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In order to see the close relationship between cinema and literature, a relationship that from its beginnings to our times has been strengthened, we have raised fundamental objective "look at" both versions of Process, Frank Kafka novel and its film counterpart brought to us by Orson Welles, based on an element of vital importance, "the language."
The film language in order to keep always on the viewer, should specify those elements, actions and highlighting the most important characters for the story of the work, and those that allow us to clearly link the order of the narrative sequences.
In a very striking and interesting Welles presents his reading of process, who made a game in the narratives and stories that Kafka's novel presents an argument of all the absurd plot involving raised . In the film version opening an account is given by a voice that makes us viewers, a fragment found in the chapters summits of the work. It's like an introduction that allows us to educate the world in which Kafka and Orson Welles then immerse us, a world whose atmosphere is cither on the absurd, social and in a petition to the judiciary and representatives of the law as it advances the story grows and makes us feel that there is no escape.
Highlighting the first point to highlight an item within the Kafkaesque narrative becomes interesting and vitally important element Welles brilliantly highlighted in the film, then we refer to the symbolism of the door, instrument interservice two worlds, I'm looking for what seems inaccessible by the disappointment of many doors to open, just the way the story that leads into the film, which prevents me from door approach to the law but is also required to cross to go into this unknown world.
The film language in order to keep always on the viewer, should specify those elements, actions and highlighting the most important characters for the story of the work, and those that allow us to clearly link the order of the narrative sequences.
In a very striking and interesting Welles presents his reading of process, who made a game in the narratives and stories that Kafka's novel presents an argument of all the absurd plot involving raised . In the film version opening an account is given by a voice that makes us viewers, a fragment found in the chapters summits of the work. It's like an introduction that allows us to educate the world in which Kafka and Orson Welles then immerse us, a world whose atmosphere is cither on the absurd, social and in a petition to the judiciary and representatives of the law as it advances the story grows and makes us feel that there is no escape.
Highlighting the first point to highlight an item within the Kafkaesque narrative becomes interesting and vitally important element Welles brilliantly highlighted in the film, then we refer to the symbolism of the door, instrument interservice two worlds, I'm looking for what seems inaccessible by the disappointment of many doors to open, just the way the story that leads into the film, which prevents me from door approach to the law but is also required to cross to go into this unknown world.
door highlights not only within the novel process in his film version, is also important in The Metamorphosis Gregor Samsa which takes refuge in the beginning to hide that is negligible in which it has become. Again we find here the door as symbols of the obstacle and the entrance to a totally new, and therefore better. Symbolism in the present case is easily detectable by visual stimulation and constant confusion in the film received regarding the use of "gates."
contrast the text with language that shows the film, we find in the novel multiple descriptions of costumes, environments, attitudes of characters that are synthesized and in some cases omitted in the film. The director is the strategy of saving action scenes may seem to us more, contrasting environments where Joseph lives with K ranging discussions that take place there, managing to simplify scenes, clarifying aspects that the reader is understood and leaving one hand, those whose relationship is split from the "process." To make the viewer and reader of the work before you reach the point of similarity gives us a general outline of the spaces, ie, camera, direct eye spectators quickly takes us on stage, showing that all the elements are there. Body body language that we used shows the strategy used by the director and reflected brilliantly in his actors, that component of stress, anxiety, helplessness and resignation which are folding the characters and gradually transmitted to the reader-viewer.
Similarly, the language of the eyes, so prominent in the text, which serves as a presentation of some characters in the movie remains hidden within itself the idea previously addressed, may be clarified at a glance an action that may well be obviated but not forgotten. With regard to this point and the game looks is also important to note the use of the characters, especially the emergence of the premium "K", when in the novel we are told it by reading a letter. The physical language of cinema and this is reflected in the actors and the character allows us to present us the letter read thus saving time, appearance, obviously connected with that will catch the viewer.
