In the insightful article from one of the pedantic scholars of contemporary time, Vartan P Messier many innovative and novel discourses pertaining to the adaptation of films from texts in the recent years evolve out. …
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In this essay, Messier analyzes the paradigm related to the term, eloquently propounded by Robert Stam as “intertextual dialogism”. The relation between the literary texts and its cinematic adaptations in the recent years as claimed by Vartan has suffered from a lack of narration between the literary text and its cinematic adaptation. Vartan claims that it would be a very logo centric approach and straightforward inference if the cinematic adaptations of the literary texts are coined as “unfaithful to and/or of lesser value” in relation to their mother text from which the cinematic production has evolved without taking into consideration the huge realm of socio-cultural context upon which they evolve and get dispersed. In order to establish this content of the essay, Vartan meticulously chose one of the best cinemas of the recent times, which is an adaptation of a text. American Psycho is a novel by Bret Easton Ellis published in the year 1991. In the year 2000, director Marry Harron prepared a film out of the Ellis’ text which Vartan and the critics following the same school of thoughts considered for a close reading. They considered both the works from a very close contour resulting into the establishment of the discourse that would give a shape to the interpretations, receptions and dispersions of both the works under a critical and ideological light. Vartan begins the paper by providing a short overview of the text, “American Psycho” by Ellis and then introduces the amount of controversy inherent within the content of the text before the essay intends to discuss the myriad ways by which the visual poetics of the novel operate as a cut-throat and dissecting critique by figuring the transition of the aesthetics related with the sexual violence which Vartan views as a potent trend in the contemporary consumer culture. Next, the essay takes a turn and launches the comparison of the text by Ellis with that of its cinematic adaptation of Harron and intends to discuss the shortcomings inherent in the novel which shocks the audiences. Contrarily, according to Vartan, the film by Harron provides a social commentary keeping the plot of the film at a safe distance which actually facilitated it to became more soothing (Messier, “Visual Poetics, Intertextuality, and the Transfiguration of Ideology: An "Eye" for an "I" in Mary Harron's Cinematic Adaptation of Bret Easton Ellis's "American Psycho"). Vartan in order to establish the propositions suggested by him at the very outset of the essay divides the essay into four sub-sections with intriguing titles like, ‘ Shock and Scandal: American Psycho as Postmodern Pastiche’, ‘ From Pastiche to Parody, or, an “I” for an “Eye”, ‘ Transfigurations: Excess, Affect, and the Gaze’ and ‘The Politics of Adaptation: Poetics, Intertextuality, and Ideology’. These sections individually throw elaborate light on the propositions inherent within the essay required to establish the point of Vartan effectively. The section, ‘ Shock and Scandal: American Psycho as Postmodern Pastiche’ discusses the amount of problem the film, ‘American Psycho’ was about to face long before its date of release owing to the fact that it was a cinematic adaptation of a text which was already condemned as, “ sadistic, pornographic , misogynistic and loathsome”. The negative reception according to Vartan did create an inquisitive pursuit and rage to view the film as it was thought to capture a few of its turbulent sexually violent passages, but Vartan asserts that maintenance of the distance from the stark
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As a result, choosing which identity feature to emphasize during a discussion of “Freaks” is difficult. “Freaks,” made in 1932, was a horror film made in the era before a rating system was developed in the U.S. Directed and produced by Tod Browing, its cast was mostly composed of actual carnival performers, or as they were called at the time, “freaks.” Instead of using costumes and make-up to portray freaks, Browning used performers who actually had the deformities portrayed in the film.
I greatly value his critical perceptions on movies on the subject of psychology. The script is based on the novel “American Psycho”, and it relates to the rich investment banker, Patrick Bateman. He wears the mask and lives the life as a serial killer….”The movie is based on the novel by Bret Easton Ellis.
Bates stuffs birds that adorn the wall of the office of Bates Motel. Birds have often been used by Hitchcock to symbolize good.
This is also prevalent in other Hitchcock films - symbolism. In "Foreign Correspondent", the kidnapped dignitary, is extremely fond of birds, and in one early scene, suggests that even on the eve of a world war, there is still hope for mankind if people take time to feed them.
The use of raw emotions and actions that combine to give a sensational effect to the audience has never been so strikingly executed. Voice and visuals too add their bit at the right time and right place, to lift the film and make it a masterpiece. There is no mistake in the fact that Psycho is a horror movie.
He notes that 'the suspense thriller is a crime work which presents as generally murderous antagonism in which the protagonist becomes either an innocent victim or a nonprofessional criminal within a structure that is significantly unmediated by a traditional figure of detection."2
Rising on talent alone, Bale has proved that talent and hard work, still, are the keys to success.
Although not from a renowned film family, show-business was a norm in the family (Tiscali 2008), with his parents, uncle, grandfather and all siblings involved in the filed in one way or the other (Tiscali 2008).
? Clint plays Walt Kowalski, a close-minded, self-absorbed Korean War veteran residing in a neighborhood totally strange to him, when eventually his prejudice to other races changed his world.
In the film, Kowalski is a retired automobile worker who spends his day drinking beer
This all came about because, when he was five years old, his father died, living him in the hands of his mother Norma. Norma abuses him in various ways, and exerts dominance over him by punishing him for disobeying her. She teaches him that sex is bad, and
demonstrate an understanding of the sociology of popular cinema and draw on connections between the issues within the film and the sociological concepts we have addressed in class.
Your essay is NOT a film review and it is expected that you will use outside sources in
It is not extraordinary; it has true ingeniousness lies in its construction. The movie was created in such a way that it consistently flouts expectations. It has two major scenes that have surprises: the final revelation about mother and the shower scene murder.
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