative and expertly captures the sense of hope and camaraderie that runs through the story.

Shawshank explores universal themes of hope, redemption, friendship, and the human spirit’s resilience in the face of adversity. 

These themes resonate with audiences of all backgrounds and make the story as relevant today as it was when the novella was written.

By maintaining the integrity of Stephen King’s novella while elevating it through exceptional performances, direction, and cinematography, the film has earned its place in the pantheon of great cinematic achievements. 

Its enduring appeal and timeless themes continue to captivate audiences, cementing its legacy as a true triumph in the world of book to movie adaptations.

You can rent Shawshank on Apple TV, Amazon Video, Google Play, etc.

To Kill a Mockingbird : Adaptation of Harper Lee’s To Kill a Mockingbird

Harper Lee’s classic novel, To Kill a Mockingbird , has long been regarded as a literary masterpiece. 

Its transition from page to screen was a formidable challenge, yet the 1962 film adaptation directed by Robert Mulligan managed to capture the essence and enduring power of the novel.

The film remained remarkably faithful to Lee’s novel, preserving its central themes, characters, and plotlines. 

The screenplay, penned by Horton Foote, skillfully condensed the story while staying true to the heart of the novel, which resonated with both fans of the book and new audiences.

The movie delves into profound themes such as racial injustice, moral growth, and empathy. 

These themes continue to be relevant, making the film a poignant and thought-provoking experience for audiences, even decades after its release.

This book to movie adaptation has been used in classrooms around the world to educate students about social justice, racism, and moral integrity. 

It has played a crucial role in fostering discussions and promoting empathy and understanding.

The film’s casting was nothing short of brilliant. Gregory Peck’s portrayal of Atticus Finch is widely regarded as one of the most iconic performances in cinematic history. 

His embodiment of the principled and compassionate lawyer was so impeccable that he earned an Academy Award for Best Actor. 

The entire ensemble cast, including Mary Badham as Scout and Philip Alford as Jem, was equally exceptional.

To Kill a Mockingbird’s unwavering loyalty to the source material, outstanding performances, and timeless themes have secured its place in cinematic history. 

Beyond its artistic achievements, the film continues to inspire, educate, and provoke meaningful conversations about the enduring importance of justice, empathy, and the power of literature and film to affect positive change in society.

You can rent the movie on Apple TV, Amazon Video, Google Play, etc.

The Godfather : Adaptation of Mario Puzo’s The Godfather

When Mario Puzo’s crime novel The Godfather was published in 1969, it quickly became a literary sensation, drawing readers into the dark and complex world of the Italian-American Mafia. 

However, it was Francis Ford Coppola’s 1972 film adaptation that elevated The Godfather to legendary status, setting a new standard for book to movie adaptations. 

One of the primary reasons for the film’s success is its unwavering loyalty to Mario Puzo’s novel. 

Coppola and Puzo collaborated closely on the screenplay, ensuring that the essence of the story, characters, and intricate Mafia politics were preserved. 

Coppola’s direction and Puzo’s screenplay expertly condensed the novel’s intricate plot into a coherent and captivating narrative. 

The film’s pacing, character development, and the interplay of multiple storylines were skillfully executed, drawing viewers into the Corleone family’s web of intrigue.

The casting of The Godfather is often hailed as one of the most brilliant in cinematic history. 

Marlon Brando’s portrayal of Don Vito Corleone is legendary, earning him an Academy Award for Best Actor. 

The ensemble cast, including Al Pacino as Michael Corleone, James Caan as Sonny Corleone, and Robert Duvall as Tom Hagen, delivered unforgettable performances that breathed life into the characters.

The film is replete with iconic lines and memorable scenes, from Don Corleone’s “I’m gonna make him an offer he can’t refuse” to the horse head in the bed. 

These moments have become ingrained in popular culture and are often quoted and referenced.

Beyond its cinematic achievements, The Godfather has left an indelible mark on American culture. 

