Book vs Movie: The Wizard of Oz – What’s the Difference?

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A cinematic classic versus its literary classic in this month’s What’s the Difference from CineFix.

The Wizard of Oz movie is definitely a film that I think is deserving of being called okay. With the list of highly memorable song and the amazing use of colour, you can see why this film is so perfectly adequate entertainment for a rainy Sunday.

Return to Oz came out when I was young. Unlike its predecessor, it was more faithful to the books and kept their much darker and nastier tone. This, of course, meant that reviewers and other opinion havers* thought it was terrible and not suitable for children… Despite being more faithful to the kids’ books it was based upon.

I never really got into the Oz books as a kid. They were no Magic Faraway Tree, so they lost my interest almost immediately. I feel as though I should revisit them now as a sleep-deprived parent to give them a more fair assessment. Or maybe I’ll just see what land has arrived at the top of the tree this month.

We’re not in Kansas anymore, and neither was the film adaptation of The Wizard of Oz. The 1939 classic turns 80 this year, so it’s time to look back at Dorothy and Toto’s journey from the pages of L. Frank Baum’s book, to the glorious technicolor screens of the movie. So gather your courage, you Cowardly Lions, open up those Tin Man hearts and pick your Scarecrow brains because it’s time to ask, What’s the Difference?!

* Ha-ha, I did an irony.

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Cli-Fi: Can These Books Save The Planet?

Climate Fiction or cli-fi – get it, it’s like sci-fi except with climate… – may trace its origins to early science fiction works, but it has become a (sub) genre of its own in recent years. Who’d have thought that active disinformation and denial campaigns leading to delayed action on such an important issue would lead to a cultural response expressing concern at the lack of action?

This video from the PBS Digital Studios channel Hot Mess offers a great explainer on cli-fi. It also features Lindsay Ellis.

I think many of us would have read or watched cli-fi without really acknowledging it. Sometimes climate change is just a theme or motif because it is a reality writers/creators have absorbed. Other times it is more deliberate with the intention of discussing the issue.

While this can help create a wider acknowledgement and acceptance of climate change, I’m not sure it can help save the planet. I think there was an analogy about a horse and water and beatings or something that works here.

One thing I am hopeful of is that cli-fi will be like the nuclear holocaust fiction, emblematic of the fears of our time, but those fears will prove misplaced due to actions to prevent disaster. Or at least a great resource in the future for the evolved sentient cockroaches looking to understand what happened to our race and the planet.

See also: https://www.theatlantic.com/entertainment/archive/2015/08/climate-fiction-margaret-atwood-literature/400112/

Climate Fiction comes in all sorts of forms, there’s your Mad Maxes, your Games of Thrones, your Parables of the Sowers, and your WALL-Es. But are all these Cli-Fi books, movies, and TV shows just capitalizing on a hot topic, or do they actually change people’s perceptions of climate change? Lindsay Ellis, of It’s Lit, and Amy Brady, the editor-in-chief of The Chicago Review of Books, help us find out.

Read more: https://docs.google.com/document/d/1vp6lDmU3vT-NvMTRzCkLW97JfX7FQ4ZLhX0qvTGg-_I/edit

Book vs Movie: The Iron Giant – What’s the Difference?

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This month’s What’s the Difference? from Cinefix is all about giant killer robots learning to love.

Twenty years on and who’d have thought that two of Vin Diesel’s most memorable and acclaimed roles would have been voicing laconic characters.

This was an interesting instalment of What’s the Difference as I wasn’t aware that The Iron Giant was based upon a book. Apparently, The Iron Man was a story Ted Hughes developed to help his children deal with the death of their mother, Sylvia Plath. And obviously, grieving kids back in the 60s needed to also deal with impending nuclear war. I wonder if there will be any people left to look back in wonder at our generation’s stories and themes?

Obviously, the movie is pretty flawless*. It oozes charm and classic animated movie appeal. The existential concept of you are who you choose to be is a fantastic narrative element. Or as the director, Brad Bird, put it in his pitch, “What if a gun had a soul, and didn’t want to be a gun?”

I think another part of the appeal of this film was that it only became successful after failing at the box office and being mismanaged in all of its marketing. There were no toy and fast-food tie-ins. No big ad campaigns. This is a movie that found success because it was a good movie. As such, it managed to retain its charm because it didn’t need to support a toy-line and limited edition drink containers at Burger-Donalds.

