Researching the Media Landscape
MFC 2032
Essay
Investigating How Close a Film Adaptation Can Realistically be to An Original Novel (2010)
By
Liam Whetstone
This essay investigates how close a film adaptation can realistically be to an original novel. A very long adaptation has been selected, The Lord of the Rings extended edition and a very short adaptation, The Boy in the Striped Pyjamas. This has been done to assist in bringing the investigation to an elegant conclusion. The two films are very different from each other, and from their original novels in terms of specific content and detail. The films and the original novels they were adapted from are referenced, along with several academic texts on film adaptation theory. As well as these texts on film adaptation theory, Joseph Campbell’s hero journey model and Christopher Vogler`s writer’s journey are consulted.
The subject matters of these two film adaptations are very different. The Boy in the Striped Pyjamas is set at the time of the Holocaust; Lord of the Rings is a fictional film. As both of these novels are very different the process of adapting them for the screen may have been considerably different (Hutcheon 2006,p18 &38). The tone and writing style of the individual novels are analysed and compared to the final film adaptations tone and style. Then the essay goes on to conduct comparative analysis looking at specific examples within both film adaptations using academic theories (see appendix-1 for useful explanations of some of the theories used in the essay). The essay also looks at the page/ minute ratio in both adaptations.
As Hutcheon (2006) states that an adaptation is an adjustment to an original text to make it suitable for another text, and that this can be done in a variety of ways. This idea is explored during the essay using several different theories. (“to adapt” is to adjust, to alter to make suitable. This can be done in any number of ways) (Hutcheon, 2006, p7). Throughout the course of the essay specifically selected examples of scenes in both films are compared to each other, and academic theories are used to conduct comparative analysis.
The novel the Boy in the striped Pyjamas is only 216 pages long (Boyne 2007) and the films total running time is approximately ninety minutes. Whereas The Lord of the Rings in its entirety is 1352 pages long (Tolkien 2002 film tie in edition). The films extended edition has a total running time of approximately thirteen hours. When considering the page/ minutes ratio in both adaptations it might appear as though more of the Boy in the Striped Pyjamas has been left out compared to the Lord of the Rings. However due to the differing methods, techniques, and styles used by novels and films for the telling of stories the page /minute ratio could be misleading in terms of the content that has been included in the film, and the content that hasn’t. This could depend on several factors. A descriptive line in The Passing of the Grey Company chapter in the Return of the King novel such as (p 62 the Company camped beside the stone but they slept little,) could take up minutes of screen time. This could depend on whether the director chooses to add significant dialogue to the sequence. Another significant factor on the length of this possible sequence would be the amount of cinematography used by the director. This could also work the other way, one frame in a film could take up to several pages to describe in a novel .For example, In The Lord of the Rings, third book, first chapter Tolkien describes the fortress of Minas Tirith, this takes up two pages. (Tolkien 2002 film tie in edition p11-12). In the film Jackson cinematically shows this description to the audience using one wide shot of the fortress with the mountains in the background as Gandalf, and Pippin approach on a horse.
In the novel The Boy in the Striped Pyjamas, Bruno doesn’t meet Shmeul until (p 104). This is about half way though the story, in the film he meets him at the fence after 31 minuets, in comparison to the novel this is much earlier. The main reason for this could simply be to get the films narrative moving. As the film is entitled The Boy in the Striped Pyjamas, it would be natural if the audience was introduced to this very significant character at an early stage in the film.
As The Boy in the Striped Pyjamas novel is considerably shorter than The Lord of the Rings, the majority of the chapters have been included as scenes in the film, but some segments of the narrative have been left out by the screenwriter at significant junctures. Having said that, more material was left out of The Lord of the Rings film, most notably from the beginning of the story, and some significant chapters at the end of the novel.
Jackson considers the extended DVD version of The Lord of the Rings to be the definitive text of the story (Leitch, 2009, p 149). The original novel is one book, sometimes printed in three volumes and is not a trilogy (Tolkien 2002 film tie in edition p ix).Therefore, it could be argued that the film should be considered one film in three parts, although officially the film is a trilogy. Neither the author or the screenwriter consider either version of The Boy in the Striped Pyjamas to be the definitive text, both the film and the novel sit side by side as two alternative versions of a very dramatic story.