It has influenced subsequent films, television shows, and even real-life discussions of organized crime.

You can watch on Prime Video or Paramount+

Gone Girl : Adaptation of Gillian Flynn’s Novel Gone Girl

When it comes to adapting a beloved book to the silver screen, it’s no easy feat to satisfy both avid readers and moviegoers. 

However, David Fincher’s 2014 adaptation of Gillian Flynn’s bestselling novel Gone Girl managed to do just that. 

This dark, suspenseful tale of marriage, deception, and media manipulation became a benchmark for successful book to movie adaptations. 

David Fincher’s direction and Gillian Flynn’s screenplay combined to create a suspenseful, engrossing narrative. 

The film’s nonlinear structure, alternating between Nick and Amy’s perspectives, mimicked the novel’s style, keeping viewers intrigued and guessing throughout.

Fincher’s film stays remarkably loyal to Flynn’s novel. The adaptation preserves the novel’s intricate plot, multi-dimensional characters, and gripping narrative twists. 

Ben Affleck’s portrayal of Nick Dunne, a man entangled in a web of suspicion, garnered praise for its complexity. 

Rosamund Pike’s portrayal of the enigmatic and manipulative unreliable narrator Amy Dunne earned her an Academy Award nomination. 

The chemistry between the leads brought the complex characters to life and intensified the story’s suspense.

The film masterfully builds psychological tension, just as the novel does. 

The mystery surrounding Amy’s disappearance and the subsequent investigation keep viewers on the edge of their seats, driving the narrative forward with relentless suspense.

Gone Girl delves into timeless themes of love, marriage, deception, and the dark facets of human nature. 

These themes are as relevant today as when the book was first published, prompting viewers to reflect on the complexities of relationships and the role of media in shaping public perception.

By remaining faithful to Flynn’s captivating novel and combining stellar performances with expert direction, it succeeded in satisfying both existing fans and newcomers. 

The film’s enduring appeal lies in its skillful storytelling, timeless themes, and its ability to leave audiences pondering the dark complexities of human relationships.

You can watch on Max or Cinemax

Jurassic Park : Adaptation of Michael Crichton’s Jurassic Park

Michael Crichton’s science fiction novel about resurrected dinosaurs captivated readers and moviegoers alike. 

When Steven Spielberg brought this science-fiction thriller to life on the big screen in 1993, it became an instant classic and set a high bar for book to movie adaptations.

Jurassic Park was a story ahead of its time, exploring the ethical implications of genetic engineering and the consequences of playing with the laws of nature. 

The concept of dinosaurs being brought back to life continues to capture the fascination of viewers young and old. 

Jurassic Park tapped into humanity’s enduring curiosity about these ancient creatures, ensuring its appeal remains timeless.

Spielberg’s book to movie adaptation captured the essence of Crichton’s vision, making it accessible to a broader audience while maintaining the novel’s core ideas.

The film made history with its groundbreaking use of CGI and animatronics. 

The lifelike dinosaurs, from the awe-inspiring Tyrannosaurus rex to the cunning Velociraptors, brought an unparalleled level of realism to the screen.

Spielberg masterfully maintained the novel’s tension and suspense, delivering thrilling sequences that kept audiences on the edge of their seats. 

From the electrifying T. rex encounter to the heart-pounding Velociraptor chase, the film delivered on its promise of adventure and danger.

Spielberg’s ability to capture the wonder and danger of Crichton’s narrative, paired with groundbreaking visuals and a timeless story, resulted in a film that not only pleased fans of the novel but also introduced a new generation to the thrill of dinosaurs on the big screen.

You can stream JP on DirecTV or Fubo, rent on Prime Video or YouTube

The Silence of the Lambs : Adaptation of The Silence of the Lambs by Thomas Harris

Thomas Harris’s chilling novel provided the source material for this psychological thriller directed by Jonathan Demme. 

At the heart of the film’s success is its unwavering loyalty to Thomas Harris’s novel. 

