Silver Linings Playbook is a American romantic written and directed by David O. Russell, adapted from the novel The Silver. Linings. The Silver Linings Playbook. Home · The Silver The Class Action Playbook. Read more Corrosion-Resistant Linings and Coatings (Corrosion Technology). Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share.
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An enchanting first novel about love, madness, and Kenny G. A New York Times bestseller, The Silver Linings Playbook was adapted into the Oscar-winning. The Silver. Linings. Playbook. A novel by Matthew Quick. ISBN: -1 / pages. For Pat Peoples, despair is not an option. Recently released. THE SILVER LININGS PLAYBOOK. OFFICIAL SHOOTING DRAFT by. DAVID O. RUSSELL. (Based on the novel by Matthew Quick). David O. Russell. WGAE.
The Silver Linings Playbook
As processes, adaptation and translation involve similar properties. With regard to the last point, it is true that equivalence, in one form or anoth- er, has marked the early days of both translation studies and adaptation studies.
For example, Vinay and Darbelnet discussed obligatory and optional translation shits, and scholars such as Catford , van Leuven-Zwart , and Hatim and Mason have all looked into translation shits on levels of grammar, pragmatics, and style. In adaptation studies, there seems to be a similar pattern, which is evident in the fact that, in an efort to systematise the theorisation of the ield, scholars such as Chatman Story and Discourse and McFarlane distinguished between parts of the narrative that needed to be adapted as such and those that could be altered in the adaptation.
Moreover, Wagner and Andrew pro- posed a classiication of adaptations based on the ways in which the adaptation manipulated its relation with the book. As both ields evolved across the years, the focus has been shited onto contextual considerations, which ultimately have a bearing on the end prod- uct. Such considerations relate to the expectations of the audience at which the translation is targeted and the overall socio-political and cultural context within which the translation is produced and received.
Translation is concep- tualised as a motivated process that contributes to the overall polysystem of a culture Even-Zohar Emphasis is also placed on the factors that monitor the translation process, from the commission of translations to the distribution and dissemi- nation of translated texts.
In a similar vein, adaptation has also been viewed as a process that depends on those involved in their making Hutcheon In addition, ater their release, adaptations can prop- agate the creation of related texts Murray , thus amounting to an organic part of the creative industries. It follows then that adaptation and translation are similar as textual process- es, in that they transpose a narrative into a new context, and as creative prac- tices, in that they are part of the polysystem and are inluenced by tangential systems.
Nevertheless, it is possible that more reasons may need to be added so that the model can be applied to a larger corpus. IV 2, — conjunction between the source novel and the adaptation in that the adaptation foregrounds or underplays aspects that already exist in the source novel.
Mod- iication shits entail an element of contrast or contradiction, in the sense that shits of this type usually change radically the aspects examined; thus, modii- cation shits pertain to notable changes in the narrative.
Finally, mutation shits suggest that certain elements are absent from either the source material or the adaptation.
Within each descriptive category, the types of shits acquire a dif- ferent denomination. As far as pres- entation is concerned, this is a term that Chatman Coming to Terms uses in order to subsume the diegesis favoured by discursive arts and the mimesis favoured by performing arts.
As a result, presentation is a concept that can ap- ply to both literature and ilm in order to refer to ways of narrative communi- cation. It consists of three categories of reasons, which can account for the shits. Economic reasons high- light the commercial aspect of the ilm-making process, and may account for the shits from the angle of proit-making; creative reasons focus on the ways in which the source material is re-interpreted on the big screen, and, inally, social reasons pertain to the interplay between a given sociocultural and spatiotempo- ral context, on the one hand, and the adaptation, on the other.
It is worth noting that these reasons may intertwine in some adaptation shits, in that there may be a combination of reasons as to why certain changes occur from book to ilm.
In the case of ilm adaptation, paratexts may refer to both the source novel and the adaptation, and may cover interviews with authors, cast and crew, ilm trailers, reviews, and other promo- tional materials. It is worth noting that, due to space considerations, the analysis will focus on the most prominent shits and emphasis will be placed on the rationale behind them.