A theory that can be applied to The Boy in the Striped Pyjamas is (Stam 2004, p28) he states that a film adaptation can be a critique or reading of a novel. In this instance the screen writer creates his own interpretation of the original novel. The director Danny Herman wrote the screenplay with input and advice from the author John Boyne,(See DVD extras). So Huctheon`s (2006) idea of adjusting and making suitable applies here in addition to Stam`s(2004) critique theory. Elliot’s, (2009 p.161) incarnational model could be applied to the entirety of the Boy in the Striped Pyjamas film due to the books unique writing style. Because both the film and the novel are evidently different the book is written in a style that is targeting children. Whereas, the way the film is constructed in terms of characters and visuals it should attract a mature audience. Elliot explains that thanks to adaptation the word of the novel is made flesh in the cinematic visualisation of the Boy in the Striped Pyjamas, and the Lord of the Rings feature films. As the book is written in a very unique and specific style the film is an alternative incarnation of the story in the novel. This theory doesn’t completely apply to The Lord of the Rings, as the style of writing used by Tolkien is more traditional than that used by Boyne, although Jackson has cinematically visualised some of Tolkien’s descriptions.
Leitch (2009, p 127- 150) discusses the Lord of the Rings adaptation process, and points out Jacksons intention to remain faithful to the spirit of Tolkien’s novel. Lietch also goes on to point out that Mark Ordesky, the films executive producer stated, that most of the cast referred to the novel instead of the
screenplay to remind themselves of their lines, (See DVD extras). Members of the cast and crew of The Boy in the Striped Pyjamas did read the novel (see Friendship Beyond the Fence DVD Extras).It is logical to consider that the members of the cast and crew working on a film adaptation read the novel that the film is adapted from, to give them an idea of the feel of the story they are working with.
The beginning of the film The Lord of the Rings is significantly different from the start of the book. At the beginning of the novel there is a long slow build up to Frodo leaving the shire. If the film had included all the build up that is in the book it could have been three hours before any events significant to the progress of the narrative occurred. The famous character Tom Bombadil was not included in the film, as his inclusion would slow the narrative down. It would appear to the audience as a significant deviation from the plot. (Tolkien 2002 film tie in edition p, 162-178). In the early stages of the film Gandalf tells Frodo that he has to go to the village of Bree (Fellowship extended DVD edition scene: 7). Therefore, the audience are likely to expect Frodo to get there in the next few scenes. An example of the equivalency theory in The Lord of the Rings is in the Two Towers extended edition, when the Ent Treebeard has to rescue two Hobbits from old man willow. Tom Bombadil does this in the novel; This is of high significance at this point in the film, as it suggests that not all trees are nice. This creates a feeling of tension for the Hobbits within the remaining scenes set in Fangorn forest, a significant narrative alteration and enhancement. Hutcheon`s 2006 idea of an adaptation being a suitable adjustment is in use here, along with Stams 2004 equivalency theory. The beginning of The Boy in the Striped Pyjamas is also significantly different to the book, but in a momentously alternative way from The Lord of the Rings.
The film introduces the audience to the setting of the story which is Nazi Germany. The opening scene in the film cinematically introduces the environment and setting to the audience. The opening shot in the film is a close up of a swastika flag, Stam`s (2004 p18) equivalency theory is in use by the film maker here. The novel The Boy in the Striped Pyjamas opens with Maria packing Bruno’s clothes (Boyne. 2007, p1).The opening sequence of cinematography in the film includes a section with Bruno running through the streets of Berlin playing with his friends. This opening sequence in the film is the equivalent of the first chapter in the novel. This theory is in use in both openings of these film adaptations, but the use of this theory has significantly different results, due to both original novels being different from each other.
Only one person can actually read a book at one time, several people can watch a film. This depends on the venue in which the film is viewed. If the film is being viewed in a cinema it is quite a grand cinematic experience for the audience. If the film is viewed at home the viewing experience is very different, a DVD can be paused. Generally the reading experience is different to the viewing experience. Novels are often told in the past tense, whilst a film unfolds in front of the audience’s eyes, as if it is happening in the present. (Seger 1992 p, 13-14) Also when we read a novel we don’t usually finish it in one sitting, and occasionally we might re read pages or chapters to refresh our understanding of the story.
