Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies,...Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies, however, Hollywood typically offers a more hopeful, comforting image of a family, at the beginning somewhat less than perfect, being restored as a result of those same forces. This paper concentrates on The Spiderwick Chronicles （2003-2004） by Tony DiTerlizzi and Holly Black, Susan Cooper＇s novel The Dark is Rising （1973）, and Lewis Padgett＇s story ＂Mimsy were the Borogoves＂ and the recent movies based （more or less loosely） thereon, Mark Waters＇ The Spiderwick Chronicles （2007）, David Cunningham＇s The Seeker （2007）, and Bob Shaye＇s The Last Mimzy （2007）, showing how the differences between the movies and the print-stories they are based on reflect an attempt on the part of the movie-makers to reaffirm and reinforce the family bonds that are to some extent sundered in the original stories展开更多
文摘Speculative-fiction stories, in print, often depict families being wrenched apart by overwhelming new forces to which the children are better able to adapt then older generations. In making speculative-fiction movies, however, Hollywood typically offers a more hopeful, comforting image of a family, at the beginning somewhat less than perfect, being restored as a result of those same forces. This paper concentrates on The Spiderwick Chronicles （2003-2004） by Tony DiTerlizzi and Holly Black, Susan Cooper＇s novel The Dark is Rising （1973）, and Lewis Padgett＇s story ＂Mimsy were the Borogoves＂ and the recent movies based （more or less loosely） thereon, Mark Waters＇ The Spiderwick Chronicles （2007）, David Cunningham＇s The Seeker （2007）, and Bob Shaye＇s The Last Mimzy （2007）, showing how the differences between the movies and the print-stories they are based on reflect an attempt on the part of the movie-makers to reaffirm and reinforce the family bonds that are to some extent sundered in the original stories
