Showing posts with label books vs movies. Show all posts
Showing posts with label books vs movies. Show all posts

Sunday, April 19, 2020

Books or Movies?

As much as I love reading books, there are times when I’ll put my books aside and immerse myself in a film or TV drama. 

I might miss the feel of a book in my hands, the pleasure of turning pages and finding words waiting for me to read. 

But I find comparable pleasures in watching films. There’s a sense of expectancy and mystery as the story unfolds, and there’s a sense of trust, too, as the viewer follows the story from one scene to another, wondering what will happen next.

It’s interesting how stories work—whether on the screen or on the page—how images that flicker through a writer’s or director’s imagination end up flickering through your own imagination, and how you are granted the ability to enter a world so effortlessly, so seamlessly (and where you would stay if only you could stay, if only you didn’t have to sleep or eat or go to work the next morning).

A well-told story, whether shared on the page or on the screen, contains characters who you come to love and care about as deeply as you care about your own loved ones. It contains conflicts, of course, and struggles, as well as hopes and dreams, and a sense of possibility for the characters—and for yourself.

Here are three shows that have convinced me over the past few months to put down a book while still nurturing my love of stories:

A French Village 

This is a tale of morals and manners, of courage and strength under oppressive circumstances, but of weakness and submission, too, to forces that sometimes can overwhelm us. What drew me into the story was the subtle ways the writer revealed how the Nazi occupation altered life for residents of a French village during the war. The variety of perspectives made it clear that each character needed something different. Would one stay loyal to certain principles and remain unwilling to compromise? Would another betray her loyalties and agree to compromise to get what she wanted or to simply stay alive? By the end of the show's seven seasons, the characters had grown in unexpected aways from the start of the war to the years after the war, a time when their children come of age and start to ask their own questions about what side their parents or grandparents took during the war. 

For more info, visit: 


Resistance 

Another World War Two saga set in France, this series tells the story of a group of young resistance fighters and the dangers they face in their struggle against the Nazis. It’s based on the lives of a handful of actual Resistance fighters, but one of the characters is fictional and was created in order to help tell the story of the others. (The story is so gripping, and each characters so interesting, that I didn’t discover this fact until the end of the story, and was stunned to discover which of the characters was fictional.) What struck me about this series was how such young people could have made such courageous choices to stand up to the enemy and fight for what they believed in, despite the risks. 

For more info, visit:


World on Fire 
https://www.pbs.org/wgbh/masterpiece/shows/world-on-fire/

This series, set in England and Poland before and during World War II, involves a young translator at the British embassy in Warsaw and the two women—one Polish, one English--who he falls in love with, and the consequences of his love for each. Of course, the onset of the war complicates things for everyone. How will these characters survive the war? Who will emerge whole, who in shattered pieces? Can love endure distance, separation, betrayal?  It’s also the story of an American journalist, played by Helen Hunt, who files her stories from Berlin beneath the watchful eye of the German censor and who has to deal with her own survival and drama, which unfolds along parallel lines to the love story. 

For more info, visit: 

So, if you need a break from the page, you might enjoy taking a look at these shows. In the process, you might find inspiration for your writing and a fresh way of looking at your own stories.

Sunday, April 17, 2016

Screen or Page?

Now that I have a Netflix account (thanks to my daughter's insistence), it's easy to select a movie and watch it in the chair where I used to spend all my time reading.

So much of my day is often spent online--not just writing but reading news articles and longer journals, posting updates on Facebook, Tweeting, sending and receiving e-mail--that it’s no longer surprising to me how comfortable I feel with a screen in my hand, or that, instead of picking up a book after dinner, I’ll pick up my tablet and open my Netflix account and begin watching.

The thirst for a story is the same. I want to lose myself in the experiences and adventures of another person. But the way that I get into a story onscreen through images and sounds is far different from the way I get into a story on a page that's told through typewritten words and the white, silent spaces of a book.

Lately I've started wondering if I’m taking the easy (lazy?) way. Is watching a story unfold on a screen somehow easier than reading a story? And I wonder, as well, how might the two experiences be different, and if those of us getting our stories through movies might be losing something essential by spending more of our time on screen than with a book in our hands? But I’ve also been asking myself if getting stories from the screen might give me a different understanding of stories and how to tell them.

One of the advantages of watching a movie versus reading a book is that I can learn the entire story in roughly two hours or less. A book simply takes much longer to read than it takes to watch a movie. And seeing the story whole, from start to finish, in such a short period of time gives me an understanding of the story’s structure that’s far different from the way I’d come to understand the same story if I read it in incremental chapters over, say, days or weeks. I can view the entire story, not just a limited part of it, almost instantly.

But the disadvantage is that I'll lose the slower pace of the story, as well as the sound of a narrator’s voice in my ear, and the chance to imagine the scenes and characters and action on my own, without the assistance of a director, casting department, costume designer, or sound stage to fill the scenes in for me.

Reading a story, unlike watching a movie, offers my imagination a chance to translate a story from words into pictures. Without a production company camped in my brain, I have to do the heavy lifting myself. Words have to accurately convey color, size, texture, sound—a feast for the senses—but without the actual sounds or colors or textures available, I have to imagine them from the words the author has selected to prompt the images that will appear in my mind.

Plus, as a reader, I feel as if I place myself in direct contact with the original story, while, as a viewer of movies, I occupy a slightly different relationship to the story, not so much as an outsider, but not exactly in direct contact with the story in the same way as I am when reading it. Instead, I must rely on a director’s or actor’s interpretation of the story, which means I’m getting a second-hand view of the story, an interpretation of the story and the author’s vision rather than the story alone. Sometimes such interpretations can deepen one’s understanding of a story. But sometimes they simply stand between the viewer and the story, creating a distance that can be hard, if not impossible, to overcome.

It’s true that actors can imbue a story with an extra layer of meaning, one that they bring to the story through their deep understanding of their role in the story. We can watch the expression in their eyes, a look of surprise or disdain, or we can notice how their lips form the hint of a smile, or perhaps a smirk, and from these physical features, all carefully timed and planned, we may be able to deduce how they feel as the characters who they are intending to portray accurately. But this is a different process entirely from reading a sentence in which the author uses words to describe a certain character’s emotional state, or else alludes to a reason for a character's motivating behavior.

A writer can benefit from finding stories in any form, but there are limitations to these forms, both page and screen, and learning these limitations, understanding how film and books differ in terms of narrative art, can help us make our own stories more compelling whether we are writing a novel or a screenplay.

What’s your preference—screen or page? And why? Let us know if you get a chance.