Literature and Cinema Their inter-relation

The Dawn Journal

Cinema and Literature are two distinct but equally extraordinary works of art. Literature is looking for new ways of unfolding the plot, building text space, cinematography, new ways of interpreting the stories and developing a verbal layer of cinetext. Cinema becomes a way of transformation, of recognition, of perception of a person, by the method of familiarising the individual with a cultural layer. Through screening, Cinema not only indirectly acquaints a person with the texts of literary classics, but also participates in the development of literary text preventing its necrosis. Literature is becoming more and more pictorial and has been a way of artistic expression for centuries. Literature takes its readers on a journey of imagination that is away from the real world while cinema shows such an imaginative world before the audience and they do not have to put much pressure on their minds to delve into their imaginations. Literature is an art which is developed through writing while Cinema brings to life those writings to life through sound, music, visuals, and actors. Cinema is a filtered version of reality and it truly reflects society. Films are frantic and really look forward to connecting with their audiences, trying to fulfil what society truly desires. Cinema is the most popular of cultural practices reflecting a plethora of social, economic and cultural phenomena in modern society.

2023

Cinema and Literature are two distinct but equally extraordinary works of art. Literature is looking for new ways of unfolding the plot, building text space, cinematography, new ways of interpreting the stories and developing a verbal layer of cinetext. Cinema becomes a way of transformation, of recognition, of perception of a person, by the method of familiarising the individual with a cultural layer. Through screening, Cinema not only indirectly acquaints a person with the texts of literary classics, but also participates in the development of literary text preventing its necrosis. Literature is becoming more and more pictorial and has been a way of artistic expression for centuries. Literature takes its readers on a journey of imagination that is away from the real world while cinema shows such an imaginative world before the audience and they do not have to put much pressure on their minds to delve into their imaginations. Literature is an art which is developed through writing while Cinema brings to life those writings to life through sound, music, visuals, and actors. Cinema is a filtered version of reality and it truly reflects society. Films are frantic and really look forward to connecting with their audiences, trying to fulfil what society truly desires. Cinema is the most popular of cultural practices reflecting a plethora of social, economic and cultural phenomena in modern society.

JRSP-ELT (ISSN: 2456-8104), 2021

Literature and cinema have always been vibrant mediums for expression. Their touching and moving appeal has made them popular across regions and time periods. However, despite their wide appeal, both literature and cinema are two different forms of art with varying audience and requirements. This paper aims to uphold a comparison between literature as a medium of communication and cinema as a medium of portrayal. The study takes into account few case studies to highlight the differences in the same text in relevance to the medium they are in. It also attempts to analyze the various techniques used in the two media to reach out to the audience or readers and tries to find out the effects and differences of the cinematic text and literary texts. The paper also briefly looks into the concepts of adaptation from one media to the other and highlights the benefits and drawbacks of both the media. Finally, the paper takes up a study of the influence of literature and cinema over one another, concluding with a comparison of their popularity across time and space.

Indian entertainment industry is among the fastest growing sectors in the country. Entertainment industries today are functioning in a highly intensified competitive environment, which calls for innovative solutions such that the problems are foreseen and solutions are visualized and planned in advance. Cinema has a great commercial value also. It is itself a great industry, Lacs of men and women are directly or indirectly employed in this industry. It is a good and easy means of advertisement. Things and articles can be shown in practical use through the films This paper presents some of the important innovative practices (also called upcoming trends) which are likely to be adopted by multiplex theaters in restructuring their business. It also helps to find out the contribution of literature in making cinema. The main objective of this research paper are to find out the impact of literature on cinema, its role incinema, its co-relation in cinema, its contribution to cinema. In our study of literature and cinema, particular attention will be paid to find out whether the literature is really make any impact on cinema or not, it also help to find out the role and co-relation of literature to the cinema. It also provides information about the contribution of literature to cinema. In this research 100 sample size is taken into consider for the study. For this research primary and secondary data is collected through questionnaire method to find out the conclusion.

