what was fiona's assignment in the giver book

• The Giver Characters
• Community Members
• Caretakers of the Old
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Fiona is a character in The Giver . She was assigned to be a Caretaker of the Old because she is gentle and careful. She is cheerful and eager to help old people at the Home, and is also Jonas and Asher 's best friend. She is the main subject of Jonas's   Stirrings . She has dark eyes like almost all of the others in the Community and has red hair.

• 1.1.1 The Giver
• 1.1.2 Messenger
• 1.2 Film Adaptation
• 2.1 Film Screenshots

The Giver Quartet

She is Jonas 's and Asher 's friend, and was assigned to be a Caretaker of the Old in her community. It was revealed she had red hair when Jonas had started seeing colors. She later becomes the object of Jonas' Stirrings afterwards, but this is unreciprocated on her part due to not having emotions. Jonas does not get the chance to say goodbye to her when he decides to take Gabriel away from the Community.

When Matty asks Leader (Jonas) if he ever loved a girl when he was his age, Leader tells him there was a girl once, when he was young. Matty questions her fate, and Leader replies that she changed, implying he and Fiona may have reunited at some point or she gained the past memories and emotions after Jonas left.

Film Adaptation

In The Giver (2015) , Fiona is portrayed by Odeya Rush. Because in the movie light eyes have nothing to do with the Receiver of Memory , Fiona has light eyes instead of dark eyes. Like the other Twelves in the film, Fiona is 18 in the film, instead of 12. Since Larissa is taken out of the film, there is no longer a need for Fiona to be Caretaker of the Old, so she is a nurturer. Fiona is adapted to be a love interest for Jonas in the movie and assists him with his and Gabe's escape. She is later apprehended for this and is nearly released before Jonas gives the memories back to the community.

Film Screenshots

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The Giver Character Analysis

Jonas is the protagonist, or main character, in the novel. He is a sensitive, polite, compassionate 12-year-old boy. Jonas is a dynamic character. He changes during the course of the novel due to his experiences and actions. We know how Jonas changes because Lowry narrates The Giver in the third person, limited omniscient viewpoint in order to reveal Jonas' thoughts and feelings. When the novel begins, Jonas is as unconcerned as anyone else about how he is living. He has grown up with loudspeakers, rules, precise language, and a family that is not connected biologically. He has accepted this way of life, because he doesn't know any other type of existence.

At the December Ceremony, Jonas is selected to become the new Receiver of Memory, the most honored position in the community. As he receives the Giver's memories and wisdom, he learns the truth about his community, that it is a hypocrisy and that the people have voluntarily given up their individuality and freedom to live as robots. Jonas' character changes and becomes more complex. He experiences an inner conflict because he misses his old life, his childhood, and his innocence, but he can't return to his former way of life because he has learned too much about joy, color, and love. Jonas knows that his life can never be "ordinary" again.

Jonas is also frustrated and angry because he wants his fellow citizens to change and thereby give up Sameness. He knows that the community and each person's life will benefit if only they would — or could — reclaim their individuality. Jonas realizes that his life would no longer be worth living if he were to continue living in the community as it is. To save the people in the community from their own senseless inhumanity, Jonas, an extremely courageous and brave character, risks his life. He flees the community with the baby, Gabriel. Jonas is afraid, but he is prepared to fight for their survival. Although we do not know how Jonas' experiences ultimately affect him or his community, we do know that he matures and that he feels excited and joyful as he and Gabriel ride down the hill on the sled.

The Giver, an elderly man with a beard and pale eyes like Jonas', is the current Receiver of Memory. He carries the burden of the memories of the world, and suffers from the pain contained within the memories. Because The Giver is unable to share his work with anyone in the community (they would never understand), he is lonely. His life is totally different from the lives of other citizens in the community. He lives in rooms called the Annex, rooms unlike the dwellings of the other community members. He can lock his door and turn off the speaker; he has luxurious fabrics on his furniture and walls lined with shelves from top to bottom, holding thousands of books. These amenities isolate The Giver from other people living in the community.

The Giver is cynical and frustrated because he knows that the people gave up too much when they chose Sameness. As The Giver begins to transmit memories to Jonas, Jonas becomes upset. The Giver is surprised at the intensity of Jonas' feelings and the insight that Jonas already has about the philosophy of Sameness. Jonas mirrors the feelings The Giver has had for years. He admits that he's "never been able to think of a way" to force the people to accept memories, a statement that indicates that The Giver, like Jonas, wants to do away with Sameness in the community.