There are several additional scenes in the film The Boy in the Striped Pyjamas. One of these involves the family sitting down to breakfast after the scene in which Kotler murders Pavel for spilling wine. This scene was probably included to show the audience the nervous breakdown experienced by Bruno’s mother, after she has realised what her husbands work is. She realises this in a previous additional sequence, when she returns from a trip to the city, (the audience doesn’t see this). When she gets out of her car she notices smoke emitting from a large chimney. Kotler walks past her and says “they smell even worse when they burn, don’t they?” This sequence wasn’t in the original novel; It was included in the film for its narrative function and importance. Not only does Elsa realise what her husband is doing, It is also significant for Kotler, as he is not supposed to tell the commandants’ wife that they were burning and gassing innocent people. The equivalency theory of Stam`s sometimes described as the fidelity theory also applies in this instance, and so does Seger`s second original theory (1992).
In The Lord of the Rings adaptation in the Two Towers film a scene was added to the story by one of the screen writers, Fran Walsh (scene 29 extended editions). This is the scene involving Gollum’s internal conversation. The inclusion of this scene in the film enabled the director to clearly present the deep and complex character of Gollum to the audience. This scene also had a very dramatic impact on the development of the narrative. Stam`s critique theory (2004 p 28) is in use here, the writer has interpreted Tolkien’s novel in their own way, and added a scene that enhances the development of the narrative for the remainder of the film, part 2 and 3.
Stam`s critique theory (2004 p28) doesn’t apply to the entirety of The Boy in the Striped Pyjamas screenplay, as there are scenes and characters that are the same as they are in the novel. For example, the scene in which Bruno acquires a tyre to make a swing with, this is discussed in more detail later.
The characters in the film in terms of their personalities are very similar to those in the book. Bruno is an innocent, inquisitive young child. His father is a very proud solider, his mother really cares about her family, she is a very good natured and unselfish person.
The critique theory of Stam`s could be applied to specific scenes in The Lord of the Rings such as (Scene 60: Return of the King Extended edition).This scene involves Aragorn’s confrontation with the palaintir just before he sets out for the battle at the Black Gate. In the novel this takes place near the beginning of The Return of the King, just before Aragorn enters the Paths of the Dead (Tolkien 2002 film tie in edition p, 49). As a result of switching this event in the novel to the end of the film Jackson has altered the narrative significance of it, whilst creating his own cinematic interpretation of the event (Stam 2004p18).The narrative significance of it in the film is Aragorn’s final acceptance of his destiny along with accepting is final challenge (See Campbell 1993p 49-238). Had Jackson included the scene as it is in the book, in terms of the narrative it could have seemed out of place. So moving it to the end of the film alters and strengthens its narrative significance, (Seger 1992) the second original theory is in use here.
Flash back and flash forward scenes are used on several occasions in The Lord of the Rings to fill in significant elements of the narrative. In the novel these significant story events are included as an appendix. The most notable use of flash backs and flash forwards in this film adaptation involves the portrayal of the central love story between Aragorn and Arwen. In the first film (scene 26: in The Fellowship of the Ring: extended edition) their relationship is introduced to the audience in the usual narrative format. All their conversation is not displayed to the audience in this scene. The remainder of it is shown in the second and third film in the form of flashbacks, (Two Towers scene 33: extended edition) and in The Return of the King flash forwards are shown as dream or vision sequences that affect Arwens decision to stay in Middle Earth (Return of the King: Scene 9: extended edition). A method like this wasn’t required during the adaptation of The Boy in the Striped Pyjamas, as all the significant narrative content is in the main narrative of the novel (Boyne 2007). There is a significant alteration in The Boy in the Striped Pyjamas of a variety different to that of the Lord of the Rings flash back sequences.