The screenplay by Ted Tally remains true to the novel’s intricate plot, its compelling characters, and the psychological depth that made the book a bestseller.

The Silence of the Lambs is a psychological thriller that delves deep into the minds of its characters, particularly the complex relationship between Clarice Starling and Dr. Hannibal Lecter. 

The film effectively captures the psychological tension and suspense that made the novel so gripping.

The film boasts an extraordinary cast led by Jodie Foster as Clarice and Anthony Hopkins as Lecter. 

Hopkins’ portrayal of the iconic cannibalistic psychiatrist earned him an Academy Award and remains one of the most chilling and memorable performances in cinematic history. 

Foster’s Clarice is equally captivating, showcasing her determination and vulnerability.

The film explores complex themes of gender and power, particularly in the interactions between Clarice and Dr. Lecter. 

These themes are as relevant today as when the novel was written, sparking important discussions about gender dynamics and women in law enforcement.

With its exceptional cast, intense psychological storytelling, and cultural impact, the film stands as a cinematic classic that continues to thrill and chill audiences. 

It remains a testament to the power of adaptation when executed with skill and dedication to the original work.

Stream on Max

The Great Gatsby : Adapation of the Novel by F. Scott Fitzgerald

Baz Luhrmann’s visually stunning adaptation of F. Scott Fitzgerald’s classic novel captures the opulence and excess of the Jazz Age. 

Luhrmann, known for his visually opulent filmmaking style, brought a unique and contemporary vision to The Great Gatsby .

 The film’s dazzling cinematography, extravagant costumes, and spectacular party scenes create a visually immersive experience.

While Luhrmann’s adaptation introduced some modern elements and stylized storytelling successfully transporting the Roaring Twenties to the 21st century, it remained remarkably faithful to Fitzgerald’s novel. 

The screenplay, co-written by Luhrmann and Craig Pearce, preserved the novel’s themes, characters, and iconic lines.

The themes explored in The Great Gatsby, such as the American Dream, decadence, love, and societal disintegration, remain relevant in today’s society. 

The story has always been more than just a love story; it’s a commentary on the decadence and superficiality of the American Dream. 

The movie effectively highlights these societal critiques, making them resonate with contemporary audiences.

Luhrmann’s direction and the film’s narrative style created an engaging storytelling experience. 

The use of Nick Carraway’s narration and flashbacks added depth to the characters and plot, enriching the viewer’s understanding of the story.

This modern and visually stunning take on Fitzgerald’s novel allowed audiences to re-engage with the story, themes, and characters in a fresh and captivating way.

Rent on Apple TV, Prime Video, Google Play, etc

The Hunger Games Franchise: Adaptation of the Hunger Games Trilogy by Suzanne Collins

Suzanne Collins’s dystopian young adult series came to life in this successful film franchise. 

Jennifer Lawrence’s portrayal of Katniss Everdeen, a strong-willed heroine, resonated with audiences and solidified the adaptation’s success.

One of the most crucial aspects of a successful book to movie adaptation is its ability to remain loyal to the source material. 

The Hunger Games films meticulously retained the novels’ compelling storylines, character development, and socio-political commentary, ensuring that the essence of Collins’ vision remained intact.

The films captured the dystopian world of Panem with striking visuals, immersive sets, and meticulous attention to detail. 

From the stark contrast between the Capitol’s opulence and the districts’ poverty to the elaborate designs of the arenas, the films effectively conveyed the stark divide within this fictional society.

The trilogy delves into themes such as totalitarianism, the media’s power, wealth disparity, and the exploitation of youth. 

These themes resonated with contemporary audiences and prompted discussions on real-world issues, giving the story a sense of relevance and urgency.

The films paid special attention to character development, ensuring that viewers empathized with the characters’ struggles, growth, and relationships. 

The Hunger Games trilogy empowered young audiences by featuring a strong and relatable female protagonist in Katniss Everdeen. 

