Paper 1

For this paper, I have decided to analyze how chapter 12s context from Harry Potter and the Philosophers stone changes to the same scene in the movie adaptation. Like most remixes from literature to film, a lot of details are lost and/or added. In Chapter 12 of Harry Potter and the Philosophers Stone, however, a deeper meaning and understanding is lost as well, or at least that meaning has faded in the transformation of words to picture. At the same time, another meaning has been added to it that seems to be missing from the writing. One particular example of this faded or even emitted meaning is the danger that the Mirror of Erised actually poses. In the movie, we are only told about this danger through Dumbledores words. For example, Dumbledore says Men have wasted away standing before the Mirror. Whilst this is also said in the book, the movie does not give us a specific example of this danger taking place, whereas the book does. It occurs the morning after Harrys first visit to the mirror, and he is eating breakfast with his friend, Ron. Harry is so absorbed in the image of his deepest desire that he realizes that he has almost forgotten about Nicholas Flamel (only after Ron brings it up). He then, however, questions the importance of it. In the book, Harrys train of thought leads him to question the very importance of what has been so important to the trio throughout their year. He thinks: Who cared what the three headed dog was guarding? What did it matter if Snape stole it, really? (Rowling, J.K 223) This shows a difference in the movie and the book, and the limitations a movie has in showing someones thoughts. In film, the audience can only see what someone is thinking through dialogue between characters, unless there is a monologue outside the scene or something, which rarely happens. In books, however, internal thought processes are almost required, and the audience can most often see what a person is

thinking through text. Books are also able to show a persons motivations or desires better through the use of this internal process. As a result of the movies limitations of not being able to show internal thought processes, the Mirror of Erised gains a much lighter role in the movie, than what it does have in the novel. Another example of where a meaning has been emitted or changed is the fact that in the movie, Harry only sees his mother and father, whereas in the book, he sees a whole family. In the movie this can be construed as Harry mourning the death of his parents, and the fact that he has never had them. Whereas in the book, it is more powerful in the fact that all Harry wants is a proper family, much like the one Ron has. This represents a limitation that can arise in movies, because it would have been more troublesome to hire fifteen people for that one scene, and to keep it consistent in their likeness to one another, and for all characters of Harrys family to be present in future additions of the series. In a book, however, it is up to the authors imagination and discretion to create whatever he/she wants, and all one has to do when writing is reference a previous scene. An example of where meaning has been added to the scene is when Harry first visits the mirror. Whilst the mirror can be seen as magically important in the book, in the movie, the magical importance of the mirror is exemplified. Just like movies cant show the thoughts of characters, books cant add meaning through the use of music. This is done amazingly well in the movie, as when Harry first visits the Mirror. The audience knows that this mirror is both mysterious and is of great significance, because when the first shot of the mirror is shown, a magical piece is played instantaneously. This magical piece is signified by its dynamic pitch changing, and how it transfers from a quick to slow tempo, and back and forth. Also, treble instruments are most used in the piece, like the harp, which has much of the focus. This

combined gives the audience a sense of Magic and importance with the mirror. In the books, the author can only describe the mirror through detail, and the audience only understands the mystery and importance of the mirror through the characters exploration and interactions with the mirror. This shows a limitation that stories and writing has to the audience, because stories, in this aspect, can only focus on how the main character interacts with the object or person. The movie is also able to add meaning to the mirror, through the use of its angles, and also of the scenes lighting. In the same way that the music of the scene showed that the mirror was of magical importance, the way that the camera zooms in on the mirror also show this. In the movie, the first glimpse of the mirror is given, by following the footsteps of the main character: Harry. Almost, as if the audience is in Harrys eyes, the camera rounds a corner of the castle to reveal the mirror. As soon as the audience sees the mirror, the music is played, and the camera begins to focus on the mirror. The lighting of the room gives off the same effect, because of its subdued presence. More specifically, the mirror is placed in the cast of a shadow, whereas the pillars before it are lit up. Like with music, this is merely a limitation of writing versus screenplay. Books simply cannot add the dynamic of using camera angles and lighting to show the meaning of something. In novels, it is up to the readers imagination and discretion of what they see when they read the text. The author can guide them the best he/she can, but, ultimately, it is the reader who procures the image. In a movie, the procured image is the same for everybody. Because of the individual limitations of both forms of media, various understandings and key themes are seen differently between the two forms. Whilst literature can add meaning by giving the audience insight into a characters thoughts, movies can give insight through the use of music, lighting, and the way the audience sees a certain scene. All represent the distinctive

attributes of two different forms of media, and how the remix, in this case the movie, tries to translate the meaning from writing to film.

Reference Rowling, J. K.. Harry Potter and the philosopher's stone. London: Bloomsbury Pub., 1997. Print.