In the novel the word Auschwitz is replaced with the word OUT-WITH (Boyne 2007,p102 ). This word is used in Bruno’s dialogue as he struggles to understand where he is. As he is a young child of only 8 years he finds it difficult to pronounce the word Auschwitz when he notices it written on a bench. The equivalency theory of Stam`s would not work here; as there is no equivalent cinematic method for showing this on film. The author of the novel can simply write the word “out-with” whereas a film maker would have to show this to the audience. The film is not set at any particular camp it is just an anonymous death/concentration camp. Therefore the director has deliberately chosen to move away from the entire idea that it is set at Auschwitz. Because the settings of The Lord of the Rings are fictional, the majority of the events take place at the same fictional location they do in the novel. This illustrates the significant differences between these two adaptations. (Stam`s 2004 p 28 critique theory is effective here. As the director has made a conscious decision to leave the idea that the story is set at of Auschwitz alone. The following paragraph analyses the story structure of The Lord of the Rings film adaptation, comparing the structure of the novel to the structure of the film.
The narrative of the Two Towers novel is split into two separate story sections (Tolkien 2002 film Tie in edition the Two Towers). The first section deals with the events involving the other members of the fellowship, Aragorn, Gandalf etc (Tolkien film tie in edition 2002p, 5-252).The second section of the novel follows Frodo’s journey to Mordor with Gollum and Sam. (Tolkien film tie in edition 2002p, 255-439).If the film was structured like this it could give the impression to the audience that they were watching two films. Presenting the events in this narrative format could confuse the audience. Therefore, it would seem more practical to have the film cutting between the two narratives, to enable the audience to clearly understand how both narrative threads fit together. (Seger 1992 P,77) Seger explains how to find the story of a film within a novel. So, it would seem logical to combine both stories in the film cutting chronologically between the two. As a result of combining both stories, the Shelobs Lair sequence (Tolkien film tie in edition 2002 p406-419) was placed in its appropriate place in terms of the narrative, this is towards the end of the third film(Return of the King extended DVD edition scene 38). In this instance the Equivalency theory outlined by Stam 2004 is in use. As the Boy in the Striped Pyjamas novel’s narrative is structured in a single story and linear format (Boyne 2007) this method was not required during the adaptation process of this novel into film.
Not only has The Lord of the Rings film left out characters it has also altered the characteristics of some of those included. For example, Tolkien’s Aragorn is an exiled king returning to his throne to save his people. The character in the film written by Jackson can probably be best described as an archetypal reluctant hero, (see Vogler, 2007p, 29- 39) who is constantly undecided as to which road to take; he is untrusting of all the paths available to him (Vogler, 2007p 365-370). The majority of characters in the Boy in the Striped Pyjamas film are the same as they are in the novel in terms of their characteristics. One notable difference is the enhanced role other characters have in the narrative, such as Bruno’s father and mother. The cinematic equivalent of the unique writing style of the book could be giving Bruno the most screen time (Stam 2004 p.18)
There is a name change in The Boy in the Striped Pyjamas film, Hoffschnieder (Boyne 2007p, 72-73.) in the novel becomes Mienberg, there could be several theoretical and practical reasons for this particular alteration. One possible reason could be because an English actor may struggle to pronounce a German name. Apart from the name change the dialogue in this sequence is the same in book and film. Also Mienberg may be seen as a more comical name because of its phonetics. In both the film and the book this sequence effectively illustrates Bruno’s naivety. (Stam 2004p18).This is an example of the film almost replicating a sequence from the book (See Boyne 2007 p 72-73 and scene 5, 21:22) of the DVD).
In The Lord of the Rings film adaptation some new characters have been added to the screenplay, such as the Orc Lurtz at the end of the Fellowship of the Ring. (Scene 44)
Another difference between The Lord of the Rings film and novel is during the Mount Doom sequence. In the film Frodo pushes Gollum over the edge who subsequently falls into the fiery abyss bellow clutching the ring. In the book (Tolkien film tie in edition 2002p, 266) Gollum simply trips and falls over the edge into the abyss. After all the events of the previous 12 hours the audience might feel cheated if Gollum simply fell over the edge. In the book this works because it leads the reader to believe that Sam is going to kill Gollum, and that Frodo is going to throw the ring in the fire. Consequently as an ending to the quest in the book this is a surprise. In the equivalent scene in the film Frodo decides to keep the ring, and when Gollum struggles to steel it back he is accidently pushed over the edge. This is a more dramatic and appropriate end to the quest in the film.
