1. 11 Lecture 12: Between the Frames &Carrying the Narrative Professor Daniel Cutrara 300 (2006) Frank Miller and Lynn Varley (graphic novel) Zack Snyder & Kurt Johnstad and Michael Gordon (screenplay)

2. 2 Previous Lesson Adaptation One Flew Over The Cuckoo’s Nest From novel to play to film.

3. 3 This Lesson Adaptation 300 –From graphic novel to film. Chicago –From musical to film Assignments

4. 44 Between the Frames Lesson 12: Part I

5. Challenges in Adaptation Pascal Lefevre points out the following: –Audience Expectations –Rewriting the Story –Page layout to single screen frame –Static drawings into moving photographic images –Silence to sound 5

6. 6 Audience Expectations You can’t give them what they’ve gotten from a different medium. The purists expect a “transcription” of the story.

7. 7 Rewriting the Story Simplifying the plot –Eliminating scenes, subplots Character changes –Cutting and Combining characters Staying true to spirit or not –Sacrificing the literal adaptation

8. 8 Graphic to Cinematic Page layout to single frame –Different modalities –Split screen Static to Motion –Snapshots –Detail must be added –Actors vs. caricatures

9. 9 Silence to Sound Greater realism The bubble made flesh –Dialogue and its delivery Added dimensionality –Music, sound effects

10. 10 300 Lesson 12: Part II 300 (2006)

11. 11 Backstory Graphic Novel –1998, Frank Miller –Inspired by the 1962, The 300 Spartans 11

12. The Film 300 (2006) Warner Bros. Remaining true to the graphic novel Zack Snyder –Director Remake of Dawn of the Dead (2004) 122

13. 13 From Page to Screen Visual manipulation of film to evoke graphic style.

14. Choices in Adaptation Staying true to Graphic Novel creates consequences as the story shifts to a more realistic medium. –Is there enough story? –Do the historical inaccuracies undermine the narrative? –What is the fall out in terms of representation? 144

15. 15 Audience Reception The Context for Reception –Post 9/11 –The War on Terror Film as Propaganda –Freedom vs. Slavery Sparta was a slave state

16. 16 West vs. East Pause the lecture and watch the first clip from 300. –Watch how Xerxes and his camp followers are represented. –How is Ephialtes, the traitor, represented?

17. 17 Orientalism White vs. Non-White –mongrels, monsters, mysticism, etc. Immortals- Japanese ninja, demons Feminized, Eroticized, and Perverse –Xerxes androgynous –The Persian camp followers

18. 18 The Superior Race Pure vs Mongrel –White Spartans vs Xerxes hodgepodge Hunchback as traitor –19 th century literary motif Modern application –White West vs Middle Eastern Other

19. 19 Sexuality Pause the lecture and watch the second clip of Leonidas and the 300. –What is its importance to the story? –What does it say about masculinity? –What is the effect of the historical innacuracies?

20. 20 Sexuality and More Masculinity –Hard, strong –The Irony Sparta– institutionalized man boy love

21. 21 Homophobia vs Homoeroticsm The visuals Ahistorical costuming The male body as object of desire

22. 22 Reason vs. Faith Freedom as product of Reason Faith as superstition –Priests demonized –Betray Sparta Oracle –Historically old woman, sexualized.

23. 23 Framing the Narrative Dilios rallies the troops in their final battle in the war against Xerxes. –Subjectivity –Oral history and the stuff of legends

24. 24 Additions to the Story Addition of Gorgo subplot –Adds arc for Leonidas –Appeals to female audience –Enhances rhythm allowing cutaway from battle. –Grounds the emotional core in family and nation. What makes the sacrifice of the 300 noble.

25. 25 Adapting the Musical Lesson 12: Part III

26. 26 The Musical Genre Grew in popularity in the 30s and 40s culminating in the 50s. Second half of 20 th C. relatively few made. Resurgence with Moulin Rouge and Chicago

27. 27 Chicago (Backstory) Original 1920s play based on two Jazz era killers. –A housewife –A cabaret singer Adapted into a silent film in 1927. A musical in 1942 (William Wellman) Broadway musical 1975 (Bob Fosse) 27

28. 28 Chicago (2002) Bill Condon (Screenplay)

29. 29 The Movie Harvey Weinstein of Miramax wanted to adapt the Broadway musical. The conundrum, how to shift from the real world to the musical numbers. Rob Marshall comes up with the solution. 29

30. 30 The Solution Pause the lecture and watch the first clip from Chicago. –Notice not only how the tone of the film and the world of the story is introduced, but more importantly, what solution did Marshall discover? 30

31. 31 Roxie’s Imagination Roxie’s imagination bridges the real world to the world of the stage. Her desire drives the story, and grounds the musical numbers.

32. 32 Genre/Tone Black Comedy –Main characters ignoble and successful –The innocents suffer Satirical –Critique legal system –Criminals becoming Celebrities

33. 33 The Musical Numbers Give backstory Reveal the inner feelings of characters Advance plot within the number And through intercutting

34. 34 Razzle Dazzle Pause the lecture and watch the second clip Razzle Dazzle from Chicago. –How does this number move the story forward? –How does it address theme?

35. 35 Razzle Dazzle 2 Courtroom Drama unfolds –Billy Finn manipulates the judge and jury Theme reinforced –The courts as spectacle –Money not justice

36. 36 The Wrap Up Adaptations –Graphic and Musicals The best adaptations respect the original source and the medium they’re adapted to.

37. 37 Assignments Lesson 12: Part IV Chicago

38. 38 E-Board Post #1 Approximately 200 words. Check the Eboard for your specific assignment.

39. 39 End of Lecture 12 End of Lecture 12 Next Lecture: What and How