Cinema, shows and literature are concepts that are often divided, but here we will state that this is not the case. They have a close relationship they help each other and they develop by giving each other.
In this article, we will look at a few things about cinema and literature: 1. Brief History of Literature; 2. Brief History of Cinema………….
Brief History of Literature
Since civilization, there has been literature. The oldest described civilization gives us the first epic, poetry, music, astronomy and even financial accounts.
Before social structures were categorized as civilizations, there were tribes, without open script, the narrative and history were thought to be transmitted orally from generation to generation or pale through images and figures on objects such as pottery and rock drawings or carvings.
And in the transmission of stories, the main line has always been the gods and the creation of the world through myths through the migration of peoples are altered or changed completely, accepting other names and peculiarities, but always retaining magical adventures.
At the heart of it are myths and legends that we do not know how long they may have existed, but judging from the discovered pottery, at least 7000 years can be dated. And with the Sumerian and Egyptian civilizations, literature can be officially dated to the 3rd to 2nd millennium BC.
Through various migrations and cultures, the most preserved in religion, scholars and the higher society in the form of fiction and poetry (only the rich could afford education; in different cultures and caste systems, the rich were entitled to a book).
Brief History of Cinema
The emergence of films comes about by … coincidence. At least it could be called that.
Following the discovery of George Eastman (creator of Kodak Company) on how to take photos with non-toxic chemicals on paper in 1872 former California Governor Leland Stanford made a bet with another person at at horse races , that horses peel all four feet off the ground when they pass. Leland hired photographer Edward Moybridge, who ran a dozen rope-related cameras toward their opposite end and as the rider walked through the ropes, the cameras took sequential shots.
Moybridge was intrigued by exploring the phenomenon of motion through successive photographs and thus inspires Thomas Edison and William Dixon to invent the cinématographe the first video camera. Then the kinétoscope. Due to the very limited time of 60 seconds vaudeville performances were then selected and distributed throughout large cities queued by one person at a time, staring at a the kinétoscope .
The Lumière brothers, in turn, combined the cinematograph and kinétoscope into cinematography – so a movie can finally be projected.
At the same time other inventors have been working on refining the camera and projecting a film with a mechanism that hooks the side of the holes and moves the frames at enough speed that the illusion of sequential pictures can be seen as movement on the screen.
The first projection of the movie (as far as data goes) is by Woodville Latham. In December 1895 in Paris, the Lumiere brothers screened 10 short videos that changed the world forever with much better quality and publicity.
A very interesting study by the american professor Joseph Campbell, who published as a book in 1949 under the name “A Thousand Faces” or “The Monomyth” could also be considered as an official link between cinema and literature using the formula of unfolding history.
The Monomyth is a great link between the literary world and the world of cinema as a formal exploration and application in the screenplay formula in later films, as well as its obligatory application in the screen adaptation of novels using this formula.
The work deals with “The Journey of the Hero” / “The Monomyth”, or how through different myths one can observe almost the same structure of storytelling.
His work is foundation to other theorists (David Lemming, Phil Cozinho, Christopher Vogler, Dan Harmon), and develops aspects of consideration in 17 stages dividing it into three main sections (Departure, Initiation, Return) just as in modern times movie are being studied at film schools (actions I, II, III – connection, development, denouement).
Campbell does not claim that all stages are present for all mythological narratives, but does state that this is the main structure by which, depending on the variations of the parts they are constructed.
The structure looks like this:
1. Invitation to travel – the character is in a normal domestic situation and is summoned to travel;
2. Call Rejection – The character rejects the call for a domestic, religious, cultural or other reason;
3. Supernatural Aid – When the hero is ready, the mentor comes with a magical artifact, a talisman, a tip, or body and mind training;
4. Crossing the threshold – this is when the hero crosses the threshold of his past life and delves into adventure and the unknown;
5. The Whale’s Belly (a reference to the myth of biblical Jonah engulfed by the great Whale, bel.a.) – the final phase of the separation of the character from his past life, can be presented to him as a small ordeal to bring him back. but undergo some kind of metamorphosis.