The Giver works with Jonas to develop a plan to do away with Sameness. He agrees to be available to help the people cope with their newly found memories. However, that is not enough for The Giver. He longs to be with his daughter, Rosemary, the earlier Receiver-in-Train-ing who chose release over living a lonely and isolated life like The Giver. The Giver is telling Jonas that he intends to commit suicide. Because Lowry has written an ambiguous ending to the novel, we don't know what happens to The Giver.

Jonas' mother is an intelligent, sympathetic, and understanding person. She holds a prominent position at the Department of Justice. One of her job responsibilities is to punish people for breaking the strictly enforced rules of the community. According to Jonas, "her work never seem[s] to end." She always works after the family has had their evening meal.

Jonas' mother is proud that he has been named the new Receiver. She understands that it is the most prestigious position in the community, but, like other community members, she is unaware of the work Jonas will be doing. Throughout the novel, nothing seems to faze Jonas' mother. She systematically follows the rules of the community and, at the conclusion of the novel, she is exactly the same as she was at the beginning.

Jonas' father is a shy, quiet, considerate, caring man. He is a Nurturer, responsible for the physical and emotional needs of every newborn child during the first few months of life. He is also responsible for the release (killing) of infants who are deemed worthless because something is emotionally and/or physically wrong with them.

Jonas' father does give the newborns every opportunity to flourish. He takes the newborn Gabriel home to live with his family in hopes of enabling the baby to sleep during the night and gain weight, thereby foregoing release.

Like other community members, Jonas' father follows the rules of the community. He is also a static, unchanging character.

Lily is Jonas' younger sister. She is a typically impatient child with straightforward, fairly simple feelings. Lily is also a chatterbox, talking continuously about subjects of interest to her. She is unconcerned about neatness, her hair ribbons are always untied, and because she is only seven (she becomes an Eight at the December Ceremony), she has many rules yet to learn.

Lily and Jonas behave like most brothers and sisters. They tease and become annoyed with one another from time to time. After Jonas has started to receive memories from the Giver, he tries to give Lily the memory of the being of an elephant (her comfort object is a stuffed elephant), but Lily complains that Jonas is hurting her because he is holding her shoulders too tightly. Lily is uninterested and unable to understand what Jonas implies when he talks to her about the fact that real elephants actually existed. She is also a one-dimensional character in The Giver .

Asher is Jonas' best friend. He is a cheerful, friendly boy who makes a game out of everything. Asher has always had trouble following the rules perfectly. He is often late for school and, as a result, has had to make numerous public apologies. The people in the community easily forgive Asher for his imperfections, because they like and enjoy him.

At the Ceremony of Twelve, Asher is assigned to be Assistant Director of Recreation. Because Jonas is selected to be the new Receiver of Memory, an honored position in the community, Asher is unsure how he should treat his friend and is hesitant to treat Jonas as he did during their years growing up together.

Fiona is one of Jonas' good friends. She is a very pretty girl who is sensitive, intelligent, quiet, and polite. At the Ceremony of Twelve, Fiona is assigned to be Caretaker of the Old. Jonas accompanies Fiona as they ride their bicycles to their new assignments. Fiona talks to Jonas about her assignment and the new tasks that she will have to learn. Unfortunately, Jonas can not talk about his assignment as the Receiver of Memory. Jonas realizes that their relationship will change; however, Fiona is not emotionally affected by Jonas' silence. She is a static char-acter — nothing happens within Fiona, things happen to her.

The Community Members

The people who live in Jonas' community are very predictable and unchanging. These characters are uncomplicated and complacent. They are static, simple, one-dimensional characters. Because the majority of them do not change throughout the novel, we see only one part of their personalities — their surface appearances and actions. Nothing happens within static characters; things happen to them.

Most of the citizens in the community passively follow the rules of the community. They always do what they are told by the Committee of Elders, following the rules and reprimands that are blasted over the loudspeakers located throughout the community and in every family dwelling. The people are totally controlled by the Committee of Elders as a result of a decision, a long time ago, to choose Sameness over individuality. The lives of the community members have been exactly the same for years. Nothing has ever happened to them except when an earlier Receiver-in-training, Rosemary, asked for release because she no longer could tolerate living in the community. After her death, the people were in total chaos because they didn't know what to do with the memories that Rosemary had experienced. They were not accustomed to thinking for themselves. Experiencing Rosemary's memories was something that happened to the people. Afterward, they resumed their lives as before, so it is evident that nothing permanently changed within them. Because Lowry has written an ambiguous ending, the changes that might have occurred as a result of Jonas' departure from the community are left to the imagination of each reader.

