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CAPRICORN ONE FULL MOVIE FREE

5/4/2023

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The quality of the writing in many novelisations is certainly hard to defend,
and yet one other widely held view of them holds considerably less water. Based
on his extensive correspondence with authors, Larson suggests four to six weeks
as around the average writing time, with some adaptations, such as Michael
Avallone’s Beneath the Planet of the Apes, spewed out in a single weekend (12).
When one considers the time constraints under which a lot of these books were
produced this is hardly surprising. For one thing, many are simply not very well
written according to any conventional measure. Other reasons though lie beyond
these prejudices. The fact that many are genre novels-sci-fi, western and crime
thrillers-and that the majority are decidedly low-brow has not helped to secure
them critical plaudits. Jonathan Coe’s caustic appraisal of novelisations as
“that bastard, misshapen offspring of the cinema and the written word”
represents the prevailing attitude toward them (45). Despite the vast consumer
appetite for novelisations, however, their critical reception has been
noticeably cool. At the same time, the Internet age has fuelled the creation and
dissemination of a vast array of “fan-fiction” that supplements the output of
authorised writers. Even today they continue to appear in book shops. It
shouldn’t be forgotten that before the advent of home video and DVD books were,
along with television broadcasts, the most widely accessible way in which people
could do so. The sixties and seventies were boom years for novelisations as they
provided film lovers with a way to re-experience their favourite movies long
after they had disappeared from cinema screens. Indeed, as Larson notes,
“novelisations have existed almost as long as movies have” and can be found as
far back as the 1920s, although it was not until the advent of mass-market
paperbacks that they truly came into their own (3-4). Retelling film narratives
in a written form is nothing new. Even Linda Hutcheon’s admirable recent
publication, A Theory of Adaptation, makes scant mention of novelisations, in
spite of her claim that this flourishing industry “cannot be ignored” (38).
Larson’s valuable Films into Books, which is centred mainly on correspondence
with prolific writers of “novelisations”, academic study of this extremely
widespread phenomenon has been almost non-existent. A relationship far less
well-documented though is that between popular novels and the films that have
spawned them. Countless words have been expended upon the subject of literary
adaptation, in which the process of transforming stories and novels into
cinematic or televisual form has been examined in ways both general and
particular. Introduction Based on the profusion of scholarly and populist
analysis of the relationship between books and films one could easily be
forgiven for thinking that the exchange between the two media was a decidedly
one-way affair.


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