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Fantastic Beasts And Where To Find Them Pdf Screenplay

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Fantastic Beasts and Where to Find Them: The Original Screenplay

To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Download Free PDF. Download PDF. A short summary of this paper. In clinical discourse, "Asperger's" is a label applied to individuals observed to be lacking in conventional social interaction procedures, especially regarding empathic abilities and what is known as Theory of Mind ToM.

According to Maria Nikolajeva, ToM and empathy, the capacity to understand others' emotions, are limited in adolescents but "develo[p] gradually and. As they are activated when inferring others' behaviors, ToM and empathy are considered to be crucial for social interactions. Severe lack of these abilities is thus credited with preventing Asperger's subjects from imputing mental states and therefore from socializing "normally" Premack and Woodruff A nonverbal person with autism, Blackman advocates for what is known as the neurodiversity paradigm, arguing that each neurological condition is the result of ordinary variations in the human genome, of which AS is just one.

As Ralph James Savarese clarifies, the human species is neurodiverse and individuals whose neurology differs substantially from dominant norms can be considered neurodivergent. Subjects with AS are not the only people to be constructed as abnormal in the light of clinical discourse: fictional characters with this condition are also depicted in highly stereotyped and othered ways.

This is the case in the classic film Rain Man or the more recent mystery novel The Curious Incident of the Dog in the Night-Time , both prevalently criticized by cognitive aesthetic theorists. In the words of Savarese, these works only reinforce the representations of "the neurological other" as "a subaltern" At the other end of the spectrum is Newt Scamander, the protagonist of Fantastic Beasts, who is portrayed in the homonymous film by British actor Eddie Redmayne.

Situating Newt Scamander on the Asperger's ContinuumIn an interview for Digital Spy in , just before the release of the second film in the Fantastic Beasts series, Redmayne declared that he thought Newt had Asperger's. Fans had in fact been speculating about the protagonist's condition since the original film's debut in cinemas in Among YouTube analyses, the video "Newt Scamander and His Aspergers sic " includes fruitful readings of the character's neurodivergency.

The video focuses on four aspects of Newt's perceived AS: an obsessive interest magizoology , scarce eye contact, social awkwardness avoiding human proximity , and unique difference communicating with animals.

Different commentators joined in reviewing the video, approving of the protagonist's characterization as having AS. Similarly, for E. Simmons in an online review of the film for The Odyssey, it was "joy that I felt when I realized that Newt, whether intentionally or not, behaved very much like a person on the autism spectrum would" since "it was quite refreshing to see a main character who embodied that and was not shamed for it.

A year after the original film was released, a print version appeared in a script-like format. This book is not Rowling's original screenplay, as it was edited to align with the eventual theatrical cut of the film and even incorporates adlibbed or modified dialogue. My analysis focuses on the text's stage directions in particular. In drama, stage directions can be defined as the descriptions about atmosphere and characters' performance that complement dialogues.

The published screenplay of Fantastic Beasts is highly cinematic in nature, for the obvious reason that it was produced after the film version had been launched. Therefore, it includes information about technicalities such as camera shots, but the stage directions are also sufficiently substantial to be analyzed from a literary perspective.

The degree of detail with which gestures, especially Newt's facial expressions and demeanor, are described is acute. In addition, his gaze patterns and their evolution throughout the plot are carefully specified. Overall, the stage directions mirror the evolution of the protagonist in relation both to his quest and to the other characters within it.

Initially perceived as quirks, Newt's mannerisms are progressively enmeshed in the plot, rendering them as the reactions to be expected from him. Behaving as somebody with Asperger's supposedly would, Newt in fact debunks some of the main stereotypes associated with the condition. My central argument is that Newt Scamander's behaviors are not asocial. Chiefly, the protagonist is engaged in a quest that makes his focus of attention differ from that of his fellows, namely those who are not as interested in animals as he is.

Disembarking in New York City during the peak of the Roaring Twenties, Newt soon finds himself immersed in a search for the creatures that have escaped from his suitcase.

Newt, a magizoologist, studies magical animals while writing a definitive work about them: Fantastic Beasts and Where to Find Them, which would later become a textbook at Hogwarts. As a committed environmentalist, Newt cares about the animals' well-being and believes contact with humans to be detrimental: "See, [the creatures are] currently in alien terrain, surrounded by millions of the most vicious creatures on the planet.

Humans" Rowling Newt denounces wizards who are hostile to keeping magical creatures and would rather have them exterminated. From this angle, as will become apparent, his quirks are in actuality a matter of ethical priorities and not deficits in human empathy or attention focus, as is so often assumed to be the case with Asperger's. In the good-natured Scamander, "we see. The latter, moreover, perceive Newt as odd see His Keatonesque attributes position him as an outsider in the first pages of the script.

For example, the stage directions foreground his "scientist's curiosity about this alien environment," especially about its inhabitants, whom he approaches "as he would observe a foreign species: no judgement, simply interest" 10; emphasis added. The emphasis placed on his scientific outlook borders on the stereotyped characterization of the "Autistic savant" see Treffert , someone to be looked upon as a freak in an idealization of difference.

