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literature

Various estimates have been made that between a quarter and a fifth of feature films have been adapted from literary texts. Also, the relationship between cinema and literature was not one-way. Many commentators pointed to the cinematic value of most modern poetry and novels, including classic works such as U.S. I. Lowden Passus and Ulysses by James Joyce and “The Love Song of J. Alfred Prufrock (1-8). The relationship between these two mediums can be traced back almost to the childhood of cinema. in From the beginning of the century Georges Méliès used literary material as the basis for many of his films. Criffith claims that many of his innovations in cinema were in fact drawn from the pages of Dickens, in his article Dickens, Criffith and Film Today.” Eisenstein shows how Dickens' novels introduced Craffiths to a number of techniques including counterfading, interlacing, image compositing, segmentation into shots, and, most importantly, morphing lenses. All the principle of parallel montage. Eisenstein even turns Chapter 21 of Oliver Twist into an executive text to indicate Doctor's "cinematic" feelings (8 (2).

Writer

Perhaps more than any other partner of the director, the scriptwriter is mentioned from time to time as the main "author" of the film. However, the scriptwriter is generally responsible for the dialogue and is the one who summarizes most of the action, sometimes in great detail (and is the one who initiates the main theme of the film).( 8 - 3) after The advent of sound in particular When the cinematic text became more complex, accurate, and most importantly more oral, a large number of well-known literary figures were attracted to this audiovisual medium in the United States. Some of the great writers such as William Faulkner, Nathaniel West, John Don Passos, F. Of them - they went to Hollywood with high hopes. However, most of them became embittered and became hated despite the encouragement of powerful producers such as Irving Talburk, Daryl F. Zanuck, and later Stanley Kramer (all of whom tended to believe that cinema is in its essence a means of expression However, most of these literary figures had been aborted and artistically broken. Most of them produced meager works. Indeed, one could convincingly argue that with a few exceptions, great novelists, poets, and dramatists can rarely be good screenwriters simply because they tend to be misunderstood. nature of this medium. It is certain that the best film writers made their greatest contribution to cinema itself and not to other forms of literary expression.

However, evaluating the writer's contribution to the film-making process is an exercise with many entrances and exits, and it may have been doomed to failure because the role of the writer varies greatly from one film to the other and from the director of the other. Kodar, for example, usually begins his film with just a few notes that he puts on a small piece of paper. Naturally, many of the great filmmakers write their scripts themselves, including Berkman, Cocteau, and Eisenstein and Renoir, for example, but not limited to (8-4). In American cinema there are also many writers and directors such as Criffith, Chaplin, Keaton, von Stroheim, Houston Wells, Joseph Mankiewicz, Billy Wilder, Preston Sturges, Samuel Fuller and John Cassavetes among the most famous.

Most of the top directors have the upper hand in writing his scripts, but he brings in other writers to expand his ideas. Fellini, Truffaut, Kurosawa, and Antonioni all work in this way. The American studio system also tended to encourage collective authorship of texts. Sometimes writers specialized in a specific genre, such as dialogue, comedy, construction, atmosphere, and so on. Other writers were better at healing weak scripts and others at finding good "ideas" but lacked the skill to implement their ideas in such collaborative projects. Screen titles are not always an accurate reflection of who contributed what to the film. In addition, although directors such as Hitchcock contributed a lot to the final form of his scripts, he refuses to show his name about his work and allows the official writer to take everything. The strange thing is that few of the great directors depend entirely on others in writing his scripts. Perhaps it was Joseph Luzy, Harold Pentner, and Marcel Carnet, Jacques Prevert, Vittorio Desicao and Cesare Zavattini are among the most famous writer-director teams.