Sabtu, 20 Disember 2008

cubit manja bersama Ajami Jarum?

Memang aku setuju dengan cadangan Siti Jarum supaya dibanyakkan lagi adaptasi karya sastera bertulis (cerpen/buku) ke bentuk skrip drama tv/filem. Tapi aku sangkal sepenuhnya bahawa cerpen Apabila Alam Berbicara yang diwar-warkan oleh Siti Jarum sebagai karya yang baik untuk adaptasi? Aku dah baca cerpen itu dan ia memang sebuah cerpen yang bagus dari tulisan Rozais Al-Anamy TAPI ia agak sukar diadaptasikan terus ke bentuk skrip kerana cerpen itu hanya ada 4-5 babak sahaja dimana selainnya ialah 'fikiran dalam minda' si protagonist iaitu Prof. Jiwa Alam. Kalau hendak dibikin sebagai drama tv/filem maka Rozais atau penulis skrip kena kembangkan lagi cerpen itu bukan sekadar adaptasi terus! Banyak kerja tu beb! Rasanya Siti Jarum tak faham bahawa skrip drama tv/filem perlukan visual dan audio untuk bercerita berbanding dengan penulisan cerpen/buku.

*sila baca blog Maizura M. Ederis (seorang penulis skrip) untuk perbincangan lebih lanjut!

*aku cadangkan kalau nak diadaptasi buku ke skrip drama tv/filem yang pop/komersial ialah K-Ei8ht & Romlah: The Untold Stories
*Screenplay : The Foundations of Screenwriting by Syd Field (page 19-20)

What is a screenplay? Is it a guide, or maybe an outline, for a movie? A blueprint, or a diagram? Or maybe it’s a series of images, scenes, and sequences strung together with dialogue and description, like pearls on a strand? Perhaps it’s simply the landscape of a dream?

Well, for one thing, a screenplay is not a novel, and it’s most certainly not a play. If you look at a novel and try to define its fundamental nature, you’ll see that the dramatic action, the story line, usually takes place inside the head of the main character. We see the story line unfold through the eyes of the character, through his/her point of view. We are privy to the character’s thoughts, feelings, emotions, words, actions, memories, dreams, hopes, ambitions, opinions, and more. The character and reader go through the action together, sharing in the drama and emotion of the story. We know how they act, feel, react, and figure things out. If other characters appear and are brought into the narrative line of action, then the story embraces their point of view, but the main thrust of the story line always returns to the main character. The main character is who the story is about. In a novel, the action takes place inside the character’s head, within the mindscape of dramatic action.

A play is different. The action, or story line, occurs onstage, under the proscenium arch, and the audience becomes the forth wall, eavesdropping on the lives of the characters, what they think and feel and say. They talk about their hopes and dreams, past and future plans, discuss their needs and desires, fears and conflicts. In this case, the action of the play occurs within the language of dramatic action; it is spoken in words that describe feelings, actions, and emotions.

A screenplay is different. Movies are different. Film is a visual medium that dramatizes a basic story line; it deals in pictures, images, bits and pieces of film: We see a clock ticking, a window opening, a person in the distance leaning over a balcony, smoking; in the background we hear a phone ringing, a baby crying, a dog barking as we see two people laughing as their car pulls away from the curb. “Just making pictures”. The nature of the screenplay deals in pictures, and if we wanted to define it, we could say that a screenplay is a story told with pictures, in dialogue and description, and placed within the context of dramatic structure.

That is its essential nature, just like a rock is hard and water’s wet.

Because a screenplay is a story told in pictures, we can ask ourselves, what do all stories have in common? They have a BEGINNING (act 1/set-up), MIDDLE (act 2/confrontation) and an END (act 3/resolution), not necessarily in that order, as Jean-Luc Godard says. Screenplays have a basic linear structure that creates the form of the screenplay because it holds all the individual elements, or pieces, of the story line in place.

5 ulasan:

razor berkata...

lama tak baca pojok siti jarum. kalau zaman tak berblog, baca jugak. malah antara bahan bacaan utama pagi minggu..

siti jarum mmg berani.

aku pun pernah main tag dengan soalan cerita bagaimanakah yg anda ingin adaptasi/filemkan/tontoni.

tak tau la mcmana nak ckp.bila rujuk blog tangisan bulan madu dan ajami jarum ni(terang2 dah scriptwriter sedang tak puas hati..). ye la dah keje dia. musti lah dia tahu.

tentang dia ckp penulis skrip sekarang tak baca sastera tu..hmm..btulka ramai dari korang tak baca sastera mi?

ryann berkata...

kalau beli mingguan setiap hari ahad. first sekali akan baca kolum siti jarum. suka kata2nya yg mengena. setuju dgn pendapatnya berkenaan adaptasi karya sastera. dan lagi penulis perlu baca sastera termasuk pembikin filem sci fi. bukan perlu diletakkan bahasa yg berbunga-bunga tetapi garapan serta olahan punya pemikiran

[r][a][y] eusouff berkata...

pokcikk

Ajami jarum x sesuaiii

JAMI JARUM baru kena..muhahhaa

Raja berkata...

Buat filem berdasarkan novel Ramlee Awang Murshid (RAM). Thriller baru syok.

sinaganaga berkata...

K-Ei8ht dan Romlah: The Untold Stories memang sesuai untuk dijadikan skrip filem. Ha ha.