The Hunger Games is a novel written by Suzanne Collins that takes place in the future in a place called Panem after the annihilation of North America. According to Collins, the rich capital is responsible for 12 underprivileged neighborhoods. It had 13 districts, but one was destroyed due to revolt. As a result, the Hunger Games are staged on an annual basis to condemn the district. This occurrence is being broadcast on television around the world. The story revolves around Katniss Everdeen, the main heroine who is 16 years old. And because her father has died, she is forced to look for food. On the other hand, The Hunger Games Film was directed by Gary Ross in 2012. While the movie is a medium through which Ross depicts the book, there is a lot to do with slicing and dicing not just characters, but narrative plots and themes as well. This paper sets out to compare and contrast The Hunger Game book and film with regards to how the significant changes in both channels play out.
Comparative Analysis of The Hunger Game Book and Film
The Hunger Games book and film have not only similar plots, but differences as well. While both the novel and the movie have superficial distinctions, similarities between the film and book are significantly pronounced. For instance, The Hunger Games film is extremely fascinating and altered for easier understanding of concepts that cannot be demonstrated in a written format. In particular, the film was modified to help the audience comprehend several concepts in the book. Moreover, the graphics in the movie are a bit controlled (Muller 51). Whereas the book has the original content and ideas, the movie has not only altered those ideas slightly, but also fails to depict analogous meanings. In the book, for example, Madge leaves for the Capitol, however, before her departure, she offers Katniss a mockingjay pin that she can wear as a reward from her district (Curwood 420). On the contrary, these scenes have been altered in the movie. Instead, in the movie, the scene is represented by Greasy Sae giving the mockingjay pin to Katniss (Muller 53). In turn, Katniss gives the mockingjay pin to Primrose as a protection symbol during the reaping. These scenes are very different. Furthermore, in the book, the mockingjay pay is a reward while in the film it is a protection symbol. Furthermore, the film and the book have undeniable similarities. For instance, author_x0092_s common phrase _x0093_May the odds be ever in your favor_x0094_ is evident in the movie (Collins 19). The phrase is depicted in the book as something to joke about, but in reality, they came to understand that the odds were not working in their favor. The way in which the phrase is portrayed in the book is depicted in the film by Gale telling Katniss that her name appeared in the reaping 42 times (Curwood 422). This was indeed many times and it was not only frustrating but also hindered his siblings from taking part in the games. Another similarity between Hunger Games book and Hunger Games film is where Cinna is represented in the book and the film. According the book, Katniss says that she is surprised the way Cinna looks. He is wearing a simple shirt and trousers; natural hair,and metallic gold eyeliner. Similarly, the movie does a good job by representing Cinna wearing casual clothes and metallic gold eyeliner (Muller 54) In the film during the game, the producer creates a seam environment, which is similar to the one created in the book concerning the seam on the game day. Collins wrote this based on Katniss standpoint with reference to this quote _x0093_But today the black cinder streets are empty. Shutters on the squat gray houses are closed. Our house is almost at the the edge of the seam. I only have to pass a few gates to reach the scruffy field called the Meadow_x0094_(Collins 4). The scene that depicts the seam in the movie on the morning of the reaping day fits the description of the book. It is essential that the film director captured the reaping day environment as not only the mood but also the tone of the reaping day as extremely devastating and gloomy an event. In the same breadth, Collins portrays this day as deserted and everybody to keep to themselves. The movie comes out so strong in projecting what is perceived as a complicated worldview (Muller 56). It depicts how the 12 districts that were at loggerheads with the headquarter city of Panem, would then relinquish power (Pharr et al., 6). As a recap of the war and their collective accomplishments, the districts are compelled to take part in a lotto that comes once annually. In this Reaping draw, two teenagers from each district, a boy and girl are opted into The Hunger Games. This is a combat of survival and strength where only one person should be left standing. The movie realizes this through a number of