Subjects:
The novel Maestro describes how identity is not static, but very much alive, and also accumulative. Through the use of contrast, between one part of Paul’s life, to another, the responders of the text can observe this accumulation of happenings which shape the main protagonist’s character. This idea of an accumulative identity is also present in the poem My Father began as a God, as time goes on the more the composer sees himself as “one more of all the little men”, or similar to his father. The ‘little man’ can be taken literally as height, or metaphorically as a man, who has shrunk in strength, and knowledge. There
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This change in identities can often cause conflict between people; an example of this is in The Wogboy. My ideas about identity have been shaped, and deepened in this way by the texts. My views on changing identities have been expanded by these texts, as they have shown me how people react with this change. After the dinner with ‘The Big Seven’, Frank notices a change in Steve, and he finds himself trapped between being himself, and becoming someone else to adjust with Steve’s dramatic change in identity.
When a text is converted from a novel, into a film many small details are left out for many reasons; such as it takes up too much time or that particular detail may not appeal to the target audience. The film would appeal to a younger audience, however the novel would not, as there is not enough happening, and it is too difficult to set the atmosphere without music, or soundtrack. Throughout the film Tuesdays with Morrie music suited to the intended atmosphere of the scene is used. In the Wogboy, stereotyping is used very commonly, the obvious example is Steve, “the car, the clothes, the attitude” all describe the clichéd ‘wog’. The use of stereotypes is used very effectively in all texts. This visual technique is used almost non-stop throughout the film medium. This extract from the story also shows how Gregor felt imprisoned by his room, family, and eventually his mind. There are several catalyst events, such as when Paul becomes involved with Jimmy Papas, and the band, or when he visits Henisch in Vienna. In the novel this cannot be fully achieved, the composer can only describe to the responder what happened, and attempt to depict how Morrie reacts.
Descriptive language, or emotive word choice are both examples of language techniques which are very difficult to ‘translate’ into the film medium.
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