1. The road to trials – here the hero is already confronted with a series of trials, of which he usually fails at one and more than one, but eventually overcomes them;
2. Deity encounter – the hero receives something that will help him in the future / the hero’s soul rejoices with the divinity of the world;
3. Woman as temptation – not necessarily a woman, but a representation of the material world that tries to entice the character to stray from the adventure;
4. Redemption in front of the father (father’s figure) – in many stories he is a male figure, but not necessarily – the representation that has the greatest power over the hero, clash and redemption;
5. Apotheosis – the enlightenment and the attainment of great wisdom or knowledge, by which the character internally prepares for the most difficult battle in his spiritual journey;
6. Grace – the holy grail, the manna of heaven, the supreme goal – the achievement of the hero he was preparing for, the end of the journey he was preparing for, and all the previous steps gave him less power to to achieve it;
1. Refusal of Return – Conquered by Grace, the hero does not want to return in order to carry it away from his brothers / people;
2. Magical take off – sometimes the hero must return with the Grace, which is often guarded by jealous gods;
3. Salvation from external forces – when a hero needs help to complete his task, his companions / friends / allies / enemies intervene in the story and in the completion of the task;
4. Crossing the threshold of return – the trick is to bring the accumulated wisdom from the journey into daily life, and if possible to share it with the rest of the world;
5. Master of the two worlds – here the hero becomes a master of the spiritual and material world, through all that has happened so far and has made the correct lessons;
6. Freedom for Life – Mastery leads to freedom to live and freedom from the fear of death. This is even referred to as “living in the now” – neither in anticipation of the future nor in the regret of the past.
One of the biggest phenomena in the movie “Star Wars” is based on the Monomyth. George Lucas himself mentions in “A Fire in the Mind” (a biography for Campbell):
After “American Graffiti” I came to the conclusion that it is valuable for me to set standards, not to show people the world as it is … around the time of this realization … it occurred to me that there is really no modern use of mythology. .. Western is perhaps the last American fairy tale to tell of our values. And after the Westerns disappeared, nothing took its place. We were getting into science fiction in literature … so then I started doing more research into fairy tales, folklore and mythology and started reading Joe’s books. I hadn’t read any of Joe’s books before … It was very ominous because as I read “The Hero with Thousands Faces”, I began to realize that my first Star Wars project had classic motifs … So I changed my next draft according to what I learned about classic motifs and made it a little more consistent …
It should be noted that the best movie ever made by critics is “Citizen Kane“, 1941. This title was given because of the innovative approaches and way of telling the big screen (perspective, working with the camera in a certain way to suggest the character’s internal state), and with Campbell’s work eight years later, this is a great decade of cinema development overall.
Listing the Qualities of a Book and Cinema
The book is a great way to move the senses, because its main purpose is to penetrate the mind and to stir the imagination, while the reader fills the “empty spaces” with his perceptions of right and wrong, of taste, of smell, of any senses that would be triggered in the real world.
For example when characterizing the protagonist by such suggestions, the reader perceives much more, since there is not too much external imposition by the author.
“The man who walked into the cold room looked dazed, and his eyelids heavy with fatigue betrayed the anxiety of his internal struggle.”
In this example, the “empty spaces” are: “cold room”, “dazed”, “fatigue”, “anxious”, “struggle” – the reader is a person with his own experience in life and will compare all these epithets with his perception and will visualize them in the most appropriate way for himself. And when we talk about “reader”, let’s keep in mind that it is a common name for a group of people who will like or criticize a work for one reason or another, but will be able to enter the story and story line, in their own individual way. .
The book uses techniques to stimulate the imagination and its main purpose is for the reader to replace the setting and the vision with his own perceptions. There are books, rather aimed at children, that use illustrations to give some vision for the main character or the action, but even these books cannot fill all their content with images and the text is predominant, and classic works are mainly focused on text.
There are dialogues, there is indirect speech, but everything in text has to be conveyed: plot, characters (main and secondary), character descriptions (in cinema it can be with a scene of 3 minutes, while in the book it can be described and display thoughts of the character in 20 pages).