brilliant decisions, like simple texts that narrates about the chronology of Panem and the thirteen Districts at the prologue. What is also evident at The Reaping, are protagonists that are immersed in conversation amidst the newly created scenes where two actors talk about the games just like a sports new anchor would. This segment of the movie is artistically controlled and also easy to follow through. The film achieves this through several smart decisions, including some simple text at the opening, a created _x0093_film_x0094_ about the history of Panem and the 13 Districts (now 12) that is shown at the reaping, some dialogue between characters, and newly created scenes within Panem, such as two characters narrating the games like any sportscasters (Muller 58). It_x0092_s very well handled and easy to follow. When it comes to how protagonists play out, The Hunger Games movie did an exceptional job of slicing characters and merging their roles, an aspect that sees actors such as Madge, The Mayor, Peeta_x0092_s father, omitted in the movie. Although tiny parts evident in the book are also missing, you can_x0092_t notice. Moreover, regardless of the slicing and coalescing of protagonists, the actors in the movie are a waste of funds, owing to the negligible screen time allocated to actors. Elizabeth Banks is, for instance, a perfect and hysterical Effie, whose costume meets the depiction of the book in the entire movie. Again, one cannot resist reckoning Bank_x0092_s fascinating beauty as depicted in the book. On the other hand, Woody Harrelson is a motivated Haymitch and a credible champion of the games than how the book represents him. The splendor of Panem and its precious, disoriented people as depicted in the book are completely over the top. Regrettably, the interpretation of this in the movie is rather obscure. It revolves around people that move around in preposterous attires. Although it feels right, it loses the feel beyond that. While nothing is comparable to the power of imagination, a lot that was painted in the book was lacking in the film. It may sound ridiculous to whine about small details in the movie, however, the huge pomp in the book is not manifest in the movie. An exemption of this is the level of technological advancement in Panem that has been captured vividly in the movie. In print, for example, the technology is agonizingly polished and begs the questions of how the Panem technology and the gaming work. Nonetheless, the movie takes care of this through visual representation, an aspect that makes the movie a preference over the book. Collectively, while everyone was supplied with food the proper way, nonetheless, this is different in the book where every protagonist that is not featured in Panem should be a couple of meals away from hunger (Curwood 419). When it comes to the social commentary, the movie goes ahead to enhance how the hypocritical obscenity of Panem people is depicted. In particular, the repulsive social prejudice of The Hunger Games world has been employed to infer the fears of the people. The reality is that people are afraid to entrap themselves in a world that is marred with amusement coverage. In this respect, to see hyperbolic stances playing out on the screen as the news is painful. Nonetheless, the movie sets precedence for upcoming actors and the nature of future movies. Although, this is well captured in the book, the movie makes it difficult to ignore. Furthermore, the book embraces the first person narrative, on the contrary, the movie moves away from this narrowed view to embrace a broader perspective in the representation of things (Curwood 425).Again, in the book, the author_x0092_s power lies in the use of the first person approach to represent, nevertheless, the movie drifts away from that. The movie depicts a world with a plethora of prospects by muting the subjective view. Although it sounds ridiculous, spectators can make their own judgments without buying into the overarching idea of Katniss. This demonstrates how variations can work best in one medium of communication over the other. At that point, the book rides on the personal opinions projected by Katniss, whereas the movie uses the third person approach. The movie goes ahead to lay the basis for subsequent books and ensuing disclosures. In the movie, this part is accomplished with exceeding brilliance, particularly from ushering in Snow and turning him into a prominent icon, to featuring the genesis of a feud in District 11 as the games were going on (Curwood 418). Moreover, additional enhancements that the movie adds to the book are about the technological visuals and accounts. Much as the novel has several concepts, this love account is not only complex but also advanced, particularly for young people. In essence, this is where the film stumbled. Maybe