![]() ![]() ![]() In a climactic scene, Vallelonga goads Shirley into eating fried chicken for the first time. Forced to spend time with the knockabout, salt-of-the-earth Vallelonga, he chills out. Simultaneously, Shirley is depicted early on as an uptight, prissy snob, out of touch with his own African American community. ![]() When he gets to know Shirley, though, and sees the Jim Crow south up close, his sense of justice conquers his prejudice. At the start, Vallelonga is hostile towards black people. Along the way, Shirley is refused service in stores, excluded from restaurants and physically assaulted. Green Book tells the story of African American piano virtuoso Donald Shirley (Mahershala Ali) and his Italian American driver Tony Vallelonga (Mortensen) as they undertake a tour of the Deep South in 1962. But arguably none of these has done as much damage as the charge that it misrepresents history. This, despite several PR disasters, including star Viggo Mortensen saying the N-word, stories resurfacing about director Peter Farrelly exposing himself, and a fuss over a 2015 tweet by co-writer Nick Vallelonga about American Muslims cheering on the 9/11 attacks. Three weeks before the ceremony, its odds remain strong: most bookies currently make it second favourite to win best picture, after Alfonso Cuarón’s Roma. These changes are sometimes to the dismay of fans of the original work.When Green Book won top prize at the Toronto film festival in September, it became an instant Oscar frontrunner. ![]() Writers adapting a work for another medium (e.g., a film screenplay from a book) often make significant changes, additions to, or omissions from the original plot in the book, on the grounds that these changes were necessary to make a good film. Examples of films and television series criticized for excessive use of dramatic license include Disney's Pocahontas, Oliver Stone's Alexander, the HBO series Rome and Showtime's The Tudors. While slight manipulation for dramatic effect of chronology and character traits are generally accepted, some critics feel that depictions that present a significantly altered reality are irresponsible, particularly because many viewers and readers do not know the actual events and may thus take the dramatized depiction to be true to reality. William Shakespeare's historical plays, for example, are gross distortions of historical fact but are nevertheless lauded as outstanding literary works.Ĭritical voices are sometimes raised when artistic license is applied to cinematic and other depictions of real historical events. Artistic license is a generally accepted practice, particularly when the result is widely acclaimed. Artists often respond to these criticisms by pointing out that their work was not intended to be a verbatim portrayal of something previous and should be judged only on artistic merit. Used consciously or unconsciously, intentionally or unintentionally or in tandemĪrtistic license often provokes controversy by offending those who resent the reinterpretation of cherished beliefs or previous works.Useful for filling in gaps, whether they be factual, compositional, historical or other gaps.Intended to be tolerated by the viewer (cf.A striking example is how in simple cartoon drawings monochromatic white parts on a dark coloured surface are immediately recognized by most viewers to represent the reflection of light on a smooth or wet surface. It can also mean the addition of non-existing details, or exaggeration of shapes and colours, as in fantasy art or a caricature.Ĭertain stylizations have become fixed conventions in art an agreement between artist and viewer that is understood and undebated. This can mean the omission of details, or the simplification of shapes and colour shades, even to the point that the image is nothing more than a pictogram. Both of these are examples of artistic license.Īnother example of artistic license is the way in which stylized images of an object (for instance in a painting or an animated movie) are different from their real life counterparts, but are still intended to be interpreted by the viewer as representing the same thing. Conversely, on the next line, the end of "I come to bury Caesar, not to praise him" has an extra syllable because omitting the word "him" would make the sentence unclear, but adding a syllable at the end would not disrupt the meter. For example, Mark Antony's "Friends, Romans, Countrymen, lend me your ears" from Shakespeare's Julius Caesar would technically require the word "and" before "countrymen", but the conjunction "and" is omitted to preserve the rhythm of iambic pentameter (the resulting conjunction is called an asyndetic tricolon). The artistic license may also refer to the ability of an artist to apply smaller distortions, such as a poet ignoring some of the minor requirements of grammar for poetic effect. ![]()
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