The films promoted diversity and explored complex gender dynamics, sparking important discussions about representation in media.

The Hunger Games will always be remembered not only for its thrilling action sequences but also for its meaningful social commentary and the lasting impact it has had on both literature and cinema.

The Revenant : Adaptation of Michael Punke’s Novel

Inspired by Michael Punke’s novel, this film directed by Alejandro González Iñárritu is a visceral and visually stunning experience.

 Leonardo DiCaprio’s performance as frontiersman Hugh Glass earned him an Academy Award, while the film itself was celebrated for its cinematography and storytelling.

González Iñárritu, along with cinematographer Emmanuel Lubezki, crafted a visually stunning film. 

The Revenant is a visual masterpiece, characterized by breathtaking landscapes, long single-take sequences, and a sense of immersive storytelling that enhances the cinematic experience.

DiCaprio’s portrayal of Glass was also nothing short of spectacular. 

His physically demanding performance, complete with enduring extreme weather conditions and physically grueling scenes, earned him his first Academy Award for Best Actor. 

DiCaprio’s immersion in the character was crucial in bringing the protagonist to life with authenticity and depth.

Tom Hardy’s performance as the antagonist, John Fitzgerald, is a brilliant foil to DiCaprio’s Glass. 

Hardy’s portrayal adds depth to the character, creating a complex dynamic that fuels the film’s central conflict.

The film’s technical achievements, including its use of natural lighting, minimal CGI, and innovative camera work, set new standards in the industry. 

It showcased the possibilities of filmmaking and served as a testament to the dedication of the cast and crew.

Beyond its visceral storytelling, The Revenant delves into profound philosophical themes, exploring the human condition, the cost of survival, and the enduring power of the human spirit. 

The Revenant exemplifies the heights that a book to movie adaptation can achieve when executed with precision and artistic excellence. 

With its unwavering fidelity to the source material, stellar performances, technical brilliance, and emotionally charged storytelling, the film not only honors Punke’s novel but also stands as an enduring cinematic achievement.

The Social Network: Adaptation of the Accidental Billionaires by Ben Mezrich

Aaron Sorkin’s screenplay, adapted from Ben Mezrich’s book, The Accidental Billionaires , captured the essence of the rise of Facebook and its creator, Mark Zuckerberg, through sharp dialogue and strong performances.

The Social Networ k tells the story of Facebook’s inception and its tumultuous early years, making it a relevant and timely subject matter. 

The film explores themes of entrepreneurship, friendship, betrayal, and the impact of technology on society, resonating with contemporary audiences.

The Social Network delves into the complex personalities and motivations of its characters, humanizing tech titans and making their interpersonal conflicts and legal battles engaging and relatable.

Beyond the creation of Facebook, The Social Network offers a deeper exploration of the societal implications of social media. 

It raises questions about privacy, ethics, and the impact of online platforms on interpersonal relationships.

Aaron Sorkin’s screenplay is a tour de force of witty, rapid-fire dialogue. Sorkin’s clever writing not only captures the essence of Mark Zuckerberg’s personality but also adds depth to the characters and their complex relationships. 

The screenplay won an Academy Award for Best Adapted Screenplay, showcasing its excellence.

David Fincher’s meticulous and visually arresting direction elevates the film. 

His signature style, characterized by dark and moody aesthetics, lends itself well to the intense drama and intrigue of the story.

The film has left a lasting impact on popular culture, influencing discussions on technology, entrepreneurship, and the social media landscape. 

It remains a reference point for exploring the origin of one of the world’s most influential platforms.

The art of adapting books into movies is as old as cinema itself, and it continues to evolve. 

While not every book to movie adaptation can achieve critical and commercial success, the best ones manage to capture the essence of the source material while making smart creative choices to suit the medium. 

As filmmakers continue to tackle the challenge of bringing books to the screen, the enduring allure of these book to movie adaptations lies in their ability to bridge two different worlds of storytelling.

