“’The marvelous performances in [this] great movie [...] [are] only slightly marred by [a] Hollywood ending.’ Tennessee Williams” (cf. Yacowar). Tennessee Williams’ play “A Streetcar Named Desire” from 1947 was often staged and interpreted. It was also the base of Elia Kazan’s famous and remarkable movie from 1951. Since a book allows for interpretation, the movie features a different realization. This paper will contrast the written form with the film version. To illustrate the different realizations there will be a closer look at the two special and important scenes, ten and eleven, which are exemplarily for the differences in the general conversion. The decision for exactly these scenes is founded in the striking differences in conversion and adaptation and by reason of plenty of content rapidly beat down in these scenes. Due to many influences, the film departs in places completely from Williams’ original. These influences and differences will be described in the following first part. Particular attention will then be paid to the music and noises, and the moods and emotions caused by these. And, due to being close linked to the adaptation of the whole movie, the effects of censorship will be explained. The impact is to work out in which ways the movie is adapted to the play and where it distinguishes from it.
Table of Contents
- Introduction
- Differences in the general conversion of scene ten and eleven
- Music and Noises
- Censorship
- Conclusion
- Works Cited
Objectives and Key Themes
This paper aims to compare and contrast Tennessee Williams' play "A Streetcar Named Desire" with Elia Kazan's 1951 film adaptation, focusing on the differences in their respective realizations. The analysis will primarily examine scenes ten and eleven, highlighting how textual changes and adaptations affect the plot, characters, and overall themes.
- Adaptation and Interpretation of a Literary Work into Film
- The Impact of Censorship on Artistic Expression
- Character Development and Portrayal in Different Media
- The Role of Music and Sound in Shaping Mood and Emotion
- Analysis of Violence and its Representation
Chapter Summaries
Introduction: The introduction sets the stage for a comparative analysis of Tennessee Williams' play "A Streetcar Named Desire" and Elia Kazan's 1951 film adaptation. It highlights the frequent staging and interpretation of the play and acknowledges the inherent differences in realizing a literary work on screen. The paper focuses on scenes ten and eleven as exemplary cases illustrating the disparities between the two versions, specifically examining the impact of textual changes, music, sound, and censorship on the overall narrative and character portrayals. The analysis aims to explore how the film adapts the play while also departing from the original text, focusing on the power dynamics between the characters and the evolution of the narrative.
Differences in the general conversion of scene ten and eleven: This section delves into the significant differences between the play and film versions of scenes ten and eleven. It begins by noting minor textual variations but quickly shifts focus to the stark contrasts in how violence and the rape scene are portrayed. The analysis compares specific actions and dialogues, demonstrating how the film version amplifies Stanley's violence and determination, making him appear more predatory and menacing than in the play. The film's depiction of Stanley's actions is more direct and graphic, while the play suggests the rape through implication and hinting. The contrasting portrayals of Blanche are also discussed – more vulnerable and helpless in the film. The paper explores the omission of humorous or ironic elements from the film, contributing to the heightened tension and sense of impending doom. Finally, it notes the film's more explicit portrayal of Stanley's intent, and contrasts it with the more ambiguous portrayal in the play, impacting the interpretation of the rape scene itself. The inclusion of symbolic imagery in the film's transition to scene eleven, showing the street cleaning after the rape, also strengthens the interpretation of Blanche as discarded and dehumanized.
Keywords
Tennessee Williams, A Streetcar Named Desire, Elia Kazan, film adaptation, theatrical adaptation, scene analysis, character comparison, violence, rape, censorship, music, sound, symbolism, adaptation studies.
A Streetcar Named Desire: Film vs. Play - A Comparative Analysis
What is the main focus of this paper?
This paper compares and contrasts Tennessee Williams' play "A Streetcar Named Desire" with Elia Kazan's 1951 film adaptation, concentrating on the differences in their realization, particularly in scenes ten and eleven. It examines how textual changes and adaptations affect the plot, characters, and overall themes.
What specific aspects of the adaptations are analyzed?
The analysis focuses on the impact of textual changes, music, sound, and censorship on the narrative and character portrayals in scenes ten and eleven. It explores how the film adapts the play while also departing from the original text, focusing on power dynamics and narrative evolution. Specific points of comparison include the portrayal of violence (particularly the rape scene), character development (Blanche and Stanley), the use of humor and irony, and symbolic imagery.
How does the paper compare the portrayal of violence, specifically the rape scene?
The paper highlights the stark contrast in how violence, and the rape scene in particular, is portrayed in the play and the film. The film version is more direct and graphic, amplifying Stanley's violence and making him appear more predatory. The play suggests the rape through implication, while the film depicts it more explicitly. Blanche's portrayal also differs, appearing more vulnerable and helpless in the film.
What is the role of music and sound in the analysis?
The analysis considers how music and sound contribute to shaping the mood and emotion in both versions. While not explicitly detailed in the provided summary, the differences in the sonic landscape between the play and film are implied to be significant in understanding the overall effect.
What is the impact of censorship discussed in the paper?
The analysis acknowledges the impact of censorship on artistic expression, implicitly suggesting that differences between the play and film might be partly attributable to censorship's influence on the film adaptation. The specific ways censorship affected the film are not explicitly detailed in the provided summary.
What are the key themes explored in the paper?
Key themes include adaptation and interpretation of a literary work into film; the impact of censorship on artistic expression; character development and portrayal in different media; the role of music and sound in shaping mood and emotion; and analysis of violence and its representation.
What are the key differences between the play and film versions of scenes ten and eleven?
Key differences include the more explicit and graphic portrayal of violence in the film; the omission of humorous or ironic elements in the film, leading to heightened tension; the film's more explicit portrayal of Stanley's intent; and the inclusion of symbolic imagery in the film's transition to scene eleven, strengthening the interpretation of Blanche's dehumanization.
What is included in the provided preview of the text?
The preview includes the title, table of contents, objectives and key themes, chapter summaries, and keywords. It provides a comprehensive overview of the paper's content and methodology.
What is the overall aim of the comparative analysis?
The overall aim is to understand how the adaptation process transforms a literary work into a film, examining the choices made by filmmakers and their impact on the story's interpretation and the audience's experience. It aims to explore how the film both adheres to and departs from the original text.
- Quote paper
- Valerie Hurst (Author), 2009, Tennessee Williams’ “A Streetcar Named Desire” - Contrasting the Play With the Movie from 1951 Directed by Elia Kazan, Munich, GRIN Verlag, https://www.grin.com/document/144831
