This apparently insignificant paragraph comes from Stan Barstow's A Kind 0/ Loving, first published in 1960 and rapidly regarded as a prime mover in a new kind of fiction which explores the experiences of young people in a northern, industrial workingclass environment. The film version directed in 1962 by John Schlesinger, l with a screenplay adapted from the novel by Willis Hall and Keith Waterhouse, similarly came to be classed as part of British New Wave realist cinema in its exploration of geographic and social territory hitherto studiously avoided in mainstream British fictional film. How the film explores this territory, and the ways in which it alters and extends the ideas, structure and ideology of the novel in so doing, offer considerable insight into
one further aspect of the process of visualisation: the discourse which results when a realist novel depending on internal monologue is turned into a realist film which, of its nature, externalises the experience that is fundamental to the narrative. And in this, the paragraph which describes Vic's encounter with Ingrid's hallway and bathroom has a far greater significance than the creation of suspense through delay which at first appears to be its chief function.