Corrine Asbell is a former journalist and an unashamed video game aficionado. When not glued to her PS5 she’s rewatching Star Wars (but not the prequels, eww) and trying to learn Swedish.

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25 Crucial Film Adaptations of Books

Posted: January 4, 2024 | Last updated: January 4, 2024

12 Years a Slave (2013)

12 Years a Slave is considered a success of the last decade, not only achieving significant box office revenue but also being one of the standout titles at the 2014 Oscars. The film, directed by Steve McQueen, is based on a 1853 memoir and slave narrative by Solomon Northup, which was told and written by David Wilson.

Set in the United States before the Civil War, the story follows Solomon Northup, a free black man from the state of New York who is kidnapped and sold into slavery. Chiwetel Ejiofor leads the cast, which is filled with A-list figures. Brad Pitt, Michael Fassbender, Michael Kenneth Williams and Dwight Henry are among the actors who are part of the ensemble.

The Silence of the Lambs (1991)

Anthony Hopkins and Jodie Foster starred in one of the most well-known psychological horror and drama films in history in 1991: The Silence of the Lambs. The acclaimed adaptation directed by Jonathan Demme is based on the eponymous novel written by Thomas Harris.

Not only has the eerie atmosphere of the story been highlighted, but also its expertly crafted suspense and effective storytelling. Its lead stars received various forms of praise, as did several members of the production team. It remains one of the most influential titles in the film industry to this day.

Jurassic Park (1993)

Action, drama, tension and plenty of dinosaurs are what have always characterized the acclaimed Jurassic Park, whose first adaptation came out in 1993, directed by Steven Spielberg and based on the novel of the same name written by Michael Crichton. As expected, the film helped the story become mega-popular and ended up becoming one of the most well-known franchises in the industry.

The plot follows John Hammond (played by Richard Attenborough), who, thanks to fossilized DNA found in amber, brings various dinosaur species to life and creates Jurassic Park, a theme park on an island in Costa Rica, but what seemed like a dream quickly turns into a nightmare. Laura Dern, Sam Neill and Jeff Goldblum will always be remembered as the iconic trio that brought the main characters to life.

The Perks of Being a Wallflower (2012)

The Perks of Being a Wallflower was directed by Stephen Chbosky in 2012 and is based on the eponymous novel written by Chbosky himself. The director and writer played a significant role in the adaptation, which contributed to maintaining the essence of the story and the characters.

The film captures many of the key elements of the book and features a talented cast that includes Logan Lerman, Emma Watson and Ezra Miller in the leading roles. The critics did nothing but praise the performances of the stars, especially for their ability to convey the emotional complexities of the characters in an authentic way.

Breakfast at Tiffany’s (1961)

It’s likely that there’s no one who hasn’t heard of Breakfast at Tiffany’s, whether it’s the book written by Truman Capote or its adaptation directed by Blake Edwards. The two-time Oscar-winning film hit the big screen in 1961, changing history and leaving a mark on culture. Its influence on pop culture, fashion, and music makes it one of the most beloved and remembered of all time.

The iconic Audrey Hepburn leads the cast and brings to life Holly Golightly, a young woman from New York’s high society who begins to take an interest in a man who has moved into her residential building, but her past threatens to get in their way.

The Princess Bride (1987)

If we’re talking about classics, The Princess Bride is surely on the list. The movie directed by Rob Reiner and based on the novel of the same name written by William Goldman was not a box office hit in 1987, but it has indeed become a cult classic. Over time, it managed to gain a large and passionate following.

Robin Wright, Cary Elwes, Mandy Patinkin, Chris Sarandon, Christopher Guest and Wallace Shawn are some of the stars who have been part of the story, which portrays the journey of a young woman named Buttercup and her beloved Westley. When he sets out in search of great fortune, he is presumed dead, and the young woman ends up being betrothed to the wicked Prince Humperdinck.