The keyword here is Story: This is the narrative and main story of a work, no matter what its nature or genre. From A to B through C, all the way to Z – binding, development, catalysts, antagonist / protagonist, denouement, end (sometimes more than one end).
In fiction and poetry, the story is presented first-person, while the cinema features: screenwriter, director, makeup artist (may the vision represent a certain episode of the stage), wardrobe (especially if it is a work in the past; period piece); extras (can in some way contribute as a catalyst to the story); of course actors (main and secondary – if well-written are obligatory for the narrative and plot development), even the operators and the lighting (certain light for a particular scene can contribute to the mood and the plot – there are different types of lighting for different types of scenes); stunts (in action scenes are important to the illusion of the movie; legendary ones are Buster Keaton and Charlie Chaplin), as well as others.
The editor is perhaps the second most important phase, after the storyboard (where the scenes are discussed, how to shoot in what sequence from the director and the writer).
Throughout the process, a huge amount of film is made (some can reach 4-6 hours), and the editing already determines how the final will look, how and which scenes will be important to the narrative and main story. This is called the “Kordashev effect” – a Russian film theorist who studies the suggestion of between 2 and more shots. Depending on the scenes, the suggestion is different (for example: the filmed expression of a person and the next shot has soup, then he returns to the person, the suggestion is that he is hungry; if a nice woman is put in place of the soup – the suggestion is that he is in love) .
Such an interesting example is “American Beauty”, which was originally filmed as a thriller, but after its installation it ceases to be a drama. The director says that a completely different thing has happened and the impression of the whole story is changing.
The genres of cinema are giving and developing more and more ways for this visual medium to expand its impact. For the horror story the Monomyth will not follow; the character’s lesson is not sought there; the structure of the story is changed to convey the emotional impetus that comes first.
If it is drama, emotional impulse is more a way of lasting experience and learning. If it’s a tragedy, too. Comedy aims to give the ultimate impression of a level of decay rather than a deepening of a life problem that can be seen as a plot device, but in the end there must be a happy outcome.
And a good example is at the beginning of the study with camera and footage, the so-called “Soviet montage”, in which Lev Kuleshov experiments and discovers that depending on the arrangement of individual shots, there may be a certain suggestion or message (something used to this day).
All of the above shows that a full-feature good movie requires a lot of time, effort, resources and a huge team for a well finished product.
Computer games are currently the best way of storytelling because they embed within the story itself as a compassionate and main character, using cinematic techniques and narratives of a well-written novel in the interim scenes between one mission or another.
But for this there will be a separate article in which there will be interesting examples.
Expanding a Story / Narrative
Stephen King gives a lot of interesting information in an interview – his creative side was shaped by movies and the visuals themselves have shaped him into such an effective author of books and screenplays. A well-known author whose books are screened on the big and small screen with his help.
One can also mention Stanley Kubrick, one of the greatest filmmakers in the cinema history.
His is the movie masterpiece “The Shining“, which is a screen adaptation of a book by Stephen King. And even, Stephen King didn’t like the ending and how Kubrick did it all.
The gap here is that these are two different creative processes in which the writer (in this case, the source material), and the director who is given to coordinate the entire presentation of the story have a different vision and approach to the realization of the main line and its completion.
When studying sourcing material, the most important thing is to understand the essence of the story and then have changes by a director or screenwriter.
Let us not forget the factor Time.
This is a purely psychological perception of a person.
A full-length movie if more than 2 hours, is very difficult for the viewer to accept than for an hour and a half. Therefore, when screened from a book, there is always a limited amount of time, so some details, situations or characters that can be encountered in the book are dropped in the movie or re-written (a lot of “The Lord of the Rings” is omitted due to the overly extensive material which would be a whole saga).
All three-hour movies are very difficult to watch more than once. Examples are “The Lord of the Rings: The Return of the King” (which has 3 ends in the story); “2001: A Space Odyssey “; “The English Patient“; “Lawrence of Arabia” – and all are masterpieces with many innovative special effects, or a well-told story, or some other major contribution to cinema and storytelling.