So when Warner Bros inevitably remakes The Iron Giant, I look forward to the mountains of crass action figures that will be available, with flashing lasers and launchable rockets.*

* He says having not watched it in the best part of two decades.

** All parts made of plastic and sold separately.

Book vs Movie: The Mask – What’s the Difference?

In this month’s What’s the Difference? the CineFix team delve into the crazy world of The Mask.

The Mask turns 25 this month AND the comics are coming back! So it’s time to look back at Jim Carrey’s half cartoon turn as the big green head. Based on a shockingly violent graphic novel, how did The Mask go from a splatterfest to slapstick? It’s time to ask What’s the Difference!?

When I was a young lad, The Mask was one of the most quotable movies that weren’t R-Rated Pulp Fiction. It was Jim Carey at his zaniest, a digitally enhanced Ace Ventura. It was funny… for teens and some adults.

I’m not sure if the movie has dated poorly, or if it became too popular and thus annoying – the ever problematic oversaturation phenomenon – or if we’ve had enough of the zany Jim Carey, or if I’m just an old man shouting at clouds now. But there was a time when this movie was cool and funny. It was Looney Tunes for teenagers who grew up watching reruns of Bugs and Daffy.

The comic… I remember trying really hard to read it. But after having watched the movie first, the differences were too much. The dark and violent humour of the comic was asking too much of a younger me who was expecting zany Bugs Bunny style slapstick.

This video did leave me with the question: what if they’d asked Sam Raimi to direct The Mask with Bruce Campbell in the lead? You could have the horror styled darkness and all the humour, just like Army of Darkness. Not too late!

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What even is literature?

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Back a few years ago, the Nobel committee created a minor furore for awarding Bob Dylan – known for his performances in Hearts of Fire* and Pat Garrett and Billy the Kid – a Nobel Prize in Literature. At the time, PBS Ideas Channel had an interesting take on this contentious topic. And as is always the case, it isn’t really that simple.

I’m near the front of the queue to criticise literature for being a dry and dreary form of art that sucks the life out of its audience. But of course, as Mike discusses in the video, literature isn’t as easily defined as my dismissive rhetoric would imply. What defines literature isn’t arbitrary, but it is often about who is defining or classifying a work as such.

My criticisms of literature stem from who performs this classifying, as they will often be people like Jonathan Jones – who said Terry Pratchett sucked – who will criticise the literary merits of works they haven’t read. These arbiters of artistic merit (i.e. snobs) like certain things, thus those certain things are worthy. They create lists of these worthy things and tell us we need to read them at school, study them at university, and expound on how much better these works are… until they actually read one of the unworthy ones and have to eat humble pie.

As I pointed out recently, the origins of what we call literature versus genre have their origins in the class divide during the Industrial Revolution. Workers got to read one type of magazine, whilst richer managers (but not the capitalists) got a fancier magazine. The stories that were published in the fancier magazines became literary, whilst the rest was genre. So when I say that literature is based on snobbery, it is quite literally the snobbery of class divides in “Western culture”.

So the literary and artistic merit we often operate under in society is more about what a certain group of people like. But as Mike points out, that isn’t a good definition and literature, and “good” art in general, are harder to define. Essentially anything can be literature. And even then the status of a work being literary may be revoked or instated, as tastes change.

Thus, having the Nobel committee awarding Dylan’s lyrics a literary prize might actually be about them trying to bridge the divide. They could possibly be about making us all think of lyrics as an art-form, something that has social defamiliarization. Lyrics are, after all, a form of poetry that are no less artful. Maybe this award will help us acknowledge that art/literature is all around us.

I look forward to future Nobel Prizes for Literature being handed to Dan Brown and James Patterson. Because they are certainly pushing literature in an interesting direction.

* This is a great reference. Seriously. Check for yourself.

How Is Technology Changing TV Narrative?

There is a joke that started a month or two ago about how HBO subscriptions were going to cease once Game of Thrones concluded. The implication is that despite a long history of high-quality TV shows – Oz, The Sopranos, Deadwood, The Wire, True Blood, Boardwalk Empire, Flight of the Concords, Banshee*, and Strikeback** – the station will suddenly have nothing to offer audiences.

This argument reminded me of a PBS Ideas Channel video I shared on how technology is changing TV shows.

It raises an interesting point about how there appear to be more complex narratives in TV shows now. And in light of the conclusion of Game of Thrones, audiences are expecting more from networks that they doubt can be provided.

