This post is the first in a series that contain the term paper prepared for the consideration of aesthetics, I love writing but it was not much calculated by the teacher so now I take revenge, here's another purpose of the blog!
War of the Worlds: The Novel
The War of the Worlds is HG Wells's novel, originally published in London in 1897, regarded as one of the first novels of the genre sci-fi it is probably his most famous. In the novel, the Earth is shaken by the arrival of a Martian arriving on our planet through cylindrical spaceship landing sequence near London. Attempts to communicate with the aliens turn out to be unnecessary and harmful, since the human being incinerated by heat rays from the crater. Soon the Martian fighting machines assembled with three legs, with which they begin to attack the communities surrounding the place of their arrival. The resistance of the humans is soon annihilated in three weeks and the Martians take possession of southern England, using humans and using them as food. The invaders, however, are sensitive to diseases for which no land agents have immune and die, leaving the city destroyed and the population decimated. The whole story is told in first person by a narrator, who will remain anonymous. The book is a work detail that leaves room for an alternate ending, in fact one of the characters suggests that the Martians, rather than succumb to disease, survive and dominate the Earth for generations. Humans will soon adapt to the condition of "pets" especially as the bourgeois classes, but a core of resistance value and adapt to live in freedom in the sewers, like rats. Over generations, the rebels will acquire the capacity to make weapons of Martians and are ready to make war with aliens and reclaim the Earth. Participation in which is written this ending makes sense that the author has provided the opportunity to actually use this ending. The work is so revolutionary not only for its content, an alien invasion described in detail, but the possibility of an alternate ending so well described that puts the player in a position to imagine new scenarios.
War of the Worlds: the broadcast
On 30 October 1938, twenty-four he played Orson Welles in the Mercury Theatre on the Air broadcast, transmission Weekly readings were proposed to famous novels, a radio adaptation of the science fiction novel War of the Worlds by Herbert George Wells. This transmission has been known for having sparked panic in the United States, many listeners did not realize, in fact, that it was a fiction, and they believed that the Earth was actually experiencing the landing of a fleet of Martian spaceships bellicose.
Welles had not foreseen what would have been the reactions of his audience, he had no intention of making a joke, as is sometimes believed, so much so that at the beginning of the transmission that its conclusion was clearly said they had sent the adaptation radio of the novel by Wells. Inside, however, did his best to make it plausible. The adaptation of the novel, in fact, simulating a news special that at times was part of the schedule over the other programs to provide updates sull'atterraggio Martian spaceships in Grovers Mill, New Jersey. Public reaction was that of an uncontrolled panic that flooded into the streets and was characterized by numerous calls to police and army. The collective hysteria unleashed by the drama not abated even after the countless announced by the radio, which emphasized, as was done previously, the non-reality of the event, the only excitement came back the next morning with the appearance denial of the papers. Welles's work, in its ambiguous form is an open work in which the boundary between reality and fiction is so blurred as to generate panic, and the opening is identified in the action of the public who completed the follow- his emotions, all thanks to the radio. In fact, the use of media that allows the broadcasting of live is what the book suggests only. If the viewer is called in the novel to imagine the alternate ending, here the public is invited to participate in direct work.
War of the Worlds: Spielberg's film
War of the Worlds is a 2005 science fiction film directed by Steven Spielberg and based on the novel by HG Wells and Orson Welles' radio adaptation and a remake of Byron Askin. The film is essentially faithful to the novel, both in terms of content that the descriptive point of view the appearance of aliens and the invasion of Mars. What changes is the social adaptation, this is the specter of the September 11 terrorist attacks and changes in social and family that affect the protagonist. War of the Worlds, in his radio adaptation of his film version in 1938 and 2005, are effective metaphor of two crucial moments in history: the imminent Nazi aggression, the second world war, global terrorism of Islamic origin. It is no coincidence that, at the beginning of the film, Robbie, son of Ray, anxiously asks his father if they are under a terrorist attack. The very emergence of alien spacecraft from the ground and the shock and terror that raises can be read as a metaphor for the discovery of a terrorist sanded and encysted in the foundation of Western societies, it wakes up. The film is impressive in terms of the involvement of vision, thanks to special effects impressive, but despite the technical layout and the director of experience and fame recognized, the work fails to approach either the novel or the radio. It is a work especially close with a final clean and comforting, it is also prvo of that dimension of social criticism that contained the novel by Wells.
War of the Worlds to open work at work locked
Wells's novel represents an attempt by the author to profile another reality imaginable in the book, and then leaves open the possibility to the user of the work to figure out how the novel would have been if the Martians had not died from the virus. This dimension opening is not considered in the Spielberg film, which is an aesthetically faithful adaptation of the novel, but totally lacking in this dimension of freedom of the imagination of the viewer. Paradoxically, the cinematic form, which should stimulate the imagination of the viewer shows a pack aesthetically attractive but not very engaging. Involvement is key instead of 'by Welles with his radio program involving millions of people in a great open work in which the pathos of the actor becomes the pathos of the listener, where the unreal becomes more real than reality.
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