However, the fact that Newt approaches others from a scientific perspective prevents his being established as an object of experimental interest. He is excessively polite, apologizing even when this appears to be unnecessary. In clinical diagnoses, Asperger's is associated with "stereotyped and repetitive use of language or idiosyncratic language" Iland Although Newt's stock phrases mark his peculiarity, his distinctive language use can also be read as a cultural rather than a cognitive-linguistic difference.

Queenie, who is a Legilimens-a wizard able to read others' thoughts-cannot read his mind because his thoughts in British English are unintelligible to her: "I always have trouble with your kind. It's the accent" The cultural gap, in itself, is an excuse to consider ethical differences between the United States and Great Britain. Queenie's sister, Tina, wonders, " [D]o you know anything about the wizarding community in America?

She foregrounds Newt's apparent lack of knowledge about customs in the United States, which allows him to refine his critique of the country's reactionary legislation. US laws define magical creatures and nonwizards as separate from the magical community: "I do know a few things, actually. I know you have rather backwards laws about relations with muggles [nonmagic people].

That you're not meant to befriend them, that you can't marry them, which seems mildly absurd to me" Basing his argument on a sharp analysis of cultural backwardness, Newt's reply demonstrates his critical thought and empathetic consideration regarding the ostracized muggles, in this case.

Situating Newt as neurodivergent is particularly fruitful with respect to his attentional focus. Newt's Niffler, a hybrid of a mole and a platypus, escapes. Newt realizes that the Niffler is gone while he is engaged in conversation with the anti-magic activist Mary Lou. The Niffler hides in the city bank, where Newt encounters Jacob, a nonwizard who will play a key role in the resolution of Newt's quest. What brings you here? NEWT is desperately trying to spot his Niffler. NEWT Same as you.

NEWT looking around-preoccupied Yes. Well, may the best man win, I guess [. This results in monologic exchanges that undermine the back-and-forth flow of conversations Wilson et al.

This tendency has been referred to as "inward focusing": "to block-out the over-stimulating environment. Significantly, the stage directions in Fantastic Beasts provide readers with relevant information about Newt's actual focus of attention.

The narrative action-he is desperate to find his Niffler-provides a pragmatic reason for his lack of attention to the reciprocal flow of the conversations with Jacob and Mary Lou.

The interaction gap that results is the type of one-sided dialogue that neurotypical individuals might perceive as simplistic. The information provided in the stage directions extends the narrative and Newt's focus on the Niffler: rather than avoiding interaction, he is being strategic. Hence, the stage directions work to circumvent a neurotypical reading. When Newt takes off to find the Niffler, an egg falls from his pocket.

Jacob notices and tries to alert Newt, who "doesn't hear; he is too engaged in hunting the Niffler" Rowling Once again, the stage directions explain why Newt disengages from his surroundings. This principle of pairing stage directions with narrative action is at work throughout the screenplay. Analyzing the text for such instances provides an entryway into the neurodivergent motivations that have been largely overlooked by academia's perspective on AS.

Wilson and colleagues clarify that subjects with Asperger's typically have competing sources of information to attend to during the communicative enterprise It appears that rather than lack of focus, Newt has different foci of stimuli relevant to his motivations, and that these require his attention over others. The protagonist of Fantastic Beasts seems not just to skip conversations but also to avoid group behavior altogether.

Evading the presence of others is identified as an "avoidance tactic" common in AS Wilson et al. Later, Tina invites Newt and Jacob over to spend the night. Newt appears extremely uneasy about having to join Jacob, Tina, and Queenie at the dinner table.

While the others settle in, Tina finds him with "his hand on the doorknob. What Tina perceived as an offensive attitude in fact stems from Newt's growing anxiety: "NEWT looks out the window and sees a Billywig fly past -he's nervous, impatient to get out and find his creatures" The others perceive his agitation as social awkwardness, as indicated when Tina says, "Well, sit down, Mr Scamander, we're not going to poison you" However, readers know that Newt is merely eager to continue his quest.

Neurodivergent individuals do not generally realize that their retreating behaviors may disappoint others. They appear "unaware that their self-protective behaviours contribut[e] to communication problems experienced in the relationship.

Instead of relying on neurotypical expectations, encouraging "NT [neurotypical] partners to explicitly articulate their needs in relation to emotional connection and the social rules for reciprocal interactions" seems more efficient In effect, Newt may be silent about his anxiety, but Tina does not explain that Newt's gesture has offended her. Instead of suggesting that the divergent "asocial" reactions ought to change, the screenplay highlights reciprocity of socialization.

According to Savarese and Lisa Zunshine, "neurotypicals.

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Anything edible in there? Shinin white eyes Someone ought do something about it. It's everywhere this thing. Its some atmospheric hooey. Promised Martha Id lay off. This great city sparkles with.

The following version of this screenplay was used to create this study guide: Rowling, J. Fantastic Beasts and Where to Find Them. Arthur A. Levine Books, an imprint of Scholastic Inc. The text consists of the original screenplay for the film of the same name, which means that its content is primarily dialogue, with occasional insertions of stage directions.