Of course, there are several problems with this idea. The first is perception. For every Breaking Bad and Justified we have CSI Whatever and the banality of reality TV. So without some hard data on the number of shows and relative audiences, it is really hard to say how real that perception is.

The second problem is that TV shows run a continuum from pure episodic shows, where everything is wrapped up in an episode and the next episode has little to no changes evident to the characters or larger show, through to serials, which have more complex plot lines that often take at least a season to develop and resolve with character arcs building over the course of the entire series. The key word is continuum, as most shows have some aspects of the serial and episodic about them. Again, without breaking down each show on this continuum, and then comparing shows now versus the past, we don’t have any idea of what has changed, if anything has changed.

The third problem is the good old sample or selection bias, especially as it relates to our favourite shows and the shows we remember. E.g. Survivor has been running since 2000 (or 1997 if you are in the UK), yet without looking that up I’d have had no idea when the show started, let alone whether it is still running. I don’t remember it because I’m not a fan. But I will still complain bitterly about the cancellation of Firefly. My frame of reference is biased, so I’m going to remember some shows more than others and think more favourably of some of the ones I remember than others.

The final problem I see is assigning time shift technologies and marathon watching as the driver of a change in our demands for more complex narratives. The idea itself is sound, as I can’t think of thing less interesting than watching the same episode with minor changes in a marathon. That would be like watching 9 hours of hobbits walking. The recording, DVD buying, streaming and subsequent marathon TV show watching would indeed favour shows that have more to them, that more complex narrative that will keep you pressing play on the next episode.

I don’t know that the time shifting, or recording, or DVD buying, or other methods of marathon watching, is driving demand for more complex narratives. As I said above, I think the more complex shows lend themselves more to the marathon than other shows. But if we assume there are more of these shows worth grabbing a blanket and a couch dent, then I still think there are other things at play. I think we’ve seen more avenues for creativity come to the fore, such as Youtube channels, computer games, and the like that didn’t exist a decade ago as they do now. As a result, entertainment such as TV shows has a need to engage the audience on a deeper level. So while episodic shows like CSI Whatever are still huge, they don’t attract the same devotion and fan adoration as a good serialised show. Plus, the advantage of the more complex narratives is that it allows for more interesting characters, plot lines, etc, which in turn allows for better acting, direction, writing, etc, which creates a feedback loop that may one day cause fandom to implode due to awesome achieving gravitational singularity. I’m assuming this will happen when Netflix reboots Firefly.

NB: I hate the term binge-watching and as such haven’t used it in this article. Binge implies that there is something wrong with what you are doing. There is nothing wrong with watching a TV show or movie series you enjoy, so we should stop implying there is something wrong.

* Banshee is criminally underappreciated.

** I stand by including this on the list. Show me another TV show that managed to do more in one episode than most entire action movies with 10x the budget.

Book vs Movie: Johnny Mnemonic – What’s the Difference?

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This month’s What’s the Difference? from CineFix looks at a not-so-classic movie starring the indomitable John Wick  Neo  Keanu Reeves.

Woah, the 90s were, like, 25 years ago. So long ago that the movie is set 2 years from now.

And that is also how long it has been since I’ve read the short story and watched the movie. I barely remember the story – but it was the reason I’d had Neuromancer on my TBR list for decades – and only recall a handful of scenes from the movie (e.g. Dr Allcome).

Does that mean a nostalgia trip is in order? Around the time of Johnny Mnemonic, there were several cyber-themed movies that would be interesting to watch now in The Future™. Seeing Keanu or Sandra Bullock talk tech could be a lot of fun or as cringy as those 60s and 70s movies with futuristic reel-to-reel computers.

Maybe not.

One of the advantages of books is that descriptions spur imagination whereas visuals (movies) tell you what you should be imagining. As a result, they don’t tend to date as badly as the visual medium*. So it is probably time to dust off some more Gibson.

Johnny Mnemonic, Keanu Reeves’ second best character named John, may not be the high water mark of his career, but it’s a significant piece of sci-fi nonetheless. Cyberpunk pioneer William Gibson’s original short story about a data trafficker with a time bomb in his headset the stage for decades worth of movie tropes you know and love. So how does a Sci-Fi classic turn into a great piece of mid-90’s guilty pleasure cinema? It’s time to ask What’s the Difference?

* Except for all of those pesky social changes that tend to date fiction badly.