JANE AUSTEN PONOS I PREDRASUDE PDF
Since its immediate success in , Pride and Prejudice has remained one of the most popular novels in the English language. Jane Austen called this brilliant . Oct 7, Ponos i predrasude: Jane Austen: Knjiga | Algoritam Profil Mozaik – Internetska knjižara. Holivudski producenti, mučeni kreativnom krizom, su u djelu Jane Austen pronašli izvor priča koje im njihovi scenaristi nisu u stanju pružiti.
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In her study, Screen Adaptations: What becomes clear from fan comments on various forums on the Internet  is that Austen fans would ideally prefer a word-for-word translation from the novel to the screen, an unabridged video edition, if one will,  starring a cast of their own choice.
As their desired direct page-to-film translation is unfeasible in terms of visual dynamic, even in a mini-series format, they have a plethora of existing adaptations to compare against each other, sparking debates not only amongst fans on cyber forums but also amongst literary and film scholars.
Fan comments on various Internet forums suggest that two of the adaptations have particularly captured the imaginations of Austenites and met with their general approval. These cyber debates, however, bring to the fore the old question of which elements render an adaptation successful, and specifically raise the question whether it is at all feasible to compare a mini-series, which has a running time of approximately minutes, to a feature film, which is expected to attain the same level of fidelity in a generally accepted running time of 90 to minutes.
For example, the novel, like the mini-series, can, besides the main plot, have several subplots evolving simultaneously.
It can introduce and develop a multitude of characters — round, flat, and stock; present several points of view, develop ideas, symbols, themes. However, despite being an enjoyable film, the black-and-white film is too loose an adaptation to qualify as Pride and Prejudice but in name.
Similarly, poons mini-series is most frequently dismissed due to the stage-play atmosphere, a characteristic of the early BBC mini-series, though the script by Fay Weldon has fans who consider it to be the most faithful adaptation.
It is thus the task of the scriptwriter to identify the core of the narrative and to reduce or compress it into a given framework. The core in the case of Pride aisten Prejudice is the central plot whose protagonist is Elizabeth Bennet. It is, however, impossible to tell the story of Elizabeth and Mr Darcy without the Bingley-Jane, the Collins-Charlotte, and the Lydia-Wickham subplots, or for that matter, without the Darcy-Caroline Bingley subplot, requiring any adaptation of the novel austej have many characters, some with very small roles, but all integral to the narrative.
This means that characters like the Hursts, who function as a sounding-board for Caroline Bingley and further illustrate the snobbishness of the nouveau richeare expendable. Their condescending attitude towards those who are further down the economic ladder, and the desire of their class to ascend the social ladder by marrying into the aristocracy, is adequately expressed in and by the character of Caroline Bingley.
Unlike her sister, Caroline is single and also essential to the plot in that her desires resonate with the opening sentence of the novel: In a similar juxtaposition, Mrs Bennet is not the only mother trying to catch a husband for her daughters: Similarly, with the exception of Charlotte Lucas, who is important as a foil to Elizabeth, the film also reduces the role of the Lucases, thus requiring the important developments at the Lucas Lodge party to be compressed into another event.
Pride and Prejudice by Jane Austen
Moggach deftly compresses three scenes from the novel into one scene in her script. The compressed scene thus establishes several important elements necessary to the development of relations in the book. This scene takes less than one minute to establish these initial relations; the mini-series takes approximately seven minutes to establish the same the corresponding events are covered in Chapters Three to Six and Chapter 10 of Volume I in the novel.
Letters are an important facet in Pride and Prejudicebut generally present challenges to all scriptwriters: For example, Andrew Davies introduces additional scenes, flashback, and voice-over to make the letter more dynamic. Darcy is then seen commencing the letter and the contents are heard in voice-over.
The camera zooms out and away from Darcy to a flashback, depicting the history between Darcy and Wickham with a voice over by Darcy. Once these events have been recounted, the camera moves back to the present, showing Darcy washing up and the letter sealed and addressed. Here she meets Darcy, is given the letter, and then she proceeds to read the letter.
Whereas the mini-series has sufficient time to cover all the letters and insert additional scenes, the film does not. What results from the compression is a very dynamic scene, containing a paraphrase of the original direct and indirect speech in the text and exhibiting all of the emotions that the scene entails: Their showdown in the rest of the scene follows the original closely, with their respective anger breaking the confines of civil behaviour.
The camera follows her down the narrow corridor into the parlour, where her face is revealed. After reading a short paragraph in a book, she puts the book down and moves to the mirror, ausren the camera focusing on her reflection as day passes into night.
The full recognition comes pfedrasude after reading the letter delivered to her by Darcy, which presents the history of his dealings with Wickham. What follows is Elizabeth reading his letter by the window, the contents read by Darcy in voice-over. The reaction of Elizabeth to the letter is well portrayed by Keira Knightley, whose shoulders gradually droop the more she learns pdedrasude the wickedness of Mr Wickham, clearly suggesting that Elizabeth has realised her error in judgment.
Ponos i predrasude: Književni evergrin koji i dalje hrani Hollywood
This sequence is complete when we see her rereading the letter by the fireplace. Furthermore, the commentators also choose to ignore other liberties that Andrew Davies has taken with the text, even though these liberties seriously reduce the suspense that is inherent in the novel.
Even then, one cannot be too certain that the mysterious Mr Darcy will renew his addresses to Elizabeth. This is one of the many aspects of the janne that the film does exceedingly well. Indeed, the major difference between the two adaptations prderasude on point of view.
The adaptation chooses to present the majority of the story through Elizabeth as the focal point, just like Austen does.
Pride and Prejudice
There are only very short scenes or inserts which occur away from our central consciousness. For example, the scene at Netherfield, where Miss Bingley and Mr Darcy are having breakfast, frames the arrival of the dishevelled Elizabeth and functions to clearly illustrate the lack of interest that Mr Darcy has in Miss Bingley despite all her attempts to engage him in conversation. The departure of the Netherfield trio highlights the stage of emotional development of the characters and their attitudes: Scriptwriters use the tools available to them in accordance with the limitations of their respective formats or genres to present their own visions.
Consequently, this paper wishes to suggest that the mini-series and the feature film, although both visual media, are as different to each other as a novel is to a short story, and as such should not be evaluated according to the same adaptation criteria.
Today, Internet forums enable everyone to voice his or her opinion on what they feel passionate about. What these forums make abundantly clear is that consensus will never be reached with respect to which of the Pride and Prejudice adaptations is the best, as every individual response is a subjective value judgment based on many elements — the actors, the dialogue, the setting, the period costumes, the music, and the pacing, to name but a few.
It may, nevertheless, be possible to use objective criteria, as this paper has attempted to do, by looking at only a segment of the adaptation process and investigating the tools available to scriptwriters. The US release ends with the newly-wed Darcys in dishabille on the grounds of Pemberly, declaring their joy and happiness.
A Norton Critical Edition. Edited by Donald Gray. Birtwistle, Sue, and Susie Conklin. The Making of Pride and Prejudice. The Relationship between Text and Film.
Issues of Adaptation, edited by James M. Issues of Screen Adaptation: Debata je iznjedrila dva kandidata, a to su BBC-jeva miniserija iz ESG Certifikat sustava osiguranja kvalitete u obrazovanju.
Upisi Upis studenata u akademsku godinu Abstract Adaptations are always a matter of hard choices: