Analyzing Across Media Forms

Analyzing Across Media Forms

This lesson will show you how to apply your analytical skills to stories created in a variety of forms and formats.

Learning Objectives

Students will:

• Analyze the representation of a literary work in different mediums.

Skills Needed

Students must be able to:

• Analyze literature.

Key Words

• medium
• visual art

• graphic novel
• representation

Comic Books to Blockbusters

What forms do today's most popular stories take?

Have you ever seen a comic-book hero come to life on a movie screen? Superman, Wonder Woman, and other superheroes got their start in the golden age of comic books during the late 1930s. The adaptation of these stories to the big screen has brought them a much wider audience. Big budgets and Hollywood special effects now outshine the simple, hand-drawn format of old-fashioned comic strips. Still, comic books, like other formats in which stories are told, have their own unique appeal even today--and they've come a long way, too!

Why do you think comic books still have appeal for many readers?

Form and Function

How does a story's form of expression affect its audience?

The medium of a literary work is the format that the author uses to express his or her ideas. (The plural of medium is mediums or media.) Often, a printed literary work such as a classic novel takes on new life when it is adapted to another medium. Authors and artists may also create original works for non-print mediums. *Watch video in textbook

Here are some mediums in which you may encounter literary works.

Written Works

Visual Art

Comic Books & Graphic Novels

Audio Presentation

Film & Video

Film and video are unique in their combination of visual and audio presentation. Here is an image from one of the sets of a 2005 movie version of War of the Worlds. What do you think this scene looked like on the big screen with Hollywood special effects? Which do you think would be scarier, reading the story of a Martian invasion or seeing it on the big screen? Why?

Apples to Pears

How can you analyze literature delivered in two different media?

Each medium has its own way of telling a story. If you've ever seen the film version of a book you've read, you know that the directors of a good movie based on a book must find ways to make the story their own without changing it too much. When audiences analyze and evaluate these kinds of movies, they almost always compare the movie to the book. The director's representation of, or way of showing, the book's plot events, characters, and setting will determine whether or not some viewers like the movie enough to recommend it.

Apples to Pears

You can apply the skills these viewers use in ways that help you understand not just the story itself, but also the director's choices about how to translate the story for the big screen. Use these steps to compare and contrast representations of a literary work in two different mediums.

#1 Sum up the Story

#2 Identify and describe differences in how the two mediums present the literary work.

#3 Suggest some reasons why the film's directors or producers made the choices they did in moving the story from the page to the screen.

*Watch video in textbook prior to step #3

You Try It

Compare and contrast a written literary work with a film adaptation.

Martha Canary, better known as Calamity Jane, gained fame for her colorful and danger-filled life as a frontierswoman in the late 1800s. She gave an account of her life in the pamphlet Life and Adventures of Calamity Jane--by Herself, which she wrote to introduce herself to audiences when she toured the U.S. telling her story and showing off her shooting and riding skills. On the next page, you'll view the trailer for a film about Calamity Jane that was made in 1953--nearly a century after Canary wrote her own story. First, though, read this excerpt from Life and Adventures of Calamity Jane--by Herself, and answer the questions beside it. The questions will help you with the first two steps for comparing representations of literature--getting the story straight and identifying similarities and differences between two versions of the story.

from The Life and Adventures of Calamity Jane - by Herself

As a child I always had a fondness for adventure and outdoor exercise and a special fondness for horses, which I began to ride at an early age and continued to do so until I became an expert rider, being able to ride the most vicious and stubborn of horses. In fact, the greater portion of my life in early times was spent in this manner. In 1865 we emigrated from our home in Missouri by the overland route to Virginia City, Montana, taking five months to make the journey. While on the way, the greater portion of my time was spent in hunting along with the men and hunters in our party. In fact, I was at all times with the men when there was excitement and adventures to be had. By the time we reached Virginia City, I was considered a remarkable good shot and a fearless rider for a girl of my age. I remember many occurrences on the journey from Missouri to Montana. Many times in crossing the mountains, the conditions of the trail were so bad that we had to lower the wagons over ledges by hand with ropes because the trails were so rough and rugged that horses were of no use. We also had many exciting times fording streams. Many of the streams in our way were noted for quicksand and boggy places, where, unless we were very careful, we would have lost horses and all. Then we had many dangers to encounter in the way of streams swelling on account of heavy rains. On occasions of that kind, the men would usually select the best places to cross the streams. I, myself, on more than one occasion, have mounted my pony and swam across the stream several times merely to amuse myself and have had many narrow escapes, nearly getting both myself and my pony washed away to certain death. But as the pioneers of those days had plenty of courage, we overcame all obstacles and reached Virginia City in safety. My mother died at Black Foot, Montana, 1866, where we buried her. I left Montana that spring, for Utah, arriving at Salt Lake City during the summer. I remained in Utah until 1867, where my father died, then went to Wyoming Territory. There I joined General Custer as a scout, in 1870, and started for Arizona for the Indian Campaign. Up to this time I had always worn the costume of my sex. When I joined Custer, I donned the uniform of a soldier. It was a bit awkward at first, but I soon got to be perfectly at home in men's clothes.

I was in Arizona up to the winter of 1871, and during that time I had a great many adventures with the Indians, for as a scout I had many dangerous missions to perform. While I was in many close places, I always succeeded in getting away safely. By this time, I was considered the most reckless and daring rider and one of the best shots in the western country. After that campaign, I returned to Fort Sanders, Wyoming, and remained there until spring of 1872, when we were ordered out to the Muscle Shell or Nursey Pursey Indian outbreak. In that war Generals Custer, Miles, Terry and Crook were all engaged. This campaign lasted until fall of 1873. It was during this campaign that I was christened Calamity Jane. It was on Goose Creek, Wyoming, where the town of Sheridan is now located. Capt. Egan was in command of the Post. We were ordered out to quell an uprising of the Indians, and were out for several days. We had numerous skirmishes during which six of the soldiers were killed and several severely wounded. Returning to the Post, we were ambushed about a mile and a half from our destination. I was riding in front, and on hearing the firing turned in my saddle and saw Captain Egan reeling in his saddle as though about to fall. I turned my horse and galloped back with all haste to his side and got there in time to catch him as he was falling. I lifted him onto my horse in front of me and succeeded in getting him safely to the Fort. Capt. Egan, on recovering, laughingly said: ``I name you Calamity Jane, the heroine of the plains.'' I have borne that name up to the present time. We were afterwards ordered to Fort Custer, where Custer city now stands. We arrived in the spring of 1874 and remained in that area, or in the Black Hills, protecting miners, until 1876. In the spring of 1876, we were ordered north with General Crook to join Gen'ls Miles, Terry and Custer at Big Horn river. During this march I swam the Platte river at Fort Fetterman as I was the bearer of important dispatches. I had a ninety mile ride to make, and being wet and cold, I contracted a severe illness and was sent back in Gen. Crook's ambulance to Fort Fetterman where I laid in the hospital for fourteen days. When able to ride again, I started for Fort Laramie where I met Wm. Hickock, better known as Wild Bill, and we started for Deadwood, where we arrived about June.

During the month of June I acted as a pony express rider carrying the U.S. mail between Deadwood and Custer, a distance of fifty miles, over one of the roughest trails in the Black Hills country. Many of the riders before me had been held up and robbed of their packages, mail and money, for outlaws knew that was our route was the only means of getting mail and money between these points. It was considered the most dangerous route in the Hills, but as my reputation as a rider and quick shot was well known, I was bothered very little. The “toll gatherers” looked on me as being a good fellow, and they knew that I never missed my mark. I made the round trip every two days, which was considered pretty good riding in that country. I remained around Deadwood all that summer visiting all the camps within an area of one hundred miles. My friend, Wild Bill, remained in Deadwood during the summer with the exception of occasional visits to the camps. On the 2nd of August, while setting at a gambling table in the Bell Union saloon, in Deadwood, he was shot in the back of the head by the notorious Jack McCall, a desperado. I was in Deadwood at the time and on hearing of the killing made my way at once to the scene of the shooting and found that my friend had been killed by McCall. I at once started to look for the assassin and found him at Shurdy's butcher shop and grabbed a meat cleaver and made him throw up his hands. In the excitement on hearing of Bill's death, I had left my weapons on the post of my bed. The assassin was then taken to a log cabin and locked up, well secured as everyone thought, but he got away and was afterwards caught at Fagan's ranch on Horse Creek, on the old Cheyenne road and was then taken to Yankton, Dakota Territory, where he was tried, sentenced and hung.

from The Life and Adventures of Calamity Jane - by Herself

from The Life and Adventures of Calamity Jane - by Herself

from The Life and Adventures of Calamity Jane - by Herself

from The Life and Adventures of Calamity Jane - by Herself

from The Life and Adventures of Calamity Jane - by Herself

Who Was Calamity Jane?

How does this film adaptation differ from Martha Canary's autobiography?

In 1953, Martha Canary was portrayed by the famous American actor Doris Day in the film Calamity Jane. As you watch the movie's trailer below, look for similarities and differences between Canary's own version of her life and the life suggested by this trailer. Also compare the character of Calamity Jane in the movie to the person who appears in Martha Canary's autobiographical pamphlet. *Watch video in textbook

• How close does the movie seem to be to the real story of Calamity Jane's life? Give some examples of similarities and differences.
• How does the film use audio and visual elements for entertainment?

Assess Yourself

Assess Yourself

Assess Yourself

Assess Yourself

Use What You Know

Can you apply what you know about analyzing literature?

