opening statements come together. Bluestones main plan to is to explore the complex relationship between novel and film. Bluestones major claim is that the two media cannot be compatible and are opposed simply by the natural differences. He sees film and literature as two mediums and each medium delivers a different type of view, and requires unique skills to translate them. In beginning his chapter with an examination of the "two ways of seeing," he looks for the difference of perception when comparing physical sight through our eyes, and the constructed sight we imagine with our minds. Bluestones plan for the rest of this chapter is to give explanation for and demonstrate his claim that the relationship between the two mediums are compatible and on the other hand, also very hostile or unsteady.Between 1934-1935 one third of films produced were adapted from literary sources. Bluestone links the close relationship between the film and the novel, and validates the compatible element of his claim, with references to Griffiths cinematic adaptations Tolstoys Resurrection, Charles Reades The Cloister and the Hearth, and productions from RKO, Paramount and Universal. Bluestone points out that it proves profitable for both mediums. The apparent link between film, literature and commerce becomes obvious because of increased book sales of novels following cinematic releases. Bluestone then proceeds to prove his claim that the two media are, as he put it, secretly hostile, once the relationship between novel and film are established. Bluestone traces its exploration of movement, of sound, of dialogue, light and photography at the point where cinema began as a "gadget." He discusses the fact that criticism and analysis of literary origins is without parameters and constraints. Bluestone calls upon others to help explain the role of language and, so explanations from Gide, Balzac and Sartre are utilized to help clarify his point. B...
