Compare and contrast the representation of childhood in one earlier and one later adaptation of Oliver Twist .

Representation The performance and representation of character differs greatly between the 1922 and 2008 productions of Oliver Twist. In the 1922 version, Oliver is portrayed as a victim to not only the adults that run the orphanage, but also his peers. Jackie Coogan was selected to play the lead, as he was particularly small and of a cheeky nature, fitting the role perfectly, enhancing the humorous nature of the film. However, the Oliver portrayed in the 2008 production, was remarkable older and more mature. He appears as no longer a victim and was less reluctant to ask for more and stand up for what is right. He ignores the demands of the adults that govern the workhouse and is generally braver than the Oliver seen in the 1922 version. Both productions included the orphans wearing dark, rag-like clothes which contrasted with the luxurious garments worn by the adults in rich colours such as red and gold. The conditions of the orphanage is shown to a greater scale in the 2008 film, with more developed use of make-up for effect.

Camerawork There are several ways in which childhood is portrayed through camerawork. Firstly, in the 1922 version of Oliver Twist, the camera is very static, allowing the characters to move about in the shot. The movement of the characters shows the light-heartedness of this version of the story, as it shows children to still be energetic and playful, even in their conditions. However, the 2008 version suggests a definite contrast, as the camera appears to move around the characters. This suggests their lack of energy, and perhaps their lack of enthusiasm about life. The audience feel more sympathy for the children in this version, as their predicament is more intensely highlighted. The audience feel as if they are actually in the film, as they move with the camera in close proximity with the characters, unlike in the 1922 version, where the static camera suggests that they are only supposed to observe, and not to feel too much compassion for the characters. Another way childhood is shown through camerawork is by using levels. In the 1922 version, the camera stays at the largest character s eye line, therefore suggesting to the audience that they are the more powerful character. This also makes the child characters look much smaller, adding a somewhat comic look to the scene; the audience is overwhelmed by the extreme height difference between the master and Oliver. In contrast to this, in the 2008 version the camera remains at the eye line of the children. This makes the audience more connected to the children, especially Oliver when he is asking for more, as they feel like they are also a child, allowing them to realise the characters situation more clearly . Being at Oliver s level suggests to the audience that he is the main protagonist in the story, and the audience thinks that he is brave for confronting the master, especially as he is filmed from a low angle, making him seem exceptionally larger than Oliver.

Sound They are many similarities and differences in the sound used between the Lean, 1948 and the BBC, 2008 adaptation of Oliver Twist. Throughout the adaptations both have sound which suggests the conditions that the orphans are living in. Leans adaptation has non-diegetic music with a sad tone emphasising the atmosphere and emotions of the boys, that they are sad, tired and hungry. Whereas, 2008 has diegetic sound such as coughing, rustling and dripping of water in the alleyway at the beginning of the film too show the poor living conditions are having a grave effect on the boys health and the idea of children being repressed and treated terribly badly by the adults of the time. Both version of Oliver Twist contain areas of silence which are used for dramatic impact. In 2008, the silence in the dining hall is broken by the sound of Mr Bumbles staff beating against the ground showing his power over the children representing them as defence-less against the adults, the silence is again showing their repression and how they are scared to make any noise with the adults as they are sacred of their consequences. In 1948 there is a big comparison between the silence of the children eating and the loud sounds of the adult men eating at their big banquet dinner. This is to emphasise to the audience how little the children actually have to eat and also in contrast how much the adults have. This suggests the children are being victimised and are not treated the same as adults. As adults get a lot more and look down on child as being less important. By Megan Bonnett and Jade Tansley

Mise en Scene by Harry When one views the 1922 Lloyd film adaptation of Oliver Twist, they will immediately notice the many differences and similarities with mise en scene, in comparison with the 2008 BBC adaptation. It is evident that the 1922 version has a much softer and upbeat ambience with elements of comedy. For example, the use of high-key lighting suggests a lighter mood to this sombre story. This portrays the orphanage as a physically and emotionally light area which enables the audience to humour the narrative. The setting of this version implicitly suggests of a more relaxed tone to the plot also. For example, the dining hall where the orphans eat resembles somewhat of an old fashioned cottage due to the homely ornaments such as laundry and shelves. This light-hearted mood is further enhanced with the melodramatic comedic gestures and facial expressions conveyed by the cast. An example of this moment is when the antagonist Mr Bumble grabs hold of Oliver and shakes him rather violently. In this moment, the character of Oliver becomes very rigid and still, almost like a statue which is presented with great amusement to the audience, generating connotations of clowning. Henceforth, this specific adaptation displays children to be a source of comedy. This humorous and joyful mood of Oliver Twist in 1922 is completely polarised by the melancholic mood portrayed in the BBC 2008 adaptation. To start with, the atmosphere is significantly darker in this version compared to its counterpart. This is explored through the use of low-key lighting which promotes the realism of child poverty and reflects the depressed mood of the many orphans. High-key lighting has also been used in this piece. For example, the lighting in the dining room. This type of lighting has been utilised to emphasise the spacious hall which presents the orphans as small

and insignificant. Many windows have been used against the bare bricked walls to agitate the orphans and convey their longing for freedom. Certain additions to set have also been made to further amplify this upsetting ambiance, such as the presence of a banner displaying the phrase: God seest thou . By having this included within the film, the audience are provided with the impression that the orphans are continuously being watched and judged by others of higher status, even in unfair circumstances. The addition of a maggot is also present which further enhances this realistic approach to the novel and causes the audience to sympathise for Oliver and his peers in terms of the harsh conditions of the orphanage. In contrast to this, the addition of a large roasted hog is also displayed to the juxtaposed dining scene with the gentlemen. Thus clearly displaying the evident unjust conditions of the orphanage and again causing a sympathetic bond between the actor and audience. To summarise, the BBC film adaption of Oliver Twist presents children to be vulnerable in rough conditions which therefore requires audience empathy.

Editing In Lloyds Oliver Twist filmed in 1922, due to the lack of technology the editing was very minimalistic which meant that the scene changes were very apparent and static. Lloyd used montage editing to juxtapose the unconnected images of the workhouse orphans conditions when eating in contrast to the rich masters of the board room. The BBC showing of Oliver Twist also aims to create the same effect by using Montage editing to enhance the greed of the masters and makes you sympathise with the conditions that the orphans had to suffer. The transitions of Lloyds Oliver twist were very quick to create a fast pace, this was accompanied by the fast paced music and gave it a light hearted tone. As this was a silent film, freeze frames were often used to pause the film to enable text to come up at important features of the film to explain what was going on. In the 2008 film of Oliver Twist there was a lot of continuity editing as the technology was of a much higher standard and allowed them to edit the film fluidly to make the transitions smoother unlike Lloyds. To highlight a particular point in the film a match on action edit was put into place when Oliver found a maggot in his gruel and was contemplating whether to eat it or not. This was started by a point of view shot to make the audience feel Oliver s hunger and put them into his position, the camera then showed a mid-shot of Oliver as he began to eat it which emphasised how hungry he was whereas Lloyds Oliver Twist was more light-hearted and didn t portray this as much. The latest Oliver Twist had a more serious tone compared to the comical tone that the 1922 showing brought. By Milly and Lauren