From novel into film: the subject has inspired countless studies since George Bluestone\u27s pioneering work. More recent examinations profit from developments in critical theory such as structuralism, semiotics and reception theory. But all share a common preconception: the filmmaker should inscribe his or her work within the original text\u27s interpretive field. Such an assumption in effect denies the adaptor\u27s artistic freedom, labeling as failures or ignoring altogether films which do not demonstrate an avowed allegiance to their source. Yet as Keith Cohen suggests, a filmmaker may adapt a work in order to subvert or deconstruct it. This implies that the resulting film, if well realized, will stimulate the viewer/reader to re-exam...