Here is an example of a TV series or a more recent version: a mini-series / movie. One series has an average of 6-8 seasons (there are some that last for decades – “The Bold and the Beautiful“), and this allows different narratives to be explored well for a longer time without dulling, without cuts. But the danger here is that when a series is long, things happen again and quickly get bored because of the predictability of events. And when it’s a comedy series, because of the slightly upbeat note, the formula most commonly used is in one or two episodes to have connection, development and release. Then there is a danger that the characters will not respond to their own characteristics, just because of a skit or a joke in the series, which is irrelevant to the whole story (“Friends“; “How I Met Your Mother“; “Married with Children“).
The mini-series is a relatively new approach and has recently been promoted by HBO. It follows the formula of a feature film and uses the extensibility of the series – this is the perfect hybrid for the most effective storytelling, especially if it is a book (“Game of Thrones“, “Chernobyl“, “The Tudors“).
This approach can even be seen in the big screen trilogies and sagas, the difference here is that it is for the small screen.
The book can be 100,200,600 or even 1500 pages long (“War and Peace”; “The Lord of the Rings” is about 1080 extended edition with notes; “David Copperfield”, “Idiot”, “The Karamazov Brothers”, “The Three Musketeers”).
It should also be borne in mind that the writer is aware that the reader’s attention is limited, but does not depend as much on volume, as on the style of writing. Too descriptive books lose their thought in landscapes and when something develops in the action, the reader is often lost but “what happened?” (“The Virgin Mary of Paris”, “Moby Dick”).
If it is a well written work and the reader is interested in the genre, then reading time is unlimited.
It is a mistake to compare a feature film, series and book as to which is better.
It is necessary to accept that these are arts with different orientation of performance, but of common origin (mythology, legends, storytelling, theater).
Nowadays, cinema has an advantage because of its accessible distribution and easy way to digest information. Cinema is a wonderful experiment that pushes writing, drawing, sewing crafts, musicals, athletes (stuntmen), special effects, overall science (there is a great example in “2001: A Space Odyssey“, “Interstellar“), and many more.
I also add the note that in the beginning, until the movie industry realizes that it can make entertaining films, the development of a full-length film (over 15 minutes of material) goes through documentaries (“A Walk in the Garden” – 1888; “Traffic Crosses the Bridge” – 1888; “Boxing men” – 1891; “Workers leave the Lumiere plant” – 1895; “Arrival at the train station” – 1895).
Cinema is a combined focus of many other arts and crafts, a common platform in which they express themselves professionally; very powerful way of emotional influence, lessons, existential topics, extinctions, scientific questions.
Movie Dissection – A Few Quick Examples
“12 Angry Men” – An Example Introduction
As the film begins the first scene is on the courtroom, with the camera view dropping from top to bottom capturing the enormity of the building and preparing the viewer that what we will see is something big and meaningful. The camera then follows one random person, then switches smoothly to another, to a third one, who greets people for a win, the guard of another hall signals them to be quieter, and then we enter the same hall where the exposition is being opened – a murder case with the verdict and the heavy liability of the jurors.
The camera slowly tracks the faces of the jurors, we don’t know them, we don’t know anything about them and we see them for the first time. They are harmed by what responsibility they have, they are disbanded and the scene ends with the look of the accused, who is broken but hopefully watches over them.
The scene gets dizzy into a frame you cover the still empty room where the jurors will rage and the title “12 angry men” appears (dissolve – a way of moving from frame to frame by fading one, showing a smooth contrast with the other frame).
In the next few minutes, you can feel the atmosphere of what the characters think about the main event, which is clarified through the room they are in; each of the characters is presented without fairy tales, but with visual taxes on traits of their character.
All this suggestion is so powerful because it is also made by the slow pacing, which feels the weight of decision making, the excellent acting that follows the excellent script, the well-developed protagonist, around whom the whole action revolves; adherence to an important principle in cinema – show and allow the viewer to understand some things himself.
