# data[].attributes.body
In my particular case, I found a series of details from Eliot’s article very intriguing:

1) The fact that film took to Victorian novels changed my perception of viewing films, since it’s a perspective I had never thought of before. In my case, I would say that I especially found this fact in films that try to depict psychological issues that characters face. For example, the film “We Need to Talk About Kevin” lends itself to discuss how symbolism is also used to represent these issues. In the attached picture, for example, mise-en-scene plays an important role. The placement of the tomato soup can connect to the character’s emotional state: red is linked with blood, and it reminds the character of the horrible things her son had done. In this case, they function as ways to blame the mother and torment her (thus, her anxious expression).

2)    Film having its own syntax: I found interesting to learn that, just as written text follows grammar rules and punctuation, film has its own set of codes to “deliver a message”: shots, editing, camera placement, angles, etc. Film directors need to take all of these aspects into account and choose specific shots that would help to either foreshadow, build upon a theme, and share the director’s viewpoint. In this case, I want to share a couple of links where this composition is evident.

-The Chosen, episode 3 ( https://www.youtube.com/watch?v=7gHx_L1vrec) In this series, the director (who speaks at the beginning of this video) explains that he made the decision to open this episode with. 15-minute shot: there are no cuts, no pauses, etc., as he wants to immerse the audience into the activity that’s taking place. When I saw it the first time, I have to admit that I felt part of the “group” represented there.

-Bohemian Rhapsody: Although I admit that I love this movie a lot, there has been controversy on the way this particular scene was edited: (https://www.youtube.com/watch?v=JNctAdr7jy4), there are so many cuts between shots that film critics have complained of it not being natural. When you look at the scene, it gives off the impression of an interrupted conversation. Let me know if you agree with this statement or if you believe the film director did it on purpose.

3)    Another aspect that caught my attention is the ever-lasting rivalry between the two types of “texts.” In a way, they both “feed” on each other: films “stole” a few aspects from novels, but now novels have included aspects that used to belong to the specificity of film as a medium. In fact, if one reads more modern novels (or even novels written by people who are not expert on literature, for example, novels found in blogs or all over the Internet), one can’t help but notice that some aspects from film were incorporated in the novels such as the emphasis on what the character sees when he or she feels lessened, the use of music to help shape the scene, etc.

# data[].attributes.attachment_link.title
we need to talk about kevin tomato scene - Google Search

# data[].attributes.attachment_link.description
red soup lionel shriver's tilda tomato soup swinton kevin red ezra miller novel eva

# data[].attributes.attachment_caption
After reading Elliot's chapter, I came to the conclusion that image and language are very closely related, but they have to be addressed in a different category. The quote on the image is very clear in the sense that sometimes, we just need a picture or a very short film to convey meaning for the audience. 
According to Brian McFarle, in Elliot's chapter, "the novel is linear and the film is special (2). I understand the fact that if a film is based on a literary work, it does not necessarily include all the elements that the written texts have. Once the novel is written, it can rarely change unless the original author would like to change something, but with the film, there could be many versions based on the same the same idea which will reflect what the movie producer wants to show on stage. This reminds me how many times I have read the literary work and get disappointed when I see the film. Nonetheless, this does not happen all the time, for example, "V for Vendetta" (the graphic novel and film) are very different from one another. I have heard that Alan Moore (the author from the graphic novel) does not like what the Wachowski brothers did in the film. Alan Moore claims that the dialogues and the political context that he wanted to transmit were affected once the movie was filmed. However, I have seen both works, the movie and the book, and I cannot choose between one or the other, but I consider that some elements of history have to be taken into account. For instance, Guy Fawkes was a real person who fought to destroy the British parliament, and he was the main source not only for inspiring the graphic novel, but also for the movie, and even for the hacker group called Anonymous. 
In this regard, Elliot says that ""without visual images, there would be no film, and without language, there would be no novel" (3), so I wonder if the graphic novel genre breaks this rule because we also have images on the book. I would love to have an explanation to that inquiry. Would the graphic novel be kind of a "hybrid" as it is mention on Elliot's chapter (5).
I also want to refer to Meltz' idea: "The language of film is universal" (Elliot 6). I think that the art of filming is like an equation; however, I consider that it is very risky to totally agree with this statement because all of us can interpret the message, the symbols, the discourse, the language of the text, etc, in a different way just as it happens when analyzing literary texts.

