A film adaptation is the transfer of a work or story, in whole or in part, to a feature film. Although often considered a type of derivative work, film adaptation has been conceptualized recently by academic scholars such as Robert Stam as a dialogic process.
A common form of film adaptation is the use of a novel as the basis of a feature film. Other works adapted into films include non-fiction (including journalism), autobiography, comic books, scriptures, plays, historical sources and other films. From the earliest days of cinema, in nineteenth-century Europe, adaptation from such diverse resources has been a ubiquitous practice of filmmaking.Feature films are occasionally created from television series or television segments. In some cases, the film will offer a longer storyline than the usual television program's format and/or expanded production values. During the 1970s, many UK television series were turned into films including Dad's Army, On the Buses, Steptoe and Son and Porridge. In 1979, The Muppet Movie was a big success. In the adaptation of The X-Files to film, greater effects and a longer plotline were involved. Additionally, adaptations of television shows will offer the viewer the opportunity to see the television show's characters without broadcast restrictions. These additions (nudity, profanity, explicit drug use, and explicit violence) are only rarely a featured adaptive addition (film versions of "procedurals" such as Miami Vice are most inclined to such additions as featured adaptations) – South Park: Bigger, Longer & Uncut is a notable example of a film being more explicit than its parent TV series.
At the same time, some theatrically released films are adaptations of television miniseries events. When national film boards and state-controlled television networks co-exist, filmmakers can sometimes create very long films for television that they may adapt solely for time for theatrical release. Both Ingmar Bergman (notably with Fanny and Alexander but with other films as well) and Lars von Trier have created long television films that they then recut for international distribution.
Even segments of television series have been adapted into feature films. The American television sketch comedy show Saturday Night Live has been the origin of a number of films, beginning with The Blues Brothers, which began as a one-off performance by Dan Aykroyd and John Belushi.When a film's screenplay is original, it can also be the source of derivative works such as novels and plays. For example, movie studios will commission novelizations of their popular titles or sell the rights to their titles to publishing houses. These novelized films will frequently be written on assignment and sometimes written by authors who have only an early script as their source. Consequently, novelizations are quite often changed from the films as they appear in theatres.Novelization can build up characters and incidents for commercial reasons (e.g. to market a card or computer game, to promote the publisher's "saga" of novels, or to create continuity between films in a series)There have been instances of novelists who have worked from their own screenplays to create novels at nearly the same time as a film. Both Arthur C. Clarke, with 2001: A Space Odyssey, and Graham Greene, with The Third Man, have worked from their own film ideas to a novel form (although the novel version of The Third Man was written more to aid in the development of the screenplay than for the purposes of being released as a novel). Both John Sayles and Ingmar Bergman write their film ideas as novels before they begin producing them as films, although neither director has allowed these prose treatments to be published.Finally, films have inspired and been adapted into plays. John Waters's films have been successfully mounted as plays; both Hairspray and Cry-Baby have been adapted, and other films have spurred subsequent theatrical adaptations. Spamalot is a Broadway play based on Monty Python films. In a rare case of a film being adapted from a stage musical adaptation of a film, in 2005, the film adaptation of the stage musical based on Mel Brooks' classic comedy film The Producers was released.4 types of book-to-film adaptation
THE BASED-ON-A-TRUE-STORY ADAPTATION.
THE STRAIGHT ADAPTATION.
THE IMPOSSIBLE ADAPTATION.
THE INTERPRETIVE ADAPTATION.A film adaptation is the transfer of a work or story, in whole or in part, to a feature film. Although often considered a type of derivative work, film adaptation has been conceptualized recently by academic scholars such as Robert Stam as a dialogic process.Adaptations have become a forefront in cinema. Feature films today are based on all kinds of intellectual property including video games, comic books and literature. Writing an adaptation is a great way to get your foot in the door, and hone your craft. Some of the greatest movies of all time originated as short stories, such as The Birds, Brokeback Mountain, and Memento. Read lots of short stories. Pick something that excites you, haunts you, or you can't stop thinking about, one that you connect with personally and you think you can put unique spin on. Is there a story that makes you think, "Why isn't this a movie?" That's probably a good sign that it lends itself well to a screen adaptation. You must always have the author's permission to adapt their story. It would be ideal to do your research or find an expert in copyright law. If you are the original author, go on your merry way! Many great screenplay adaptations were written by the original author, including The Godfather, Gone Girl, and The Perks of Being A Wallflower.And don't forget, there are hundreds of books in the public domain. Meaning you can adapt them however you wish without anyone's permission! Adapting a public domain story is a great way to exercise your writing skills and recreative imagination. It is a simple fact that some elements of the story will have to change in order to make the jump to screen. By disconnecting from the original text, the screenwriter frees themselves of the obligation to maintain every detail. Examine the story closely and find what sparks you about it and take off from there.