“Goodfellas” – An Example of Improvisation
The scene is in a round table bar gathered gangsters. The character Tommy DeVito tells an anecdote while everyone laughs. Ends an anecdote and one of the other characters in Henry Hill comments that Tommy is a lot of fun. Tommy asks what he has in mind, and begins asking questions why he thinks so, as the bar goes quiet. Tensions are rising, everyone is confused, Tommy is ready for the bloodshed, and suddenly Henry laughs and says that he almost takes the joke.
Then Tommy laughs, everyone laughs.
Great scene full of tension, and the whole is improvised by the actors.
The job of a good director is to have not only a vision but also a sense. In this case, Martin Scorsese senses that one of the actors forgets what is being written in the script, and instead of saying “stop”, he continues to shoot, and the incredible play of Joe Pesci and Ray Liotta is evident in the rhythm of the stage, improvising the dialogue, staying in the illusion to the hero, no one interrupts.
This adds authenticity to the scene, but more importantly: the authenticity of the character. It shows that he is unstable, threatening, expressive, and that others should always be careful about what they say. With a small episode of suspense filled with fear and respect, everything about this character is said – do not outsmart him in a way to screw him.
“Good Will Hunting” – An Example of Screenplay and Psychology
The whole movie portrays Will Hunting as a genius who is too insecure about himself, with many psychological barriers and defenses, pushing the whole world away.
Three figures appear in his life that show a fraction of his insecurity that must be overcome — the professor who sees his potential; the girl who loves him; the psychoanalyst who sees his soul.
The final scene of the character’s denouement is the presentation and placing of oneself in the mirror. This is done through psychologist in the brilliant scene of “It’s not your fault” – a replica that is repeated over a dozen times, and each time drops a layer of the hero’s mechanisms – a demonstration of nepotism, mockery, seriousness, anger, threat, and finally the bare truth to be shown. To accept it, Will is crying like a baby. The shot that moves away from the two characters in an embrace, the father figure and the son’s search for approval and acceptance.
Each phase of the film is like a psychological textbook, each scene is the inability of the character to see the world because of their own pain, each word is a word of negation that stifles the search for happiness.
But not in this scene – there is catharsis, acceptance, viewing and the ensuing scenes are a sight with new eyes of hope and pursuit.
“Inglourious Basterds” – An Example of Scenario and Suspense
The introduction is a 17 page script that brilliantly adds a bit of suspense to each passing moment.
It begins with a farming family who sees an approaching Nazi car and the hero, Monsieur Le Petit has a hunch about what will happen. He tries to tell his daughters not to run, he tries to introduce a seeming calm and that he has nothing to hide.
Hans Landa is portrayed as an extremely polite “hunter of the Jews”, who politely enters the home of the farm family, establishing his authority with a smile and commandments that give false pretense of a mere ordinary visit. In small gestures like asking for milk instead of wine for while holding one of the daughters’ hands, speaking French but in Nazi uniform; play the permit game while there are soldiers outside with loaded weapons waiting for the command. As if La Petit has the say in his own house, but that’s not the case. The tension is rising.
Colonel Landa even lit his pipe and finally stated categorically how the farmers had sheltered “enemies of the state” and were hiding under the floor boards. Shortly execution follows.
Tarantino brilliantly conceals all the knowledge and intent to execute through a dialogue for nothing, for the formal, everything is just general talk until we get to the point.
Directors and Novelists/Writers
In several interviews Quentin Tarantino shares his passion for cinema. From a young age he signed up in an acting class, he added dialogues to improvised scenes and began to notice that he had a talent for something else. Everything he learned from acting carried over into writing, expression is evident in all his work.
I really like to introduce my story, what I want to share, into many different genres …
I read a lot of novels. In the novel you can start from the middle of the story, doing something that’s “here and now.” When we get to action 3, it happened 2 years ago.
I always thought that if I did it as a novel, I would be very cinematic the cross-cut would be very strong.
And if I put it as a viewing sequence, it won’t be a movie, it will be boring.
