Books are not films, of course. This is an opportunity to nod sagely, of course, of course. It is one of the reasons why we have different words for these things, that they are different things to have words for. Films, too, are not books, for reasons not dissimilar.
Time and again, however, some seek to make from one the other. I have, somewhere in the collection of texts read and unread, a small stack of novelisations of films based on literary work. There is, for example, Bram Stoker's Dracula, and beside it like another box of earth is Fred Saberhagen's James V Hart's Francis Ford Coppola's Bram Stoker's Dracula. Which of those is gothic? Which of those is arch? Some 24 weeks and the small business of three billion seconds and change are not the only things that separate the two.
I find myself thinking about time because of The Power.
Time and again, however, some seek to make from one the other. I have, somewhere in the collection of texts read and unread, a small stack of novelisations of films based on literary work. There is, for example, Bram Stoker's Dracula, and beside it like another box of earth is Fred Saberhagen's James V Hart's Francis Ford Coppola's Bram Stoker's Dracula. Which of those is gothic? Which of those is arch? Some 24 weeks and the small business of three billion seconds and change are not the only things that separate the two.
I find myself thinking about time because of The Power.
- 1/22/2022
- by Andrew Robertson
- eyeforfilm.co.uk
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