Some literary works seem meant for adaptation to the big screen, and others, not so much. Think about stories that you've read. Which do you think would make good movies, and why? You probably read the suspenseful story "The Most Dangerous Game" in a previous lesson. The main character, Rainsford, is a big-game hunter who falls off a yacht near the mysterious, isolated "Ship-Trap Island." When he swims to shore, he finds an isolated castle occupied by a Russian gentleman named Zaroff and Zaroff's sinister servant Ivan. Do you think this story would translate well to a movie screen? Why or why not?

Lights, Camera, Suspense!

How does this film adaptation compare to the original story?

"The Most Dangerous Game" was, in fact, made into a film in 1932. The film featured some well-known movie stars of the time. What changes do you think the screenwriter and directors made to the story to create a popular, hour-long movie? Watch these scenes from the film and then answer the questions that follow. When you have answered all of the questions, copy your responses from the last screen and paste them into a word processing document. Save that file, and keep it open so that you can add to it later in this lesson. *Watch Scenes one and two in textbook

A Tale of Horror

Can you imagine this classic horror story on the big screen?

Edgar Allen Poe was a master of the short story. Several of his classic tales of horror and suspense have been adapted to film. One of these adapted works is "The Cask of Amontillado," which you may have read in a previous lesson. Read or re-read "The Cask of Amontillado" below. Then answer the questions on the right to help you prepare for watching and analyzing the film version. When you have answered all of the questions, copy your responses from the last screen and paste them into the word processing document you started on the previous page. Be sure to save your work in that file!

"The Cask of Amontillado"

Take the quiz in Canvas on "Analyzing Across Media Forms"

This medium includes most novels, short stories, poems, and nonfiction writing. Written works may be published in print or in an electronic format.

Visual art is just what it sounds like: art that expresses ideas visually through images. Drawings, paintings, and photographs are all examples of visual art. An artist may adapt a literary work into a series of drawings or paintings. These visual representations may stand on their own or may be included in a book as illustrations. You've probably heard the expression "a picture is worth a thousand words." How many words do you think it might take to describe the scene in this illustration from H.G. Wells' novel War of the Worlds? On the other hand, what can words do that images can't?

Comic books and graphic novels tell stories in comic-strip format. A comic book is usually a series with each short book as a chapter, while a graphic novel is presented as a complete, stand-alone book. Both forms use more images than words to express ideas.

In 1938, an American radio network aired a series of fake news bulletins about a Martian invasion. The story was science fiction based on H.G. Wells' novel War of the Worlds. However, many listeners tuned into the bulletins and thought Martians really were invading Earth. Later, the press and some public figures expressed outrage over this "deception." Orson Welles, the radio personality who read the bulletins on air, expressed surprise over the panic caused by the broadcasts. He thought people should have been familiar with a science fiction plot that had been written about so many times already. How do you think the medium of a radio broadcast added to the realism of the story?

It may be difficult, after watching or reading both versions, to remember which details appeared in which medium. However, you should be able to identify the parts of the story that are critical to its outcome and message. Trying to summarize the story, apart from its different representations, will help you figure out if any key events or other elements were left out of or changed in the film version. Ask yourself these questions: What is the plot of the literary work? Who and what is it basically about? What elements are so important that they appear in both representations of the story? Which summary could apply to both the book and movie versions of a science fiction story about a Martian invasion.

In this step, focus on what is unique about each presentation of the literary work. Some scenes that work well in writing would be very difficult to portray on screen. In any case, a two-hour feature film is not long enough to show every detail that appears in a book-length story. As a result, movie directors must make many choices about what to include on screen and what to leave out. They also have to decide how the events and characters will look in the film version. As you read this passage from H.G. Wells' original novel War of the Worlds, look for details that would be difficult to include in an on-screen version.

Then came the night of the first falling star. It was seen early in the morning, rushing over Winchester eastward, a line of flame high in the atmosphere. Hundreds must have seen it, and taken it for an ordinary falling star. Albin described it as leaving a greenish streak behind it that glowed for some seconds.... I was at home at that hour and writing in my study; and although my French windows face towards Ottershaw and the blind was up (for I loved in those days to look up at the night sky), I saw nothing of it. Yet this strangest of all things that ever came to earth from outer space must have fallen while I was sitting there, visible to me had I only looked up as it passed.

• What does this written version include that a movie version most likely would not?

Some of a film-maker's decisions about how to change a work of literature for the "big screen" are the result of the limitations imposed by film-making as a process. Until the development of CGI (computer-generated images), for instance, it was difficult to create convincing special effects for scenes that involved certain types of action. One director might decide to leave these scenes out; another director might try to suggest these scenes by showing the reactions of characters or having the characters describe an event in detail. Other film-making choices are related to the message the director hopes to send. A director may leave out certain scenes, events, or details that do less to support his or her own ideas about what the story means. Compare this excerpt from the first chapter of the novel Treasure Island to the beginning of the 1952 film version of the novel.