Elliot "Rethinking the Novel/film debate"

Films quickly learned to cut on character movement to hide transitions between shots 20.
Surveys of numbers of books sold as a result of a film of the book having just come out. In 1985 46% of books either borrowed or sold were based having just seen the TV adaptation 55. Films do or do not show twice what only needs to be shown once. They have a scene that speaks for itself, then they have the actors speak in the scene - is it the same as with illustrated novels or is it only applicable to subtitles? 92. Questions about film and montage being only relevant in films, though connecting film to novels and away from theater? 123. Does montage exist in novels as well? 124. She takes up that there is some similarity between film and novel and that is that they both draw on a number of other art forms and namely that of the theater 125. If the novel did presume film it is only in that it showed how to combine so many different art forms in a single form 125. Film credits and erases the basis from the novel as a foundation for itself. Film is not novel and cannot be 130. Many will say that a film cannot be made of a novel if the novel is not cinematic and to do so means that the novel needs to have as much of the literary taken out of it 129. Adaptation suggests that there is something to study in film from novels and that the two are not mutually exclusive, but translatable 133. The spirit of the novel through the author 136. The spirit of the film sort of achievemnet allows the director to make a film that is wholly different from that of the novel 138. The attention paid to completeing the spirit of the novel into a film means that the form has very little attention 139. The psychic concept of film adaptation tries to complete the spirit of the original novel taking into account the author as well as the reader and the novel. The ventrilequist concept attempts to take out that which cannot remain and to substitute something better, according to the screen writer or director 145. Both concepts assume that meaning can be divorced from form and can be derived from the novel, film or surrounding culture as a nebulous spirit 150. There is also a narratological concept of film adaptation that allows for differences of plot strategies - it does not get rid of the form/ concept duality of interpretation. Russian formalist terms Syuzhet (a notion of concept or what is told) and fabula (a concept of form or how it is told) 150. there is also the De(Re)composing concept where the film is made "unfaithfully" from the novel by only following through on a single element in the novel - rejections of certain parts for others 157. The Incarnation concept of filmaking from a novel assumes that the characters and novel only become their full potential and reach the totality the author should have infused once they show up on screen 161. This follows the "word made flesh" concept from Christianity where jesus is more than the words on the page of the bible 161. The term "Realization" comes out of this concept where the art form only finds true realization through the adaptation of it through another art form - from the mind's eye to the body's eye 162. There is also the trumping concept of adaptation where the film claims to trump the novel; the film critiques the novel's claim to representational prowess while asserting its own 175. "This account primitivizes the novel aestetically and makes the film an archeological dig of the novel's buried elements and of its makers potential" 175. Analogy is the dominate model for analyzing the similarities and differences between films and novels 184. Relationship of man and object - does the object speak for itself in its element or does it have to be explained 208? Elements of negation - to be obsessed with death instead of life 214. Does the novel represent people and characters differently through their difference body parts? Does the novel use the inside of the character's head and mind/soul? Does the film make use of the outward appearance or a voice over or even to use different body parts 219? Is there signifcant use of metaphore in the novel that comes out as metamorphasis in the film? how is change shown in either? 231. Auditory or musical figures are important to discern in a film as well and how they relate to the novel or what they do for the film that couldn't be done in the novel 239.