A common form of film adaptation is the use of a novel as the basis for a feature film. Other films include non-fiction, including novels, short stories and short films, as well as television series. Although film adaptations are often seen as a kind of derivative work, scientists like Robert Stam have conceived them as a dialogical process.
Adapting such diverse resources is a pervasive practice in filmmaking, and some believe that is why films are more successful. Film adaptations stand in stark contrast to the written word, which functions in many ways as a form of storytelling.
Peter Jackson’s adaptation of “The Lord of the Rings” is considered the greatest art I’ve ever seen, and it’s one of my favorites. The Hunger Games is a great art, but I think it’s a great adaptation; Peter Jackson’s adaptation of Lord of the Rings is one of the best.
On the one hand the cast is impeccable, on the other hand it is one of the best films in the history of film adaptation.
This summer’s breakout film, starring Lana Condor and Noah Centineo, is based on a series created by author Jenny Han in 2014. The film, The Gone Girl, adapts a book first published by Gillian Flynn in 2012 and immediately became a bestseller. Flynn’s “Gone Girl” sold more than two million copies in its first year and more than three million in its second.
Young adult books have a loyal and educated audience, and that is precisely why the producers are reaching out to them. But the process of turning a book into a film can be incredibly complicated before you can even obtain the rights to develop the author’s work. Even when a young adult novel hits the big screen, TV and streaming services like Netflix can make their own decisions.
Frederick says it’s harder to sell young adult fiction than it was in the days when Twilight and Hunger Games were popular. Television buyers are far more interested in young adults than their adult counterparts, he says.
What happens when producers find out that a book can be translated well into television or onto the screen of a film? Since the non-fan community, which has not read the source material, plays a large part in the success of comics and the genre consists of films that are considered adaptations, it is necessary to analyze the faithfulness, the authors agree.
Burke acknowledges that scientists in adaptation research take a poststructuralist approach by investigating the intertextuality of adaptations. Three Fans, Fidelity, Grammar, and Value, looks at the relationship between the creator’s loyalty and the creator’s choice of content for their adaptations, as well as the role of the fan base in the process.
This brings up the approach that media conglomerates have taken in designing franchise systems, with some shaping them and others reshaping their versions.
A more common resource is to take works that are easier to modify for reasons of literary style, plot or characterization. This could involve removing characters who were often considered marginal in terms of literary respectability. The process may also involve suppressing subcharacters and subplots, as these may be the aspects of the book that fans and readers of original novels love the most.
This type of film is less likely to provoke mainstream outrage, as it betrays the process of adapting from print to screen. When content is subjected to adaptation, it is the power factor that is dictated by its ability to adapt to its text, medium, market and culture. The entertainment industry has entered what Thomas Leitch calls a “post-literary adaptation,” adapting to the needs of its audience, not to the content itself.
Large novels are compressed to fit into a two-hour film format, while short stories require some expansion.
Old texts can be revised and supplemented if they contain anachronistic elements such as racial stereotypes, or they can be moved to a completely different environment for reasons of social or market relevance. All of this must be eliminated and taught in a new context, including classes of all kinds, to name but a few.
It is also generally believed that narrative adaptations occur mainly in literature and film, but adaptations come in a variety of forms, including plays and films. In Mississippi, 2016 was the first year that a book was devoted exclusively to the film adaptation of comics.