The best screenplays have a point of view, so take the story and don't be afraid to make it your own. Many writers are simply inspired by the concept of a piece and invent their own characters and plot points. For example, when adapting Joseph Conrad's Heart of Darkness, John Milieus and Francis Ford Coppola changed the setting from Africa to Vietnam. They also changed many aspects of the characters and created completely new scenes while still maintaining Conrad's philosophy from the novella. This film became Apocalypse Now.Where to begin with the story? Start by breaking it down into scenes. What happens in each scene, who is in it, where is it set, and what does it accomplish narratively? Look at whether the scene is necessary to the story you are telling and the themes you want to explore. You may find that many scenes or even direct quotes are perfect for your screenplay. If not, eliminate them or figure out way to change and rearrange them to better suit your script. Some of the most successful adaptations completely changed endings from the original story, perhaps making for a delightful surprise for fans of the story. Keep in mind that even the best writers have to kill their darlings.Audiences will not be reading text as the film goes. It is a visual medium in a way that prose is not. The writer needs to take certain liberties to enliven all the senses and to meet production needs. Think of it as translating the story from one medium to another. In some cases, there may not be an exact translation. You may need to come up with a solution to get the same message across.If the short story has a first-person narration, consider how to express that in the film. The writer may find that a voiceover narration that fits the tone of the film. They may take a different approach and translate that to dialogue or find other ways to work that perspective in a scene. Try to externalize internal thoughts into action. As goes the age-old maxim, "show don't tell." That will make for compelling cinema rather than essentially rewriting the story into audiobook form.In High Noon (1952,) adapted from John W. Cunningham's "The Tin Star," you can see a brilliant cinematic device created by screenwriter Carl Foreman – the literal ticking clock. The film is rife with shots of clocks counting down, something that is not existent in the short story. These clocks, though absent from the book, build tension and set the pace for the film.Think about how to evoke the story's characters and settings visually. Are there ways to bring them to life more than in the story? Get detailed on what the characters are wearing, what kinds of sounds are surrounding them, what their apartment looks like. What are "cool" scenes that could happen in a movie version of this story that couldn't happen in the written version? This is the writer's opportunity to build a world.One of the more daunting tasks in adapting a short story is spreading it over 90-120 minutes in real-time. The writer really has to embed themselves in the story and invent new characters or scenes that jibe with the rest of the narrative. This is also the area in which the writer can get creative, taking off in directions that the original author may not have contemplated.One of the great aspects of a short story is its ability to complete plot in a short space. What do you think can make the story feel more whole? A short story often only features a small group of characters, but your film is a complete world. Who and what else exist in it and how do they respond to the events taking place? Perhaps they can give your protagonist more conflicts to face.In Minority Report from 2002, screenwriters Scott Frank and Jon Cohen expanded the backgrounds of the characters to mine more story from the Philip K. Dick original. Think about your story's characters as real human beings with histories that may influence their actions in your adaptation. Look at them like the Tom Cruise character looks at his subjects in the film. He sees their snapshot then expands them into a larger timeline, sometimes requiring him to fill in gaps and replay events to get a better sense of who they are.Taking any kind of story from page to screen may be a daunting task, but the opportunities for you to create are wide open. If you get stuck, you already have a guidebook to refer to. For a more in-depth look at a case study on short story to feature adaptation, check out the book Brokeback Mountain: Story to Screenplay that includes the original story by Annie Proulx, the screenplay by Larry McMurtry and Diana Ossana, as well as all three writers' thoughts on the process.A pre-existing work, often literary or theatrical, that has been made into a film. More commercial properties such as musical theatre, best-selling fiction and non-fiction, comic books, and so on, are also regularly adapted for the cinema. Adaptations of well-known literary and theatrical texts were common in the silent era (see silent cinema; costume drama; epic film; history film) and have been a staple of virtually all national cinemas through the 20th and 21st centuries. Bram Stoker's Dracula and Arthur Conan Doyle's Sherlock Holmes novels have been adapted in a range of national contexts but probably the most adapted author is Shakespeare, whose plays have appeared in film form as a large-budget Hollywood musical (West Side Story (Jerome Robbins and Robert Wise, US, 1961)), a historical epic set in feudal Japan (Kumonosu-jo/Throne of Blood (Akira Kurosawa, Japan, 1957)), a Bollywood musical (Angoor (Gulzar, India, 1982)), and children's animation The Lion King (Roger Allers and Rob Minkoff, US, 1994)), to name but a few. Adaptations often sit within cycles associated with a particular time and place, as with the heritage film in Britain in the 1980s, or the cycle of Jane Austen adaptations in the late 1990s (see cycle). It is claimed that adaptations account for up to 50 per cent of all Hollywood films and are consistently rated amongst the highest grossing at the box office, as aptly demonstrated by the commercial success of recent adaptations of the novels of J.R.R. Tolkien and J.K. Rowling. A property ripe for adaptation is referred to as pre-sold; older works in particular are attractive to film producers because they are often out of copyright (see deal, the). Video game (Resident Evil (Paul W.S. Anderson, US, 2002)) and comic book/graphic novel (Ghost World (Terry Zwigoff, US, 2001)) adaptations are increasingly common and a certain level of self-reflexivity regarding the process of adaptation itself can be seen in films such as Adaptation (Spike Jonze, US, 2002).
Conclusion-So this is the ends of my story.i hope you like this story,be a good day.
(Unpublished writer-Prakash Rawal)
My email address is-pr5391405@gmail.
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Please publish my story.this story is for"Potential Adaptation Award".