Gone Girl (2014)

Despite having been released in 2014, Gone Girl continues to be a topic of conversation to this day, especially due to the plot twists and the incredible performances by the actors Ben Affleck and Rosamund Pike in their portrayals of the main characters, which are based on the novel written by Gillian Flynn.

The Oscar-nominated adaptation was directed by David Fincher and unfolds the plot while maintaining suspense and drama at the forefront. The story explores justice and revenge, as well as the consequences of the characters’ actions, addressing other themes such as manipulation and public perception.

American Psycho (2000)

American Psycho, the adaptation based on the novel written by Bret Easton Ellis in 1991, became one of the most popular stories in cinema in the 2000s. It was starred by Christian Bale, who brought to life Patrick Bateman, a young and handsome Wall Street investment banker leading a superficial and materialistic life.

The plot portrays how the main character hides his alternate psychopathic ego from his coworkers and friends while delving into his violent hedonistic fantasies. As expected for the time, the movie, directed by Mary Harron, was classified as a controversial and provocative work that has sparked discussions but had a significant impact on popular culture.

No Country for Old Men (2007)

No Country for Old Men was directed by the Coen brothers, Joel and Ethan, in 2007. It was not only acclaimed for its story and cast but also for the great job the filmmakers did with the concept, perfectly capturing the dark and tense atmosphere of the plot, which is based on the novel of the same name written by Cormac McCarthy.

Although it’s a movie that doesn’t adhere to traditional Hollywood conventions, it had a solid box office success and found an appreciative audience. Tommy Lee Jones, Josh Brolin, Javier Bardem and Woody Harrelson are the ones who bring the main characters of the project to life, which addresses profound themes such as violence, morality, and the inevitability of the passage of time.

The Shining (1980)

The Shining had its big debut in the 80s, and over time, it has become a cult classic, especially during Halloween. Its film adaptation, directed by Stanley Kubrick, is based on the eponymous book written by the master of horror, Stephen King.

The story follows a family heading to an isolated hotel to spend the winter. There, a malevolent spiritual presence violently affects the father (portrayed by Jack Nicholson), while the psychic son (played by Danny Lloyd) has horrifying visions of the past and the future.

Critics praised the performances of the main actors, including that of Shelley Duvall, and how they created an eerie atmosphere through masterful cinematography and their ability to generate a sense of paranoia and horror.

The Hunger Games (2012)

If there’s one trilogy that can’t be denied success, it’s The Hunger Games. Over time, the story, based on Suzanne Collins‘ books, became a major franchise, starring Jennifer Lawrence as Katniss, Liam Hemsworth as Gale and Josh Hutcherson as Peeta.

It had almost the same impact as Twilight in its moment of glory and currently is part of the list of cult science fiction movies for young adults that you must see. The first installment was directed by Gary Ross, while Billy Ray was responsible for adapting the screenplay, collaborating with the author and filmmaker.

Matilda (1996)

Following the success of Roald Dahl‘s 1988 novel Matilda, it was expected that its film adaptation would be of great significance. The movie, which follows an exceptionally intelligent girl with neglectful and cruel parents, starred Mara Wilson and was directed by the iconic Danny DeVito.

To this day, the film remains one of the audience’s favorites, having been categorized as a classic and a cult title. The story, which celebrates intelligence, empathy, and perseverance, has successfully conveyed a positive message to young viewers.

Bones & All (2022)

Bones and All was one of the most anticipated titles of 2022, especially due to its incredible cast, led by Timothée Chalamet and Taylor Russell, and the fact that Luca Guadagnino directed the story, which is based on the eponymous novel written by Camille DeAngelis.

The film adaptation, with a screenplay written by David Kajganich, is one of the most acclaimed, and it tells the story of Maren, a young woman who learns to survive on the fringes of society, but as she travels across the United States, she ends up eating the people she encounters along the way.