This could be described as the cinematic equivalent of the corresponding chapter in Tolkien’s novel. The final destruction of the ring is accidental but not entirely coincidental. Gollum’s increasing greed and dependence on the one ring causes it’s destruction. Due to the way these two characters have developed in the previous 12 hours of film this is probably a natural conclusion to the quest in the film.
At the conclusion of the Boy in the Striped Pyjamas film Stam`s (2004 p.18) equivalency theory applies, in the film the two friends are seen holding hands seconds before their deaths in the gas chamber (scene14 1:23:48). The novel almost poetically conveys this to the reader (Boyne 2007p, 213). Although the style in which the ending of the film is conveyed is different, the conclusive scene and chapter in the novel and film are practically the same. The book describes the sad and shocking ending to the reader. (And then the room went dark and somehow despite the chaos that followed, Bruno found that he was still holding Shmuels hand in his own and nothing in the world would have persuaded him to let go. (Boyne, 2007p 213) So both of the films analysed in this essay conclude in a similar way to how the main narratives conclude in their original novels, using equivalent cinematic techniques such as editing cinematography shot composition, and mise en scene to show this on film.
After conducting comparative theoretical analysis it has been discovered that realistically the closest a film adaptation can be to an original novel is the retention of the three main plot points. The three main plot points in the original novels are the same as they are in both films. In The Lord of the Rings film, the three main plot points are as follows. One; Frodo the protagonist acquires a dangerous ring two; he has to take it to where it was made, and three; it is destroyed. The same can be said of The Boy in the Striped Pyjamas, the protagonist moves from his home in the city to a house in a forest. Secondly; he meets a new friend and decides to help him find his father. Finally as a result they both go to a place they don’t understand and die.
Seger (1992) p8-10, points out that, changes are essential in order to make the transition from one medium to another, on page 9 she goes on to state that adaptation demands choice, and also that much loved material must be left out to focus the dramatic movement of the story, this could be applied to both film adaptations analysed in this essay. These points made by Seger reinforce the conclusion that a film adaptation can only realistically retain the three main plot points of an original novel and the spirit of the story.
Word count 4,086
Bibliography
Books
Film Adaptation Theory and Story Structure
Biggs.J.(2004) The Art of Watching Films New York McGraw-Hill
Cartmell, D et all .(1999) Adaptations: From Text to Screen, Screen to Text Routledge
Campbel J (1993) The Hero With a Thousand Faces London Fontana Press
Elliot, K.(2009) Rethinking the Novel/ Film Debate Cambridge University Press
Field, S. (1994 ed) Screenplay: The foundations of Screenwriting. New York Delta
Hutcheon L (2006) A Theory of Adaptation Oxford Routledge
Leitch,T,(2009) Film Adaptation and its Discontents: from Gone with the Wind to Passion of the Christ. Johns Hopkins University Press
Mckee R (199) Story London Methuen
Seger,L(1992) The Art of Adaptation: Turning Fact and Fiction into Film Owl Books
Straczynsky ,J.M.(1996) The Complete Book of Scriptwriting: New York ,USA Titan
Stam,R. et all (2004)Literature and film: A Guide to the theory and practice of film adaptation .London Blackwell Publishers
Stam,R.et all (2005) Literature Trough Film: Realism, Magic, and the Art of Adaptation London Blackwell Publishing
Stam,R et all (2008) A Companion to Literature and Film ,London Blackwell Publishing
Volger,C (2007) The Writers Journey London .Pan
Media Research books
Bertrand, I. & P.Hughes (2005) Media Research methods: audiences, institutions, texts, Basingstoke: Palgrave Macmillan.
Briggs, A. & P.Burke (2002) A Social History of the Media, Cambridge: Polity Press.
Chapman, J. (2005) Comparative Media History, Cambridge: Polity Press.
