This books ([PDF] Download Harry Potter Page to Screen: The Complete Filmmaking Journey Full page) Made by Bob McCabe About Books none To. Harry Potter Page to Screen: The Complete Filmmaking Journey is a book by author and film critic, Bob McCabe. A follow up to Harry Potter Film Wizardry, it was. Ebook: Harry Potter Page to Screen: The Complete Filmmaking Journey Date added: Size: MB Author: Bob McCabe. Book format: pdf, epub.
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Harry Potter: Page to Screen - Free download as PDF File .pdf) or view presentation slides online. Here's a preview from the + pages of Harry Potter: Page. This books (Harry Potter - Page to Screen: The Complete Filmmaking Journey [ PDF]) Made by Bob McCabe About Books Harry Potter: Page. Ebook download any format Harry Potter - Page to Screen: The Complete Filmmaking Journey Unlimited Free E-Book Download now.
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WordPress Shortcode. I thought the underwater scene in Goblet of Fire was totally CGI but it turned out that Daniel Radcliffe actually had to swim, while holding his breath, and act in a water tank. And of course, there are details on how that water tank was built, with heaters, bacteria-killing UV lights, and the little things that don't cross our minds. The second part of the book is sort of like the encyclopaedic look at the characters, locations and artifacts.
There are staff commentary on everything. You can look into the different classrooms of professors, read The Daily Prophet, check out The Weasleys' tent at the Quidditch World Cup, marvel at the different broomstick designs, etc. Amazing and detailed photos of the sets fill the pages. There are concept art in the book as well, and they are great.
There are designs for Dobby, dragons, props, environment art, etc.
This is the only book where you can see them because there aren't any Harry Potter art books. This book is highly recommended to fans of the Harry Potter films. It gives a new sense of appreciation for the film and the people who worked behind the scenes. It's something you'll want to make the magic last a bit longer.
Much of the content in terms of text and photos are duplicated. There are some information and photos that are not included in Page to Screen though.
That book is designed like a scrapbook with little goodies — booklets, stickers, maps, even Harry's letter of acceptance to Hogwarts, etc - attached to the pages. The layout is nice, magazine-like.
Our enjoyment of the adaptation may depend upon the degree to which what the director sees as the intended effects matches what we see as the intended effects. That said, even if we and the director agree on the intended effects, if the director expresses those effects in a way that is unintelligible to us, then we may yet find ourselves at odds with the film. Or not. After all, much enjoyment may come from a film that highlights facets of a novel we had not considered, or that makes us see the work anew.
Teen-age longings are less prominent in Harry Potter and the Prisoner of Azkaban in which Harry turns 13 than they are in Harry Potter and the Goblet of Fire in which he turns Ron looks down at her hand, the two exchange a glance, Hermione releases his Philip Nel hand, and they swiftly move apart from one another. The film version of Goblet of Fire neatly captures the heightened emotional intensity of adolescent experience.
Apart from this metaphoric engagement, the books otherwise erase race from the lived experience of minority characters: skin color and ethnicity are merely Lost in Translation? Cho Chang has a comparably vague relationship to her ethnicity; the novels never identify the source of her Asian ancestry.
When, just after they arrive at Hogwarts, Harry shouts at Malfoy, Hermione and Ron exchange a glance that registers their concern. After Luna Lovegood Evanna Lynch remarks that, if she were Voldemort, she would want to keep Harry isolated and alone, Harry realizes that he needs his friends. My name is Stan Shunpike, and I will be your conductor for this evening. At the onset of autumn, the willow drops all of its leaves at once. As winter melts into spring, the willow shakes off its ice and snow, spattering the camera lens with droplets of water.
Later still, after Lupin agrees to teach Harry how to fight Demen- tors, the camera follows an owl flying across the landscape as seasons change from autumn to winter.
That said, his Prisoner of Azkaban is not without the occasional misstep—such as the jabbering shrunken head on the Knight Bus. However, of the five films, the vibrant and allu- sive Prisoner of Azkaban offers the most consistently fascinating viewing because, quite simply, there is so much to see.
Having the Dementors cause ice to crystallize on the windows of the Hogwarts Express neatly evinces the icy mood these spectral creatures create. Providing five films with nearly the same cast and four different dir- ectors, the Harry Potter franchise provides a unique opportunity to consider the processes of adaptation.
I have never met an actor who could act out ellipses, but Alan can. Finally, one might consider both what can and cannot be translated into film, as well as the net gains and losses that arise in any translation. And, on the other hand, we might also ask why and whether effecting such a translation if it were possible would be desirable. Just as the characters debate the meaning of clues, the films enter into a debate on the meanings of the novels. However, adaptations need not be divided into good and bad or into understanding and cheesy.
Successful and less successful, certainly. But there should be a wide range of opinions on the merits and demerits of the films. Notes 1. Chris Columbus Warner Bros.