8 Anne-Marie Baron, “Charles et ses images”, « Traductions/Adaptations », Flaubert: revue critique et (.).7 See reviews by Murf, “Ryan’s Daughter”, Variety, 11 November 1970, p.

6 The films are Maya: The Enchanting Illusion (1992) by Ketan Mehta and Val Abraham (1993) by Manoel (.).4 Mary Donaldson-Evans, “A Medium of Exchange,” op.

3 Keith Cohen, Film and Fiction: The Dynamics of Exchange, Yale UP, New Haven, CT, 1979, p.

Furthermore, I contend that the film can make us look at the book with a new appreciation of its artistic purpose, bearing in mind the perspective opted by the director. My intention here is not to cross the line of argument between adaptation and appropriation-this can be gained from McFarlane and Sanders 2-but to expound the exchange process that the field of film studies might contribute to the reception of the literary source. This article proposes to draw attention to an overlooked adaptation by David Lean, Ryan’s Daughter (1970), and to examine its visual impacts from and on the classic text. However, if the fidelity approach undeniably shows deference to the work, it does little to win it further renown and interest. The ceaseless challenge of adapting a novel for the screen rests on the director’s choice to offer ingenious insight, and yet, to remain as truthful as possible to the spirit and structure of the book. Mary Donaldson-Evans has comparatively looked at the cogent successes and the inevitable flaws of landmark versions by Renoir (1934), Minnelli (1949), Chabrol (1991), and the BBC broadcast by Fywell (2000) she has also shown the benefit of using clever renditions of the original, when loosely transposed 1.

2 Brian McFarlane, Novel to Film: An Introduction to the Theory of Adaptation, Clarendon, Oxford, 199 (.)ġGustave Flaubert’s masterpiece Madame Bovary has been subject of many and varied cinematic interpretations.

1 Mary Donaldson-Evans, Madame Bovary at the Movies: Adaptation, Ideology, Context, Rodopi, Amsterdam (.).

Instal Madame Bovary