Novels
Boyne,J (2007) the Boy in the Striped Pyjamas London. Definitions edition
Tolkien, J.R R (2002) Lord of the Rings; the Fellowship of the Ring Suffolk. London Harper Collins (film-tie in edition)
Tolkien, J .R,R, (2002) Lord of the Rings; the Two Towers Suffolk. London Harper Collins (film tie-in edition)
Tolkien,J.R..R (2002) Lord of the Rings; the Return of the king Suffolk. London Harper Collins (film tie-in edition)
Documents
Script for Boy in the Striped Pyjamas
Script for Lord of the Rings
(Scripts found on www.simplyscripts.com)
Films
The Boy in the Striped Pyjamas (2008) UK
Lord of the Rings. Fellowship of the Ring Extended DVD Edition (2002)
Lord of the Rings. The Two Towers Extended DVD Edition (2003)
Lord of the Rings. The Return of the King Extended DVD Edition (2004)
CDS
Lord of the Rings, BBC Radio 4 Adaptation.
(First broadcast 8 March – 30th August 1981)
(Repeated 17 July- 9th October 1982)
Websites
Date visited- 21/2/2010
Appendix-1
Research proposal
MED 2032: MEDIA RESEARCH PROJECT
PROJECT PROPOSAL FORM – Final
| Student Name: Liam Whetstone | Date: 30/11/09 |
| Email: | Mobile: |
| Research Supervisor: Elric Williams | Tutorial Group: |
| Project Title: | |
Exploring how close a film adaptation can realistically be to an original Novel
| Research Project Proposal (500 word synopsis) – prose formThis research project essay will be focused on adaptation, Specifically the methods used in the process of adaptation The two feature film texts that have been selected for analysis in terms of the adaptation are the Lord of the Rings and the Boy in the Striped pyjamas.These particular film adaptations have been selected for the following reasons. Firstly The novel the Boy in the striped Pyjamas is only 130 pages long. Whereas the Lord of the Rings in its entirety is about twelve hundred pages long. Secondly the subject matter and content of these novels are very different. The Boy in the Striped Pyjamas is set at the time of the Holocaust; Lord of the Ringsis a fantasy film. As both of these novels are very different the process of adapting them for the screen may have been different. Throughout the course of the essay examples of the chapters in each of the two novels will be referenced. These chapters will be compared to their corresponding scene in the film. The adaptations would be first analysed individually in terms of plot point alterations, Character name changes and dialogue emissions making reference to McKee’s book on story structure.Following on from the identification of the separate specific alterations in the individual adaptations process. The individual points will be compared to similar alterations and omissions in the other adaptation. The specific alterations and omissions in the Boy in the Striped Pyjamas to specific alterations in Lord of the Rings. |
The tone and writing style of the individual novels will be analysed and compared to the final film adaptations tone and style. Examples of the book will be referenced and compared to corresponding dialogue in the film or in the final script. The essay will make reference to specific interviewees in the DVD extras of both films. Additional points of reference are the five books on film adaptation listed in the bibliography.
These references will relate to the points made about the alterations to elements of both of the narratives. The two focus texts are very different from each other and from their original novels. In terms of details so beneath the surface they are different. But on the surface in basic terms, the stories portrayed in the film adaptations are very similar, to the original novel. The three main plot points are the same in the film Boy in the Striped Pyjamas the protagonist moves from his home in the city to a house in a forest. Secondly he meets a new friend and decides to help him find his father. Finally resulting from this they both go to a place they don’t understand and die. The same can be said of Lord of the Rings the films retain the three main plot points.
One Frodo acquires a dangerous ring, two he has to take it to where it was made, and three he destroys it. The essay will conclude that with any kind of adaptation of a long book or a short book. The writers can only capture the essence of the original novel this point will be illustrated with a quote from the book the Art of Watching Films.
Word count 532
Thesis or Hypothesis or Research Question (50 to 100 words):
Exploring how close a film adaptation can realistically be to an original novel. Using Lord of the Rings a long novel and film and Boy in the Striped Pyjamas a considerably short novel and film. Identifying the differences between the two mediums (novels and feature films).
Theory / Critical Analysis Statement (50 to 100 words):
Stam (2004 p.18) states that the fidelity theory does not often name itself such. Stams theory is that the fidelity theory takes the form of equivalency theory. He goes on to point out that the filmmaker finds the equivalents in another medium, the medium of film. I will attempt to prove this theory when analysing the two adaptations.