Tarantino’s ethic is to engage with the actors on a given stage. Thus first-person correspondent, the author and narrator directly relay and move the whole story that the actors will take on.
To shoot action scenes, he uses the so-called Hong Kong Technique – a 4-step rhythm recording method and Kuleshov technique-tracking action – each frame corresponds to the next, giving a certain connotation of what is happening.
The influence of Stergio Lione is clearly visible. Tarantino often uses long shot with wide shot and themed music – “let the music speak,” Tarantino says.
Thus, the emotional burden of the character at the lowest point of his spiritual journey, or the triumphant grace is conveyed without words.
Just like in writing, Martin Scorsese says that his roots in his work are a great force – he uses what he knows, what he experienced as an american of italian descent, the small neighborhood in which he grew up, and gives his characters authenticity of this small community.
What I do is to be able to express myself through visuals in cinema as storytelling. That’s what I do. There are certain tools that I use, they become part of my vocabulary; I use all these elements to make an emotional and psychological lesson to the viewers. Tell a story.
The big picture is reality, so Scorsese is trying to give his work as much realism as possible. He uses violence and there are profanities that fit what he witnessed in his childhood years, the attitudes of people who were in his neighborhood.
Here again, music is a very powerful way that the director applies, and also participates in the process of editing the final film material.
Pointing the “eye of the spectator”, through editing techniques, such as in the scene at Casino, where he shows anyone watching, the viewer has a sense of rhythm throughout the scene and understands that the characters really do what they say and show.
Christopher Nolan is an innovator in many effects and approaches to storytelling. His approach to films is unique, with a lot of planning and strategies. It uses a non-linear storytelling approach, parallel to the same story, two timelines that meet at the end of the movie and make a complete ending (“Memento“).
His favorite technique is through “inserts” (objects that convey the meaning of the scene, such as a book, a clipboard, a diary, a photo) – tracking the actor’s face, a frame with the subject, and moving to another frame – in a short time a strong emotion can be conveyed.
Aims for practical effects, large sets, real locations – the pursuit of realism and the pursuit of illusion.
I think the most helpful piece of advice I’ve received for the film industry is looking at the script and sticking to it, while leaving your mark. You have to use your strong traits, you have to do what excites you deeply; what’s different about this? The idea, the script; this concept that is so fundamental – it will distinguish it if you do it successfully.
Quentin Tarantino, Martin Scorsese, and Crisotfer Nolan are directors and screenwriters who are directly involved in the history and writing of the works and their realization. Let’s compare with 3 other authors who will be relatively close to them: Fyodor Dostoevsky, Charles Dickens, Umberto Eco.
Dostoevsky’s style is explanatory with long descriptions presenting his characters in an often hopeless situation, thus exploring the spiritual anxieties and thoughts of the characters. His approach is exclusively in indirect speech, with less dialogue, but it creates the illusion of continuity of thought, which constantly focuses on issues and research through the eyes of torment.
The most important thing here is the development of the character, his depth, the exploration of the inner world (“Crime and Punishment”, “Demons”).
People sometimes talk about the “beastly” nature of man, but this is extremely unfair to beasts. No animal can be as cruel as a human, so sophisticated, so artistically cruel.
Charles Dickens’s approach is a little different – he also pays attention to his characters in most of his works, but the outside world often intervenes here, while Dostoevsky’s is the inner world.
Dickens portrays the growth of his character throughout his life, as external catalysts and minor characters show a small fraction of reality and the hero perceives them within himself.
According to Dickens writing can play a huge role in addressing global problems such as hunger, misery, industrialization, exploitation, bureaucracy.
As a passionate showman and respectful of theater, his dynamic expressiveness translates into a way of telling his stories with humorous characters and situations, softening the serious tone.
Reflect on your present blessed moments, of which every man has many – not of your past misfortunes, of which every man has several.
Umberto Eco has the so-called “encyclopedic style”. A lettered intelligent man with a lot of information, his novels are filled with interesting characters and plot lines, but with many specific concepts that require a very factually supported opinion. He is an example of a scholarly writer like Azimov or Herman Melville.
