The artistic interpretation of Fitzgerald’s novel The Great Gatsby in modern film adaptations (the Comparative Aspect)
We described the main trends of the perception of novel The Great Gatsby by F. Scott Fitzgerald in its cinematic versions in this study. Within this article, we focus on the last three screenplays of The Great Gatsby, including the film adaptations of J. Clayton (1974), R. Markowitz (2000) and B. Lurman (2013). We identified the characteristics of the artistic interpretation in cinema in terms of embodiment of the American dream. We showed key differences between the novel and its movies. In this regard we analyzed different interpretation of the novel by the filmmakers in
the comparative aspect. We analyzed movies and determined the degree of compliance to the novel in the Master’s thesis. The study of the artistic reception of the novel The Great Gatsby in modern cinema has shown significant formal and substantive deviations from the original. In spite of the almost exact adherence to the plot of the novel, the filmmakers resort to different forms of genre work (love novel by J. Clayton, detective novel by R. Markowitz). R. Markowitz complicates the composition of the work; he gives it a circular character. J. Clayton transforms the
characters of the novel by F. Scott Fitzgerald. The color gamut and the semantics of the color, the functionality of the leading leitmotifs are changed in the screenplays. J. Clayton and R. Markowitz depart from Fitzgerald’s ideological plan. Both of the filmmakers visually reproduce the myth of the "American Dream". The exception is B. Lurman’s film adaptation, which embodies the idea of "The Great Gatsby" about the loss and inevitable collapse of the "American Dream". B. Lurman uses modern cinema technologies for that. His directorial strategy quite naturally ensured the film’s frenzied success and caused a real boom in the popularity of Fitzgerald’s novel among contemporary youth.
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