The structure of the paper is as follows. Firstly, the concept of film adaptations and its challenges will be discussed. In the analysis section, the perception aspects will be analyzed and compared within film and novel framework. In the conclusion, the results will be criticized with the aim of providing directions for further research. .
2. CONCEPT .
The making of film out of an earlier text is virtually as old as the machinery of cinema itself. Over half of all commercial films have come from literary originals. Each medium has its own specificity deriving from its respective materials of expression. The novel has a single material of expression, the written word, whereas the film has at least five tracks: moving photographic image, phonetic sound, music, noises, and written materials. Thus such a move from telling to showing and specifically, from a long and complex novel to any form of performance is usually seen as the most fraught transposition. In director, Johnathan Miller's words (1986:66): "Most novels are irreversibly damaged by being dramatized as they were written without any sort of performance in mind at all, whereas for plays visible performance is a constitutive part of their identity and translation from stage to screen changes their identity without actually destroying it.".
The difference in material scale alone make the novel-to-performance adaptation difficult. Moreover a novel to be dramatized has to be distilled, reduced in size, and thus, inevitably, complexity. Description, narration, and represented thoughts of a novel must be transcoded into speech, actions, sounds and visual images. Conflicts and ideological differences between characters must be made visible and audible (Lodge, 1993:196-200). In the process of dramatization, there is inevitably a certain amount of re-accentuation and refocusing of themes, characters, and plot. .
The most evident challenges of adapting of a novel to the screen could be gathered in four branches, which are listed and discussed below.