He has received the award for his 15-year contribution from “Indiana University Bloomington” to University Studies in Linguistics and Semiotics, a book collector who in an interview in 2016 says he has about 35,000 in his home.
There are over 40 non-fiction works and books, some of them in semiotics, philosophy, linguistics. A very interesting book of his is the attempt at a single language based on the myth of Babylon in which he says that Esperanto is the closest such project that could possibly work.
Writing is not about catching the pen and typing words. It all starts with research. For “The Name of the Rose”, my research was very short – 2 years because it was about the Middle Ages I studied and wrote about. But for “Foucault’s Pendulum” it took me 8 years, and for the other novel (“The Island of the Past Day”), 6 years. And that’s the incredible aspect of storytelling – to create a world, to decide how your distances are, the characters.
Anything you do, even drinking coffee, can give you an idea of a story.
Umberto Eco says his ideas are coming to him, he is not looking for them; Quentin Tarantino talks about being inspired by novels; Martin Scorsese – how his surroundings affect his early life; Christopher Nolan calculates his ideas; Charles Dickens talks about acute problems through humor; Dostoevsky draws inspiration from his experience after a hard labor in Siberia; Stephen King talks about not seeking to carve characters out of nothing, but influenced by cinema, he allows images to come to him and follow them; J. R.R. Inspired by the myths and legends of Britain, Tolkien brilliantly describes the battles in his fairy-tale world, which he experienced in the real world in World War I; Peter Jackson perfectly translates Tolkien on the big screen from the love of the work to the smallest detail (even to the kind of helmet of one of the Nazgul in his early stage in “The Hobbit”).
If we remove the different life experiences, then in these art sciences one can see people of art who cannot in any way be put in the frame of “director” or “writer”, because this would diminish their immeasurable talent in searching through the depths of fiction and reality.
After everything is listed and described … Borders are blurred, borders are bent, and we see beyond the titles that they are people of ideas and their realization; of total inclusion in images drawn in the minds, and drawing in the arts, creating feelings and emotions in us to reflect upon.
The directors in the examples are also screenwriters and are entirely in the process of the film’s narrative direction, storytelling and impression, just like the classic writers we mentioned.
For both archetypes it is evident that they do not aspire to bluntness, but to the exploration of the world and of spirituality, environment and consequences.
They give themselves time, as well as time for the viewer / reader to absorb from the fantasy world built around the very real problems of human being and the search for the meaning of life.
Literature develops from myths and legends, from epics and poetry, from the pursuit of a tradition that develops into an intriguing story with an instructive end.
The theater, along with literature, developed and refined to bring to light the epicness of the gods, the importance of everyday life, as well as traditional peoples’ perceptions.
The first short films are extremely experimental in order to test how the camera works and its capabilities.
Both the book and the movie need exploration.
Both require an unimaginable amount of work, imagination, vision, the discipline of coming out of an idea into a complete reality, in which the reader or the viewer is immersed.
Whether it is an individual writer or a team of people – a tremendous amount of work is thrown away to have such a polished product.
Therefore, anyone who wants to write or is interested in storytelling in general, let’s look at cinema – there is much to offer, there are many references to come from, especially since many early cinemas are based on short stories and novels . Some of them are:
Thrillby (1896), “Nancy Sykes’ Death” (1897), “Mr. Bumble” (1898), “Poor Joe’s Death” (1901), “Marley’s Scrooge or Ghost” (1901), “Gulliver’s Travels” (1902), “Robinson Crusoe” (1902), “Journey to the Moon” (1902), “Alice in Wonderland” (1903) , “Esmeralda” (1905), “The Lost World” (1925); All Dracula Films (1925-), All Frankenstein (1931-, “Gone with the Wind”(1939),” The Wizard of Oz (1939).
And for the final – what makes a good book, a good play, a good movie – the author putting himself in his work.
The transformation of the character is the transformation of the author. Good work has a lasting effect, because it is a mirror world of human search and illumination of important questions of existence.
Good art is a life lesson, a discovery and Life.