Adapted For the Screen: Modern Chinese Literature And Film (Movie Review Sample)
please Adapted between novella and movie.
Both of the mid-term and final papers should be devoted to analyzing an adaptation case we have covered this semester. You can refer to the presentation guideline to find an appropriate topic for your paper. Extra research is not required, since the main point of your paper is to present a clear, compelling argument about adaptation. I want you to develop a claim or argument about something you think is important. You will be expected to find evidence from the readings or outside sources to support your contentions.
Your paper should:
• contain a clearly formulated thesis statement in the first paragraph. The thesis statement should lay out what you are arguing in the paper and how you plan to make your case. Like a road map, I/the reader should have a general idea from only one paragraph about what you are writing about and how you plan to develop your ideas.
• move in a logical progression from paragraph to paragraph. Each part should contribute a little more to your overall point.
• pay special attention to technical details of the story and the film, including narrative structure, camera movement, character development, editing, and sound, etc., to demonstrate your ability to compare literature and film.
• have an interesting conclusion, in which you consider what the ultimate significance of your topic might be. Don't just summarize your argument so far, but rather think about how your topic is interesting or relevant for the study of Chinese literature and culture. Feel free to speculate a little if you don't have a lot of familiarity with Chinese history.
You do not have to summarize the plot of the story or the film unless it is important to your argument. We have both read the story and watched the films before, so feel free to move straight into your analysis/argument.
Your paper should
• be double-spaced
• use 12 point font
• use standard 1 inch margins
• be numbered (except for the first page)
• cite all sources used
Quotations over 5 lines should be single spaced and indented (block quotes).
I look at several aspects of your paper when grading. Here are some general guidelines to consider:
An A paper
• is well structured
• thoroughly thought out
• demonstrates some subtlety of thinking
• answers salient points of the assigned question
• analyzes salient points of the assigned question
• gives insight into the broader topic implied by the thesis
• goes beyond the limits of the assignment once the relevant issues were addressed, analyzed, and illuminated
Adapted For the Screen: Modern Chinese Literature And Film
Adapted for the screen: modern Chinese literature and film
“The obsessed” adapted into “Jo Dou”
Adaptation occurs when artists adapt a literary article, which may include stories, poems and novels and give them another genre or even a different medium. Fuxifuxi was a novel written by Liu Heng, and it was written in primitiveness of rural life and also in a noncanonized written tradition. However, it was dialogically and dialectically founded on the modern Chinese literature CITATION Fos13 \l 2057 (Foster, 2013). The Novella Fuxi Fuxi (the obsessed) was later adopted by known international director Zhang Yimou in 1990. The name Fuxi Fuxi was changed to Judou, a film that received an Oscar nomination in 1991 under the Best Foreign Film category. The film also won various international film awards. Zhang Yimou was a fifth generation Chinese filmmaker and had participated in a nationwide intellectual movement which happened in the mid and late 1980s. Jo Dou was also the first movie to be banned by the Chinese government. The banning of this movie aroused a tremendous controversy in the film industry especially in the West and the East. Most foreign and Chinese scholars do not consider the novel Fuxi Fuxi which is the source of this movie but have remarkably relied on the movie itself. The adaptation process was impressive and when well interpreted helps the audience understand the roots of the story. The film and the novel share the same themes even though they have been interpreted differently. This paper is going to look at various themes in the film and how Yimou Zhang adopted and incorporated the thematic and technical element, oedipal complex, an element that had never been known before in the Chinese tradition.
Zhang's western influenced skills and the adaptation process of Jo Dou
The 1980s was a period referred to as a cultural self-reflection. Zhang was then introduced and exposed to the western literary trends. These skills enabled the producer to translate works of foreign literature which had been produced by the then young Chinese writers and artists and were considered to have an inferior position in the modern Chinese culture CITATION Jia13 \l 2057 (Jiang & Ivanhoe, 2013). Zhang among other fifth-generation filmmakers criticised these young writer's structural character, cultural structures, and experiences and compared them with the contemporary radical ideologies and politics. By attacking the traditional way of telling stories and bringing in modernity, they cleared all the obstacles on the path to modernity but had to keep Chinese culture in these productions. Fuxi fuxi /Jo Dou can then be analyzed as having an essential thematic continuity purposed by Zhang who is a producer of the fifth generation filmmaking CITATION Jia13 \l 2057 (Jiang & Ivanhoe, 2013). Zhang left behind a legacy of modern Chinese literature because Jo Dou is one of his works that show how strongly he was influenced by the western writing in the way he exhibits his themes and techniques. Zhang ensured that what he produced in China was as good as that which was created in the west. Jo Dou is a movie that reveals adaptations of modern and contemporary literary works because it has already absorbed thematic and contemporary literary arts.
Jo Dou and the oedipal complex
Ju Dou is a rare art that showcases oedipal conflict present in the Chinese culture, and it shows how complicated oedipal configurations are in China. The play also shows two oedipal triangles which occur in three generations in two cases of crime CITATION Jia13 \l 2057 (Jiang & Ivanhoe, 2013). Firstly, Tianbai perpetrates one crime uni...
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