The Silver Linings Playbook: A Novel
Ater being discharged from the clinic, Pat dedicates his IV 2, — new life to improving himself physically, intellectually, and spiritually, so as to impress his now ex-wife, Nikki when he inally meets her. On his way to recov- ery appears Tifany, who also sufers from psychological problems. Identifying the Adaptation Shits his section discusses the shits that can be observed between the source novel and the ilm adaptation the shits are interpreted in 3.
Overall, there are notable diferences between the novel and the adaptation. By contrast, the character of Pat seems to be rather delated, which may be attributed to the diferent delivery of his experiences, feelings, and thoughts. Plot Structure he adaptation features an extensive number of plot modiication shits i. However, his father is not always receptive or approachable, and their relationship remains damaged until the end.
Another plotalteration is the fact that, in the ilm, Pat retains the memory of the violent episode that led to his hospitalisation. His overall demeanour, consisting of fast-paced speech, anxiety, and erratic behaviour, further relects his disorder. On the contrary, in the book, his mental health problem remains vague and a clear deinition is not provided.
In this way, he highlights the bias against people sufering from mental health problems, which nevertheless originates from people who may also act violently but do not carry the stigma of a diagnosed disorder. At the same time, the Silver Linings Playbook ilm accommodates quite a few plot ampliications a modulation sub-type of shit. By contrast, the novel rarely hints on the development of the romance. Narrative Techniques A noteworthy shit in temporal sequence appears in the time that Pat spends in the psychiatric clinic, i.
In presentation, modiication shits abound as monstration is constantly re- placing the narration of the novel. For example, while every action and thought IV 2, — are narrated by Pat in the slightest detail in the novel, the ilm oten resorts to montages without voice-over, thus allowing the audience to draw their own conclusions. Both Pat and Tifany exhibit overdramatic behaviours, such as emotional outbursts and rapid changes in their mood.
Of course, it can be argued that such behaviours are caused by their mental health conditions. Nevertheless, there is a clear ten- dency of accentuation compared to the novel.
As a result of these changes, he ilters his thoughts and words before verbally expressing them. On the one hand, there may have been an efort to emulate the confes- sional tone of the source novel by presenting Pat verbalise his thoughts on the spot.
Nevertheless, the sophisticated rationalisation of his thoughts, which runs through the novel, is downplayed in the adaptation to some extent, since Pat does not provide an elaborate justiication of his behav- iour as he does in the source novel. What is more, the father repeatedly tries to approach Pat in an efort to make up for past mistakes.
Nevertheless, her role as a stabilising force seems to be heightened in the adaptation, given that she usually appears to tone down the tension created in the household, while she oten intervenes when her husband and son are having an argument. Setting As can be seen in table 1, the category of setting has two further sub-catego- ries, i.
Setting is the category which presents the fewest shits in the adaptation under examination as neither aspect of setting is changed to a great extent. A notable shit is the ampliication of the temporal setting modulation shit. As far as the spatial setting is concerned, the ad- aptation underscores the fact that the story is set in Philadelphia modulation — ampliication shit.
In what follows, the identiied adaptation shits are interpreted against rele- vant paratexts. Interpreting the Adaptation Shits As noted in section 2, the interpretive component of the adaptation model includes three categories of reasons that can explain the adaptation shits, i.
Paratexts can help deconstruct the ration- ale behind the changes between the source novel and the adaptation. As pointed out in section 2, some adaptation shits may be motivated by a combination of reasons.
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It is also worth noting that the paratexts used to decipher these reasons may point in more than one direction. Put diferently, there is not a one-to-one relationship between pa- ratexts and reasons.
David O. Russell has admitted that his personal experience of mental health problems played an important part in his directing of the ilm. For example, the memory of the violent incident that resulted in his hospitalisation, a plot shit discussed in 3. Timbers, which is exactly what Danny—my only black friend in the bad place—told me he was going to say to Dr.
