Book and their Films: A Case Study

One of the most important distinctions between the experience of reading a book and that of watching a film, as Seger (1992) notes, is the difference of the way in which time is dealt with by the two media.

But the experiences of reading a novel is quite different from watching a film. And it's exactly this difference that fights translation into film. When we read a novel, time is on our side. It is not just a chronological experience, where someone else determines our pacing, but a reflective experience. Rarely do we read a novel in one sitting. In fact, part of the joy of reading is going back to the book. The reading, putting it down, thinking about it, sometimes reading a page twi

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literary: She is playing with readers' expectations of what novels should be like by violating many of the conventions of the novel. Even as she is on one level simply telling us a story about a girl and a painting and an artist and how history changed the way in which we looked at each one of these, she is also telling a story about the ways in which we can and should tell stories. The novel is thus essentially postmodern in that it contains both narrative and meta-narrative. The director chose to make a film that was significantly more straightforward. It is possible to make a film that both tells a story and is also a treatise on the art of filmmaking (for the art of the meta-narrative should not be considered to be something that is confined only to literature). He chose instead to create a straightforward story: The events in the story unfold in chronological order, with the pace very even throughout the film so that we have the impression that we are watching things unfold in real time. The effect is pleasing as well as visually lovely, but it lacks the intellectual sophistication of the book. The film tells a story while the book tells the story as well as ideas about the story. This is as it should be, Morrissette (19
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Approximate Pages = 6 (250 words per page)

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