" Tagore [Rabindranath Tagore] was able to create a suspension of disbelief amongst his readers even when he described this series of events [referring to cycle of events in Tagore's novella " Nastanirh " ], partly by taking advantages available naturally to writer of literature, and partly through his own eloquent language. No filmmaker could possibly achieve what Tagore did. " 1-Satyajit Ray Linguistic expression of literature has no palpable limit as the psychological realm of audience is infinite. The author can make the reader laugh, cry; sympathize with the lucid narrative of his writing. Readers construe these chronicles of events in some way or other in connotation with memory and other subliminal experience. They imagine them instinctively in relation to their own experiences and commiserate with archetypal rendering of emotion, poetry, realism and humanitarian qualities. Every moving image has its own implication until it's juxtaposed or interwoven to elicit some other abstraction or dialectical implication. The lyrical quality of literal narratives can be attempted to adapt into cinema by means of carefully imprinted stream of image and sound. But it may be argued that to what extent can cinematography objectively narrativize literary portrayal is a debatable topic-with all wide range of the tonal variations that literature can afford to represent. Here the idea of obligation comes into consideration. Cinematography is saddled with the obligation of imbuing the subtlety into cinema from literature, which has the advantage of being figurative and subtextual. Considerations for choosing creative tools, lensing, lighting, camera movement and rhythm become very crucial when it comes to concretize the characters, plots, milieu and motifs instilled in literature. Even the contrapuntal coordinates of time and space have brought cinematographic compulsions to new high as everything in literature can't be interpreted in a singular progression keeping in mind the layered experience it etch out in the reader's mind. Cinematographer, as the creator has the freedom to choose from sharply intrusive or delicately choreographed shot with subjective or objective perspectives to render abiding impressions. This paper wants to discuss various considerations, implications, limitations of cinematography and its intricate relationship with the pictorial analogue of the source literature vis-à-vis various coherent theories and practices intrinsic to both the art forms.

If there is one thing that cinema and literature have in common, it is that they are essentially an instrument of storytelling. Arguably, the point of distinction or in a mutant sense, the boundary between the two is more nuanced than how it may seem. A piece of literary work can be cinematic if the reader perceives it to be. The same can be said about the audience of a cinema. But generally, for a literary text to be cinematic, it must possess some cinematic attributes, namely, a rich visual imagery or the narrative implying the presence of a camera-eye which offers an array of views from birdseye to a portrait. This paper studies the literature and cinema, more specifically, the interaction between the two; concentrating more on Literatures and how a narrative can appear cinematic. The two pieces of fiction analysed are Haruki Murakami's After Dark and Gabriel García Márquez’s The Chronicle of a death foretold.

This research is based on my multiple readings and re-readings of the novels of George Orwell for almost two decades. Orwell’s 1984, at least, is not just a very influent writing on our perceptions regarding surveillance: “Big Brother” is everywhere as discursive instance in our days; this may be a political and sociological starting point of discussion. Besides, it is a good example for discussing various aspects of how literature is used by readers – implying a whole debate upon the functions of literature. My reading of the filmic rewriting of Orwell’s 1984 (discussed in another study) revealed profound mutations in analysing the film as medium. It provided grounds for comparison, but not just for the sake of comparison (“comparaison n’est pas raison”, as Rene Etiemble emphasized in ‘60s). It is a fruitful starting point, as I try to focus on the relationships not only between film and literature, but also on dialectics of various approaches on the relationship between these media. The main goals are to observe and to evaluate what “degree of theoreticity” is admitted in our critical reading of adaptation. Comparatists should also investigate – as Claudio Guillén stated in Entre lo uno y lo diverso: introducción a la literatura comparada (1985) – how far can we go with categories or classes when they are subject of a comparative reading. In analysing the relationships between film and literature, one must not forget Susan Sontag’s claim in affirming that film, the narrative film namely (use of plot, characters, setting, dialogue, imagery, manipulating time and space) shares with literature the most.

1973

The genre of screenwriting began right from the days of cinematographic history and so is over a hundred years old. Yet many people scoff at the idea of defending the screenplay as a form of literature and serious critics maintain that it is not an end-product, that it is just a stop-gap measure. A brief survey of this art-form shows that in the first few decades of this century, instead of according literary recognition to the screenplays of that day, critics were concerned in discussing not the individual merits of the writer but instead their literary motivations. Did they write for the screen in order to express themselves in a way impossible in any order medium, yet with the same dedication and meticulousness as writers in the more traditional literary arts? Or did they consider their screen writing endeavours as mere "hack" assignments, undertaken only to give them the financial support necessary to embark on a real "labor of love," such as writing a good n...

Beckett and nothing, 2020

Journal of Science and Technology of the Arts, 2020