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7 ways The Giver movie is different than the book

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Screen adaptations of books never stick to the source material completely, and the big screen version of The Giver is no exception. W hile the story is very similar to the one Lois Lowry wrote in her award-winning novel, the differences between the two versions are noticeable. Here are 7 of them.

1) The film over-delivers on explanation

It's a bit unfair to start with this one because film, by virtue of its medium, cannot be as subtle as literature (for the most part). But one of the things I appreciate about Lowry's writing is that the mystery of Jonas's world is very slow to unfold. In the film, almost an entire third of Lowry's book happens on-screen within the first few scenes. Characters are developed very quickly, and, as a result, the film loses some of the uneasy ambiguity of the book. Granted, because films are limited by time, they have to be more fast-moving than books, which can take a few pages or even chapters to hint at one minor plot point.

2) On screen, Jonas is a (hunky) young man

In the book, much is made about characters' ages. In fact, in the world of The Giver , the calendar seems to center on a Ceremony which marks the aging of children from one year to the next. When the book opens, Jonas is about to become a Twelve, which means he will be given his community Assignment. Jonas' young age makes him the prefect protagonist for a story in which he discovers the depth of human emotion as he simultaneously expands his vocabulary. By making the movie Jonas slightly older — 16 years old — the film loses some of the innocent quality of the Lowry's hero. Still, it's worth noting that Brenton Thwaites does bring a youthful naivety and charm to the role, and so Lowry's vision remains largely intact.

3) Meryl Streep's character was a much smaller part of the book

Streep is absolute gold and her character was a great addition to the movie. But you should know that the character she's based on, the Chief Elder, isn't nearly as important a character in Lowry's novel.

4) Jonas doesn't kiss Fiona in the book

Unsurprisingly, the Jonas/Fiona relationship was given the Hollywood Young Adult Movie treatment. In the book, there are hints that Jonas does have strong but unexplained feelings toward Fiona (Odeya Rush) — the book calls the feelings "Stirrings." The fact that Jonas is able to "see beyond" the gray color of Fiona's hair to its original red also suggests that the two of them share a special bond. But in the book, he doesn't really act on his Stirrings toward Fiona, probably because, well, he's only a Twelve.

5) Fiona isn't assigned to be a Nurturer in the book

This one might not seem like it changes anything about the overall story, and I mostly agree. There is, however, one small part of me that wishes Hollywood would have kept its hands off Fiona's Assignment. In the book, the job Fiona ends up getting assigned to is something much less sexy than the job of taking care of babies. In Lowry's original story, Fiona is assigned to be a Caretaker of the Old.

That means the young Twelve is tasked with caring for the elderly of her society, with bathing them and helping make them as comfortable as possible just before they are euthanized, or "released." Obviously, it would have been difficult to show Fiona and Jonas bathing naked old people, and so it makes sense that this part was written out. At the same time, Lowry's novel stands as a warning to a society that seems to have a certain disregard for its elders, an element the film loses.

6) Asher isn't a pilot, and Jonas doesn't punch him

Again, this was a strategic change made to help with the momentum of the film adaptation. In the book, Asher (Cameron Monaghan) is assigned to be the Assistant Director of Recreation. On screen, he's made a Pilot, which helps add an additional layer of drama to the end of the film when Jonas flees from the authorities, and Asher is sent to search for him.

7) The film's ending is less ambiguous than the book's

Both versions of the story end with Jonas and Gabe sledding down a snowy mountain toward a home that the Giver had showed him in a previous memory. The way that the book ends makes it uncertain as to whether or not the two children actually make it to the abode. In the film, the last shot deliberately features Jonas, babe in tow, walking up to the snow-covered home. The variation between the two endings is slight, but it's worth noting that Lowry's final paragraphs probably had less appeal to producers than the one that ended up on the big screen.

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What is Fiona's job in The Giver?

Fiona probably symbolizes something to do with maturity. When Jonas has the dream with him and Fiona in it, the dream is almost sexual. However, Fiona is one of Jonas' very good friends so she might symbolize partnership, or a form of marraige.

In "The Giver," Fiona works as a Caretaker in the House of the Old. She is responsible for taking care of the elderly residents and ensuring their well-being.