Timbers when Danny got out. Timbers squints as if I had punched him in the gut. As my mother drives me out of Maryland and through Delaware, past all those fast-food places and strip malls, she explains that Dr. On the Delaware Memorial Bridge, she looks over at me and asks if I want to get better, saying, "You do want to get better, Pat.
I say, I do. And then we are back in New Jersey, flying up As we drive down Haddon Avenue into the heart of Collingswood—my hometown—I see that the main drag looks different. So many new boutique stores, new expensive-looking restaurants, and well-dressed strangers walking the sidewalks that I wonder if this is really my hometown at all. I start to feel anxious, breathing heavily like I sometimes do. Patel, will have me feeling normal in no time. I find the weight bench my mother had promised me so many times, along with the rack of weights, the stationary bike, dumbbells, and the Stomach Master , which I had seen on late-night television and coveted for however long I was in the bad place.
Thank you, thank you, thank you! I tell Mom, and give her a huge hug, picking her up off the ground and spinning her around once. When I put her down, she smiles and says, Welcome home, Pat. My memory started to slip in the bad place because of the drugs, so I began writing down everything that happens to me, keeping track of what I will need to tell Nikki when apart time concludes, to catch her up on my life. But the doctors in the bad place confiscated everything I wrote before I came home, so I had to start over.
When I finally come out of the basement, I notice that all the pictures of Nikki and me have been removed from the walls and the mantel over the fireplace. I ask my mother where these pictures went.
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She tells me our house was burglarized a few weeks before I came home and the pictures were stolen. I ask why a burglar would want pictures of Nikki and me, and my mother says she puts all of her pictures in very expensive frames.
I ask. Mom says the burglar stole all the expensive frames, but she had the negatives for the family portraits and had them replaced. Mom says he needs time to get used to my living at home again, which I am happy to give him, especially since I am sort of afraid to talk with Dad anyway. I remember him yelling at me the only time he ever visited me in the bad place, and he said some pretty awful things about Nikki and silver linings in general.
My mom has a library card, and she checks out books for me now that I am home and allowed to read whatever I want without clearing the material with Dr. Timbers, who, incidentally, is a fascist when it comes to book banning. I start with The Great Gatsby, which I finish in just three nights. The best part is the introductory essay, which states that the novel is mostly about time and how you can never download it back, which is exactly how I feel regarding my body and exercise—but then again, I also feel as if I have an infinite amount of days until my inevitable reunion with Nikki.
We will probably be chatting over dinner, and the reference will make Nikki smile and laugh because she will be so surprised that I have actually read The Great Gatsby. So I shower, and then Mom drives me to Dr. When we arrive, I take a seat in the waiting room as Mom fills out some more paperwork. As I sit there flipping through a Sports Illustrated, listening to the easy-listening station Dr. You know the title: Songbird. Turn off that music! I yell. Shut it off!
Right now! The tiny man is Dr. Patel, I realize, because he tells his secretary to turn off the music, and when she obeys, Kenny G is out of my head and I stop yelling.
I cover my face with my hands so no one will see me crying, and after a minute or so, my mother begins rubbing my back. So much silence—and then Dr.
Patel asks me into his office. I follow him reluctantly as Mom helps the secretary clean up the mess I made. His office is pleasantly strange. Two leather recliners face each other, and spider-looking plants—long vines full of white-and-green leaves—hang down from the ceiling to frame the bay window that overlooks a stone birdbath and a garden of colorful flowers.
But there is absolutely nothing else in the room except a box of tissues on the short length of floor between the recliners.
The floor is a shiny yellow hardwood, and the ceiling and walls are painted to look like the sky—real-looking clouds float all around the office, which I take as a good omen, since I love clouds.Nikki likes to read, and since she always wanted me to read literary books, I start, mainly so I will be able to participate in the dinner conversations I had remained silent through in the past — those conversations with Nikkis literary friends, all English teachers who think Im an illiterate buffoon, which is actually a name Nikkis friend calls me whenever I tease him about being such a tiny man.
He blinks at me. Mom just watches for a minute or so, and then she shocks me. Lewin, Blackwell, Hutcheon, Linda.
Apr 27, ISBN: She was initially meant to be goth.
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