# data[].attributes.headline
Images & Words: A Picture is Worth a Thousand Words

# data[].attributes.subject
Images & Words: A Picture is Worth a Thousand Words

# data[].attributes.body
By Carolina

# data[].attributes.attachment_caption
The Hateful Eight - "Major Marquis exposes Senor Bob" Scene | Last Scene                                                                                                                       I personally recognize Tarantino for directing movies full of rich dialogues. I am not really fond of Western movies or action movies in general, but I loved this one because of the long conversations. If you watch that video, you will see a 3-minute scene of dialogue with 5 seconds of shooting. To me, that is more words than images, eventhough it is a film.                                                                                   The detail in the chapter that mostly grasped on my imagination was the tittle itself. Elliot describes the division of the study of novels and films as a “Word/Image War”, that as in any other kind of war, focusses on tiny differences among the two sides instead of noticing the tons of similarities. Images and words have always been intertwined. However, Elliot suggests that scholars “treat films as though they had no words and novels as though they had no illustrations” (3) and have tried to state a separation to determine which one is better. That fight over power have led to false assumptions in both film theory and novel theory overlooking the complex relationships that exist between them. When you read a book the first thing your brain does is to project an image. Images have no meaning without language, whether that language is written or spoken, materialized or just into our heads. Films with no language are greatly limited, words that cannot create a visual image are as limited too. Charles Baudelaire suggested once that arts do not substitute each other, they lend each other tools and resources. Both films and novels have evolved together. Writers have used narrative techniques that were initially used in cinema. For example, Scott Fitzgerald was known for his “filmic descriptions” and Hollywood had a great influence in his character development and themes. The same way, there are movies that contain so much dialogue that could be considered a novel, such as the one I mentioned at the beginning. If you see the first Western movie  "The Great Train Robbery" from 1903, you could appreciate how words have definetely improved the genre.                                                                        By Eimy Fonseca 

# data[].attributes.attachment_link.title
The Hateful Eight - "Major Marquis exposes Senor Bob" Scene | Last Scene

# data[].attributes.body
After reading Kamilla Elliott's chapter on the various relationships between literature and film. What particular detail or issue presented in it holds a grasp on your imagination?

Please share your ideas (illustrations and other resources may be included) and react/comment on your classmates' contributions.

# data[].attributes.body
Elliot seems to perceive the relationship between literature and film as two flows that interact with each other; two currents in an ocean. She includes in her text the following line: “without visual images there would be no film. Without language there would be no novel” (3). Thus, she implies that different areas of studies and arts must collide to create a new product, and this creation must embrace these disciplines, and shall be versatile and open to learn from others. She also explains that filmmakers have been able to adapt narratives to visual styles of storytelling through the use of atmospheric close-ups, character viewpoints, and the use of cinematic techniques such as ellipsis or fragmented vision (4). These practices of visual-perception building can be considered as the “film language” (5), since it is able to convey emotions, ideas, and stories without having to pronounce (or show) a single (explicit) word. In addition, Elliot further explains her notion of the “language” analogy by comparing prose paintings and illustrations to novels. Through her analysis, she describes the word/image conflict in which visual and verbal languages struggle to create a product that communicates meaning in the most effective way possible to the purpose of the film. The film Midsommar, directed by Ari Aster, is a good example of a film that conveys a meaningful message to the audience through a powerful visual language that opposes the intended mood, thus creating a paradox that confuses the viewer, which is highly effective for a horror film.

By Mónica Jiménez.

# data[].attributes.body
I think it was only until I read this chapter that I questioned the impact of illustrations and images in novels or prose in general. In previous film courses, a lot of the discussions were on how the image translates the word or how both literature and film use different languages, different techniques to convey meaning. In other words, film and literature were either separated or represented in a one-sided relationship where images take from words but not the other way around. Therefore, the idea that illustration can impact prose, film can impact literature was fresh. However, it was not conflicting because I could easily see how both forms of art influence one another. Personally, I adore illustrated editions of books (not like graphic novels, which I do love, but books that are mostly words that include illustrations). I particularly like Milton’s Paradise Lost, illustrated by Gustave Doré. By reading this chapter, I realized that it is because of Doré’s illustrations that I perceive Milton’s poem as more fantastical, majestical, and melodramatic. Sure, Milton wrote an epic poem, but it is the art of Doré that makes me say, THIS IS AN EPIC POEM! Similarly, Doré’s illustrations have this effect on me in The Divine Comedy and Don Quixote. Because of his images, I read the words differently. So definitely, this chapter made me rethink the hierarchies and categories we use to discuss film and literature.

By Sheirys Barrantes