Fiona likes to take care of older people in the community. she is very good friends with Jonas and She is very efficient at her work.

Fiona has red hair because Jonas saw her hair flash red.

She becomes a care taker of the old. People assume she must relese people, but it never says she does.

Fiona's job is caregiver to the old.

Fiona loves working in the house of the old, so she loves taking care of old people. But she doesn't know that when they are released, they are killed.

Jonas's friend/secret admirer

Add your answer:

What is the name of fionas little brother in the giver?

Fiona does not have a little brother in "The Giver". It is Jonas who is the main character and he has a sister named Lily.

What was fionas experience of her first day training the giver?

She experiences bathing the old

What red things has Jonas seen so far The Giver?

He has seen a Red apple, Fionas hair and the crowd become red.

What is fionas code?

fionas code is xy29pb460h. gosh next time find it yourself plz.!

What job does Jonas have at 12 in The Giver?

his job was the

What is the highest job in the community called in the book The Giver?

The highest job in the community in the book "The Giver" is called the Receiver of Memory.

What the giver job?

His job is to give his favorites or painful memory to the Receiver The giver's job is to give or transfer all memories of the community to the chosen receiver.

What is the giver’s job?

What is the job of the elders the giver.

their job is to assign jobs and to observe others

In the giver what is the job of the Elders?

What does recreation mean in the book the giver.

Assignmentt in the book The Giver means a job that they will have for the rest of their livesAn apple

What was jonahs job in The Giver?

To be the next holder of the memories.

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Film & Television

Book-to-Film Adaptations: A Different Lens on “The Giver”

A different lens on “ the giver ”.

In the months leading up to The Giver ’s release, social media was abuzz with devoted book lovers’ fears that the movie would not stay true to Lois Lowry’s cherished work. Even after the movie was released, people discussed whether or not they liked it in relation to how close it was to the book. Certainly, readers create a mental picture—a mini-movie, if you will—of the plot, characters, and scenery described by the writer. When a director comes along and changes that, we sometimes feel like we’re experiencing a different story entirely.

We’d definitely call ourselves book lovers here at Walden Media (in fact, we’re so into books we publish them!); so, when a book is turned into a movie, we understand how hard it is to let go of the way we might have envisioned the story when it was just words on paper. However, adaptation is truly an art form, and we should commend filmmakers (such as Phillip Noyce, director of The Giver ) on their ability to turn beloved words into real-life images that move and speak and tug our heartstrings. Adapting a book for the screen is hard work—one that involves precise visual storytelling. So let’s take a look at The Giver ’s journey from book to screen.

Visual Storytelling

firstshowing.net

In 1996, Jeff Bridges began the process of turning The Giver into a movie. He wrote script after script, all of which were rejected. Perhaps this is because, as Lois Lowry put it, the book is “‘ I ntrospective, quiet, and short on action’ [which] translates to ‘tough to film. ’” ( Huffington Post ). The book is largely about a boy’s internal struggle, making it very difficult to translate this unseen conflict to film’s visual medium.

“How can it be that difficult?” you may ask. Well, let’s try an adaptation exercise to see how we might translate book to moving image. The plot: A boy has to decide whether he will go to basketball camp for the summer or stay and work at his uncle’s bike shop. The adaptation dilemma: On page, you can read every descriptive detail about the boy’s thoughts. However, if there is no narration in the film and, therefore, you can’t hear the boy’s thoughts, how do we show the deliberating? Visual storytelling possibilities: The boy could pour out his close-to-empty piggy bank on his bed, showing us that he may want to earn a little more money over the summer. Or maybe he could lie on his bed, spin a basketball on his forefinger, and stare at his walls lined with posters of basketball stars. Or perhaps he could leave a voicemail for his grandfather explaining the situation and asking for advice.

From this example, you can see a variety of ways to communicate visually this story element of thinking . We understand that the boy is making a difficult decision whether he’s on the phone, counting his money, or playing with his basketball. Granted, each example has a different connotation, but they all attempt to fulfill the same purpose. And oftentimes we find that, in the end, it’s more important that the idea of thinking is portrayed more than how we get there.

So, let’s take a second look at The Giver . What were some of the changes made? And were those changes “true” to the book?