The Help (2011)

There are secrets that change everything, and the same happens in The Help, the movie directed by Tate Taylor, which won an Oscar and is based on the novel written by Kathryn Stockett. Both the novel and its film adaptation have sparked interest and discussion over the years, especially following the controversy regarding its portrayal of race and criticisms of its approach.

Octavia Spencer, Jessica Chastain, Viola Davis, Bryce Dallas Howard and Emma Stone were just a few of the stars who headline the plot, which follows an aspiring author during the civil rights movement in the 60s, who decides to write a book from the perspective of African American domestic assistants about the white families they work for.

The Devil Wears Prada (2006)

The Devil Wears Prada made its big-screen debut in 2006, after being directed by David Frankel, and has since become a classic, leaving a lasting impact on a whole generation with its eloquent and dramatic story, which is based on the book written by Lauren Weisberger.

The adaptation, which focuses its narrative on the working relationship between the assistant Andrea Sachs and the powerful fashion editor Miranda Priestly, was a worldwide commercial success and managed to be nominated for two Oscars. Anne Hathaway and Meryl Streep were praised by critics for their impeccable performances.

Little Women (2019)

The new version of Little Women was generally praised for its faithfulness to Louisa May Alcott‘s book and its innovative approach to the narrative. With a star-studded cast, the 2019 film managed to win an Oscar for Best Achievement in Costume Design for Jacqueline Durran.

Greta Gerwig was the one responsible for directing the adaptation, and she did a remarkable job by giving the story a fresh and contemporary approach while keeping the fundamental aspects of the plot and characters intact, thus honoring the spirit of the book.

Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Bob Odenkirk, Tracy Letts and Meryl Streep were some of the stars who have been praised for their work bringing the main characters of the period drama to life.

Mean Girls (2004)

When we think of iconic titles from the 2000s, it’s inevitable that Mean Girls comes to mind. Starring Lindsay Lohan and Rachel McAdams, the movie follows Cady Heron, who tries to adapt to high school life, but things get complicated when she falls for the ex-boyfriend of the school’s most popular girl.

Many fans of the film may not know that the plot is based on Rosalind Wiseman‘s novel Queen Bees and Wannabes and the teenage experiences of Tina Fey, who is also part of the cast and portrayed Ms. Norbury. Soon, the franchise will be back with a new version that will be a musical, promising many surprises.

The Talented Mr. Ripley (1999)

The Talented Mr. Ripley was directed by Anthony Minghella in 1999 and is considered a faithful adaptation in terms of capturing the atmosphere and the main characters of the eponymous novel written by Patricia Highsmith. Matt Damon and Jude Law starred in the film, which received 5 Oscar nominations.

Despite the fact that the adaptation’s story underwent some modifications compared to the book, the audience and professional critics praised the project for its suspense, exploration of the characters’ psychology, and the incredible performances of the A-list cast, including those of Gwyneth Paltrow and Cate Blanchett.

The Shawshank Redemption (1994)

The Shawshank Redemption has earned iconic status and a very loyal following over time, now being one of the cult films you can’t miss and that have left their mark on the history of cinema. The adaptation came to light in 1994 and was directed by Frank Darabont, based on a short story by Stephen King, which tells an exciting and touching story of redemption and hope in an oppressive prison setting.

Although it didn’t initially achieve great success at the box office, it received very positive reviews and was nominated for several awards. This was especially due to the performances delivered by its leads, Tim Robbins and Morgan Freeman. Of course, they were accompanied by other top-notch stars like Clancy Brown and Bob Gunton.

The Lord of the Rings: The Fellowship of the Ring (2001)

The Lord of the Rings: The Fellowship of the Ring arrived on the big screen with the goal of becoming one of the greatest movies in the history of cinema, and it certainly achieved that. It is based on the book written by J.R.R. Tolkien, and the first cinematic adaptation, directed by Peter Jackson, took home 4 Oscars.

The highly popular plot follows a hobbit from the Shire and eight companions who embark on a journey to destroy the powerful One Ring and save Middle-earth from the Dark Lord Sauron. If there’s one thing the project didn’t lack, it’s great actors.