Another theory of Stams is that a film adaptation can be a reading or critique of an original novel. (p.28) – A screenwriters interpretation. This is another interesting theory that could be used in the essay.
Elliot’s.( 2009 p.161) theory of the incarnational model. He explains that thanks to adaptation the word of the novel is made flesh.-in the cinematic visualisation. This could be a useful theory to use when analysing both adaptations.
Mckee (1999) The story stages explained in this book will be applied to the analysis of story structure of the two adaptations. This book is a comprehensive guide to story structure and the principles of screenwriting.
State specific media texts to be analysed:
Films
The Boy in the Striped Pyjamas (2008)
Lord of the Rings. Fellowship of the Ring Extended DVD Edition (2002)
Lord of the Rings. The Two Towers Extended DVD Edition (2003)
Lord of the Rings. The Return of the King Extended DVD Edition (2004)
Books
Boyne ,J (2007) the Boy in the Striped Pyjamas London. Definitions edition
Tolkien,J.R..R (2002) Lord of the Rings; Fellowship of the Ring Suffolk. London Harper Collins film-tie in edition.
Tolkien,J.R..R (2002) Lord of the Rings; the Two Towers Suffolk. London Harper Collins film tie-in edition.
Tolkien,J.R..R (2002) Lord of the Rings; Return of the king Suffolk. London Harper Collins .film tie-in edition.
Planned Research Methodologies/Resources: State methods & what you plan to use.
The method I plan to use to conduct my research for this project is secondary research
Using the books the two film texts are based on, the DVDS and the scripts for both films. Having both scripts would enable me to illustrate the differences between book and film With regards to specific elements of the novels and the film.
Also five books on adaptation have been selected for research purposes these are listed in the bibliography. I consider these research methods to be the most appropriate for the selected title and subject area. I also believe that the resources that I have selected are reliable and accurate. Both films have DVD extras focusing on the adaptation process in pre production.
Annotated Bibliography (in correct Harvard style):
Biggs.J.(2004)The Art of Watching Films new York McGraw-hill
(Contains a chapter on Adaptation)
Bordwell & Thompson.(2004) Film art an Introduction McGraw Hill
(Another film studies related book that includes information on adaptation)
Hill J. Gibson P. (1998) The Oxford Guide to film studies Oxford University Press
(comprehensive film studies book including sections on adaptation)
Stam, R. (2004)Literature and Film: A Guide to the Theory and Practice of Film Adaptation Blackwell Publishers
Elliott, k. (2009)Rethinking the Novel/Film Debate Cambridge University Press
Leitch, T.(2009) Film Adaptation and Its Discontents: From “Gone with the Wind” to “The Passion of the Christ Johns Hopkins University Press
Cartmell,D(1999)Adaptions: From Text to Screen, Screen to Text Routledge
Seger, L.(1992) The Art of Adaptation: Turning Fact and Fiction into Film (Owl Books) (includes a section on creating the second original)
Mckee,R. (1999) Story London :Methuen.
Media Research books
Bertrand, I. & P.Hughes (2005) Media Research methods: audiences, institutions, texts, Basingstoke: Palgrave Macmillan.
Briggs, A. & P.Burke (2002) A Social History of the Media, Cambridge: Polity Press.
Chapman, J. (2005) Comparative Media History, Cambridge: Polity Press.
Novels
Boyne ,J (2007) the Boy in the Striped Pyjamas London. Definitions edition
Tolkien,J.R..R (2002) Lord of the Rings; Fellowship of the Ring Suffolk. London Harper Collins film-tie in edition.
Tolkien,J.R..R (2002) Lord of the Rings; the Two Towers Suffolk. London Harper Collins film tie-in edition.
Tolkien,J.R..R (2002) Lord of the Rings; Return of the king Suffolk. London Harper Collins .film tie-in edition.
Films
The Boy in the Striped Pyjamas (2008)
Lord of the Rings. Fellowship of the Ring Extended DVD Edition (2002)
Lord of the Rings. The Two Towers Extended DVD Edition (2003)
Lord of the Rings. The Return of the King Extended DVD Edition (2004)
Liam Whetstone 