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Fantastic Beasts and Where to Find Them: The Original Screenplay Summary & Study Guide

With an OverDrive account, you can save your favorite libraries for at-a-glance information about availability. Find out more about OverDrive accounts. Harry Potter. Pottermore Publishing. When Magizoologist Newt Scamander arrives in New York, he intends his stay to be just a brief stopover.

За шесть дней члены группы установили в зданиях вокруг биржи двадцать семь взрывобезопасных легкоплавких контейнеров. Одновременный подрыв этих тщательно замаскированных устройств должен был создать магнитное поле такой мощности, что вся информация на магнитных носителях - жестких дисках компьютеров, в постоянных запоминающих устройствах, в резервных файлах и даже на гибких дисках - оказалась бы стерта. Все данные, свидетельствующие о том, кто чем владел, должны были исчезнуть навсегда.

Сьюзан, не поднимая глаз, поджала ноги и продолжала следить за монитором. Хейл хмыкнул. Сьюзан уже привыкла к агрессивному поведению Хейла. Его любимым развлечением было подключаться к ее компьютеру, якобы для того, чтобы проверить совместимость оборудования. Сьюзан это выводило из себя, однако она была слишком самолюбива, чтобы пожаловаться на него Стратмору.

Fantastic Beasts And Where To Find Them : The Original Screenplay

Однако одиночество не принесло ей успокоения. В голове у Сьюзан беспрестанно крутилась мысль о контактах Танкадо с Хейлом. Кто будет охранять охранников. - подумала .

Левый крайний Джорджтауна, подавая угловой, отправил мяч в аут, и трибуны негодующе загудели. Защитники поспешили на свою половину поля. - А ты? - спросил Беккер.  - Что предпочитаешь. - У меня черный пояс по дзюдо.

Танкадо, задыхаясь и не в силах произнести ни звука, в последней отчаянной надежде посмотрел на тучного господина. Пожилой человек вдруг поднялся и куда-то побежал, видимо, вызвать скорую. Танкадо явно терял последние силы, но по-прежнему совал кольцо прямо в лицо тучному господину. Тот протянул руку, взял Танкадо за запястье, поддерживая остававшуюся на весу руку умирающего. Танкадо посмотрел вверх, на свои пальцы, на кольцо, а затем, умоляюще, - на тучного господина. Это была предсмертная мольба.

CONTENTS. Fantastic Beasts and Where to Find Them: The Original Screenplay. 1. Acknowledgements. Glossary of Film Terms. Cast and Crew.

Два выстрела в спину, схватить кольцо и исчезнуть. Самая большая стоянка такси в Севилье находилась всего в одном квартале от Матеус-Гаго. Рука Халохота потянулась к пистолету.

Серые глаза светились уверенностью, с которой сочеталась профессиональная скрытность, но сегодня в них проглядывали беспокойство и нерешительность. - У вас испуганный вид, - сказала Сьюзан. - Настали не лучшие времена, - вздохнул Стратмор. Не сомневаюсь, - подумала. Сьюзан никогда еще не видела шефа столь подавленным.

Он. Он должен быть. Дворик под названием Апельсиновый сад прославился благодаря двум десяткам апельсиновых деревьев, которые приобрели в городе известность как место рождения английского мармелада. В XVI11 веке некий английский купец приобрел у севильской церкви три десятка бушелей апельсинов и, привезя их в Лондон, обнаружил, что фрукты горькие и несъедобные.

Профессионалы Интернета стали глазами и ушами АНБ. Люди, занимавшиеся нелегальной деятельностью с использованием электронной почты, быстро убедились в том, что их секреты больше не являются их частным достоянием.

Ее обдало порывом воздуха, и машина проехала мимо. Но в следующее мгновение послышался оглушающий визг шин, резко затормозивших на цементном полу, и шум снова накатил на Сьюзан, теперь уже сзади. Секунду спустя машина остановилась рядом с. - Мисс Флетчер! - раздался изумленный возглас, и Сьюзан увидела на водительском сиденье электрокара, похожего на те, что разъезжают по полям для гольфа, смутно знакомую фигуру. - Господи Иисусе! - воскликнул водитель.

 Я попросил его не звонить мне, пока он не найдет кольцо. - Почему? - удивилась Сьюзан.  - А если ему нужна помощь. Стратмор пожал плечами. - Отсюда я не в состоянии ему помочь - ему придется полагаться лишь на .

Я хочу уйти. Стратмор глубоко вздохнул. Ясно, что без объяснений ему не обойтись. Она это заслужила, подумал он и принял решение: Сьюзан придется его выслушать. Он надеялся, что не совершает ошибку.

Fantastic Beasts and Where to Find Them

 - Мы вместе спустимся .


Marine R. 17.05.2021 at 12:21

Rowling for the film of the same name.

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Cyril Q. 23.05.2021 at 14:33

A joint British and American production, it is a spin-off of and prequel to the Harry Potter film series.