The Giver ’s Adaptation

“[The director, Phillip Noyce] was so meticulous. He kept the book in front of him during the whole process. That was my biggest relief, that they were dedicated to preserving the intent of the book.” – Lois Lowry   ( CS Monitor )

      1. Change in occupation

One difference between the book and the film are Fiona’s and Asher’s changes in occupation. In the beginning of the book, Jonas and Fiona volunteered at the House of the Old together. At the graduation ceremony, Fiona was assigned to continue her work in the House of the Old, due to how well she flourished there. In the movie, however, Fiona’s assignment is to work at the Nurturing Center instead. How does this change still stay true to the book?

Firstly, Fiona’s shift in occupation does not take away from the fact that she is a kind, nurturing person. She can show her tenderness and concern for others in either location – the House of the Old or in the Nurturing Center. Secondly, both institutions are most heavily involved in the “releasing” (euthanasia) of their patients. The guilt of unknowingly killing the helpless is on her shoulders with either occupation.

Fiona’s change in occupation also becomes a useful tool in bringing her closer to the subplot involving Gabriel. Therein, the story elements become even tighter , which is a helpful structure when you have a limited amount of screen time to convey the whole plot! Instead of releasing faceless characters in the House of the Old, Fiona is now in a position of potentially doing harm to a character we know and care about—Gabriel the baby.

The same concept of using and reusing elements in a film may explain the shift in Asher’s occupation as well. His job in the book (“Assistant Director of Recreation”) and his job in the film (“Drone Pilot”) are positions of leadership and authority. Both jobs incite the rapid maturation Asher undergoes in the book and in the film. In the film, however, the position of pilot more immediately involves Asher in a plot turn later on: the elders’ mission to find Jonas after he escapes with Gabriel. Instead of unknown pilots attempting to thwart Jonas’ mission, it is one of Jonas’ dearest friends. It develops Asher’s character, helps to reduce the amount of characters, and tightens the plot overall.

      2. Change in Age

The movie adaptation changes Jonas’ age from 12 to 16. Phillip Noyce noted that this alteration intended to increase the main character’s relatability. In an interview, Noyce explained that,

“ The decision was made in order to maybe extend the audience’s connection to the character’s experience, because we know 16, 17 or 18 is – in our society – the normal time of rite of passage from childhood to adulthood. ” ( The Wrap )

“ I thought, oh yeah, it works. Right away you see that he’s the same as the 12 year-old, he’s young, he vulnerable ” ( CS Monitor )

As we mentioned before in our thinking example, it’s more important to convey the idea of innocence, vulnerability, and coming of age in a way that lends itself to the medium of film, rather than force a script to follow the source material to a T.

      3. The Chief Elder

Those of you who have not read the book might be surprised to learn that the character of the Chief Elder (played by Meryl Streep) does not exist in such an expanded form in the original text. This script development was quite welcomed by Lois Lowry, who remarked,

“ The movie made much more complex the character of the Chief Elder… And then once they cast Meryl Streep – who never would have taken the role the way I wrote it in the book – the quality of her acting, just the turn of her eyes or the way her mouth curves, it was astounding to watch her. Now I wish I could go back and write the book the way she performed it. ” ( CS Monitor )

Wrapping Up What We’ve Learned

fatmovieguy.com

The Giver , as a book, has touched, shaped, and delighted the lives of many children and adults, and the film is in no way a replacement of this incredible book. Rather, it is a manifestation of it—the themes, characters, and elements that we all found so compelling. It’s an attempt to enhance the incredible story that Lowry created for us. Lois Lowry explained it best when she said,

“ A book is such an individual and private thing. The reader brings his or her own history and beliefs and concerns, and reads in solitude, creating each scene from his own imagination as he does. A movie, by its nature, puts it all out there, makes it visual. It’s what I love about film, actually: the composition of each scene, the lighting, the color… or lack of color. But film must incorporate details that a reader might have pictured in another way. A costume designer decided what little Gabriel — and all the other infants in the Nurturing Center — wear. Maybe you had dressed them differently in your mind. A set designer created the plans for the dwellings in which Jonas and Fiona and all the other members of the community live. If you imagined a different kind of dwelling, as I did, then you have to adjust your thinking. The landscape through which Jonas travels with the kidnapped baby is not the landscape I saw inside my head; the cinematographer gives us something vaster, more magnificent, and infinitely more hostile to a desperate boy trying to save an infant and the whole world.

The important thing is that a film doesn’t obliterate a book. The movie is here now. But the book hasn’t gone away. It has simply grown up, grown larger, and begun to glisten in a new way. ” ( Huffington Post )