the Hunger Games film was not going to integrate what the book did with the first person prose, but the film did not attempt. Apparently, the book demonstrates that it is not about Katniss that Peeta is love with her; it is not simply a game (Simmons 22). This is not represented in the film. For those who have watched the film, but not read the book, they might think that Peeta was sampling playing games and had no feeling for Katniss at the start, and he had just grown fond of her. This element of the book is absolutely lost in the movie. More so, it is hard to think that Katniss feels something for Peeta in the movie. This dramatically lowers the stake of the book, specifically at the end. According to the Hunger Games book, Peeta and Katniss have incredible feelings from each other. However, these feelings are complicated and change as the game changes. In addition, in the book there is an inducing event, especially when Katniss is all alone and calls Peeta_x0092_s name loudly against her wish alleging that he was looking forward to, however, the film tones it down, mainly due to the fact that it could not make any meaning based on the manner they depicted the love account. Failing to include the event in the movie was rather disappointing. It is an important for moment for Katniss, especially when the audience sees that she cares more for Peeta in comparison to what she believes. Nonetheless, this is dramatically lost in the Hunger Games film. Suzanne Colins has written a very interesting love novel, which offers a totally different perspective of what is real. But this is lost in the film, but presently flawlessly in the Hunger Games book. The film has a number of _x0093_OMG moments which are completely not captured in the book (Muller 60). These moments are not necessary for the film, however, because the novel is a very high-concept channel of communication, capturing this makes the audience to smile unconsciously. Nevertheless, the _x0093_OMG moments _x0093_ were less in the film, but there are many scenes that could have capitalized on them such as Katniss screaming Peeta name could not come out clearly with no a flow of a love account. Small issues really could make a big difference. A number of individuals believe that the film had OMG factors, but they are hard to recognize them as expected. To some degree, the movie is dystopian action film, because several scenes of the book have been discarded (Fisher 27). Again, the PG-13 rating hindered the enthralling element. Even though the film has choreographed scenes, others were clearly brutal and glossed actions. The shaky camera, cutting and motion blurs reduced the action while making it less influential. This can be a challenge for future books since brutality becomes intense and the studio would use the PG-13 rating (Pharr et al., 5). Irrespectively, the action in the film was good for children; however, it did not capture the intricacy as well as nuances of the novel. Gone is the common concept of games that readers are exposed to based on this complex and fascinating love account that readers expected to get, maybe Katniss never anticipated the same.
In the end, there is much missing in the film with respect to the love account and the ramifications in the book. However, the movie producers attempted to capture the original content of the Hunger Games book while maintaining its spirit. They have done their best regardless of the constraints including rating, time and simplicity and produced a film worth the book. Unlike the film, the book is better, which is always the case. Ultimately, much as there are distinctions between the Hunger Games book and the film, there are similarities too. The film was slightly modified to integrate and portray concepts reflected in the book. Nonetheless, the book has original content, which was translated into the film with a distinct purpose. In spite of the similarities and differences between the book and film, the film has some alterations on issues such as themes, scenes, narrative and how characters take their roles.
Collins, Suzanne. The hunger games book. Scholastic Australia, 2008
Curwood, Jen Scott. “” The Hunger Games”: Literature, Literacy, and Online Affinity Spaces.” Language Arts 90.6 (2013): 417-427.
Fisher, Mark. “Precarious Dystopias: The Hunger Games, in time, and never let me go.” FILM QUART 65.4 (2012): 27-33.
Muller, Vivienne. “Virtually Real: Suzanne Collins’s The Hunger Games Trilogy.” International Research in Children’s Literature 5.1 (2012): 51-63.
Pharr, Mary F., et al., eds. Of bread, blood and The Hunger Games: Critical essays on the Suzanne Collins trilogy. Vol. 35. McFarland, 2012.
Simmons, Amber M. “Class on fire: Using the Hunger Games trilogy to encourage social action.” Journal of Adolescent & Adult Literacy 56.1 (2012): 22-34.