Elijah Wood, Orlando Bloom, Ian McKellen, Sean Bean, Viggo Mortensen, Cate Blanchett and Sean Astin are just some of the names that make up the cast of the acclaimed adventure and fantasy film, which grossed 871 million worldwide.

Harry Potter and the Sorcerer’s Stone (2001)

If we talk about a movie that is based on a great book and has left a permanent mark on history, it’s Harry Potter. You may be a fan of J.K. Rowling or not, but it’s undeniable that the franchise has positioned itself as one of the most popular in the world, managing to compete against The Lord of the Rings, as they were released in the same year.

In addition to being nominated for three Oscars, the film adaptation was in the hands of director Chris Columbus, while the cast features several significant names in the industry. Daniel Radcliffe, Rupert Grint and Emma Watson are the ones who star in the story, which follows an orphaned boy who enrolls in a school of magic and wizardry, where he learns the truth about himself, his family, and the terrible evil that looms over the magical world.

The Color Purple (1985)

The 1985 film adaptation of The Color Purple was directed by Steven Spielberg and is not only considered a faithful and successful adaptation of Alice Walker‘s epistolary novel of the same name, but it also captured many of the key elements of the story and characters, making it a classic in the industry.

Both the director and the stars who made up the cast, such as Danny Glover, Whoopi Goldberg, Oprah Winfrey and Margaret Avery, successfully conveyed the powerful message of the novel and explored important themes such as racial oppression, women’s empowerment, and the search for identity.

Sense and Sensibility (1995)

Sense and Sensibility is one of the top movies in terms of romance, drama, and period productions. There’s nothing like a good adaptation based on a Jane Austen novel, and the project directed by Ang Lee has proven it, especially after taking home an Oscar.

Emma Thompson, Kate Winslet, Myriam Emilie Francois, James Fleet, Hugh Grant and Alan Rickman are just a few of the stars who came together to bring the main characters in the story to life, portraying what happens to the women of the Dashwood family when their father dies.

The Godfather (1972)

Since The Godfather made its grand appearance in movie theaters in 1972, the film industry has never been the same. The story, based on the novel of the same name written by Mario Puzo, is widely considered one of the most successful and acclaimed films.

The adaptation directed by Francis Ford Coppola, which won several Academy Awards, including Best Picture, follows the aging patriarch (played by Marlon Brando) of a post-war New York City crime dynasty as he transfers control of his clandestine empire to his reluctant younger son (played by Al Pacino).

How Stella Got Her Groove Back (1998)

Angela Bassett, Whoopi Goldberg, Taye Diggs and Regina King are just a few of the figures who joined forces in ’98 to carry out the adaptation of How Stella Got Her Groove Back, which was directed by Kevin Rodney Sullivan and is based on the eponymous book written by Terry McMillan.

The story follows Stella Payne, who, on a trip to Jamaica, finds love with a younger man. The acclaimed plot is a representation of the story of a woman seeking to rediscover herself and regain her confidence. As expected, Bassett received several nominations for bringing the main character to life.

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Shakespeare's Plays' Film Adaptation IELTS Listening Answers With Audio, Transcript, And Explanation

Luyện tập đề IELTS Listening Practice với Shakespeare's Plays' Film Adaptation được lấy từ cuốn sách IELTS Cambridge 12 - Test 4 - Section 3 kèm Answer key, list từ vựng IELTS cần học trong bài đọc và Free PDF & Audio Transcript Download với trải nghiệm thi IELTS trên máy và giải thích đáp án chi tiết bằng Linearthinking

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❓ transcript, 🔥 answer key (đáp án và giải thích), giải thích chi tiết.

>> Chuẩn bị nghe đáp án

>> Nghe tiếp thấy he came up with a straightforward classification of film adaptations

IELTS Listening Practice

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Victor hugo ielts listening answers with audio, transcript and explanation.

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