In The Myth of Sisyphus by Albert Camus presents an analysis of Kafka works in the present case meets characteristics as valid and applicable in the text as in the movie. First the presentation of a "trembling characters" received on the novel by the many references to his thoughts, questions, action planning, which again in the film are reduced to a gesture or a look.
also raises the contradiction between individual and universal, as in the absurd and the logical, aspects through dialogue, telling parallel stories let us see the protagonist as an individual entity and logical (from point of view and ours sometimes too), is struggling with a whole universe plunged into the absurd, if not absorbed at least eliminate it. Fundamental aspect in the work of Kafka and the director known to collect in the film so that anyone who has not approached the text fails to understand the ambiguity raised. Contrast that can be allowed to use that non-verbal language of cinema, language is none other than the environment, scenery, environments from every point of view dehumanized, devoid of light, movement, space, environments that surround us and stifle as spectators, environments but at certain times as readers we fell short, and here I refer specifically to the scene of all those accused, listed, waiting for any news of his trial that environment bleak, empty, gray, and with looks, gestures postures and depressing, sometimes not noticeable clearly as we approach the text message that this time the language of film if you can grasp.
also raises the contradiction between individual and universal, as in the absurd and the logical, aspects through dialogue, telling parallel stories let us see the protagonist as an individual entity and logical (from point of view and ours sometimes too), is struggling with a whole universe plunged into the absurd, if not absorbed at least eliminate it. Fundamental aspect in the work of Kafka and the director known to collect in the film so that anyone who has not approached the text fails to understand the ambiguity raised. Contrast that can be allowed to use that non-verbal language of cinema, language is none other than the environment, scenery, environments from every point of view dehumanized, devoid of light, movement, space, environments that surround us and stifle as spectators, environments but at certain times as readers we fell short, and here I refer specifically to the scene of all those accused, listed, waiting for any news of his trial that environment bleak, empty, gray, and with looks, gestures postures and depressing, sometimes not noticeable clearly as we approach the text message that this time the language of film if you can grasp.
To Flavio Wisniachi in his essay "In Search of the realistic (a reading of Kafka from the ontology of Lukács)", raises based on Kafka's characters: "His figures torn between the possibility that is offered to access the essence of things, and ambiguous forces, internal and external, that cloud their critical and forward them to the immediacy of appearance, "the foundation that allows us to place ourselves in the question that Miss Burstner poses for K, were you really awake?, there is a possibility which is very narrow margin that tells us that Joseph K as it as Alice in Wonderland, Lewis Carroll has used the wall of sleep to enter a world illogical, incomprehensible, stifling where the main battle lies in imposing the logic.
And Alicia mentioned not only by considering the dream as a binding element, the comparison is the starting point in the game which uses film language to evoke images and bring up the viewer's visual memory so that the principal basis of the narrative is reflected in other literary works and film works. First we return to the symbolism of the doors or block access to anything but at the same time put us in the seat of judicial offices, doors, we discovered many stairs, mazes, hallways, endless scenes that put us directly the world which will venture Alicia. Another important element in both works is the logic that takes the absurd logic that allows development in all actions Alicia and absurd logic that is presented as an obstacle to the process of K, a clear example of this view we have in the first interrogation of Joseph, the illogic of the questions, responses, attitudes of the characters, their attitude towards the situation.
Thirdly we will refer to the element that allowed us to find points of similarity with the work of Lewis Carroll, and none other than the scene of the lawyer filing Hassler, who in a game of appearances in shows a cloud of smoke, an area inaccessible to us and for K, a lawyer, who with his face covered us back to the track with which Alice should be questioned and held accountable for their presence in this new world.
In conclusion we will quote to Benjamin who reads Kafka "a sinister prophecy which operates in the text and define the fate of their characters." Lucky Orson Welles, using nuevamente del lenguaje cinematográfico y su irrupción en la memoria visual del espectador nos presenta con una imagen más avasallante: el hongo de la bomba atómica alude al exterminio, no solo del individuo K, sino de la humanidad que quizás de una manera inconsciente se está dejando absorber por la lógica absurda de un sistema judicial cuya finalidad es trabajar en procesos como el de Joseph K.
Thirdly we will refer to the element that allowed us to find points of similarity with the work of Lewis Carroll, and none other than the scene of the lawyer filing Hassler, who in a game of appearances in shows a cloud of smoke, an area inaccessible to us and for K, a lawyer, who with his face covered us back to the track with which Alice should be questioned and held accountable for their presence in this new world.
In conclusion we will quote to Benjamin who reads Kafka "a sinister prophecy which operates in the text and define the fate of their characters." Lucky Orson Welles, using nuevamente del lenguaje cinematográfico y su irrupción en la memoria visual del espectador nos presenta con una imagen más avasallante: el hongo de la bomba atómica alude al exterminio, no solo del individuo K, sino de la humanidad que quizás de una manera inconsciente se está dejando absorber por la lógica absurda de un sistema judicial cuya finalidad es trabajar en procesos como el de Joseph K.
