ABSTRACT
At first glance, it seems an odd combination. On the one hand, we have the dazzling Meiji novelist and intellectual Natsume Soseki (1867-1916); on the other, the versatile post-modern director Yoshimitsu Morita (b. 1950). Yet the film of 1985 and the novel of 1907 come together in an adaptation that makes Sorekara a fascinating study in the process of transference from linguistic to visual medium. Soseki 's achievements in literature have 10ng been familiar to readers and critics. 1 Now we have an opportunity to see a filmmaker calling on the cogent "visual" properties of cinema, taking full advantage of the camera's expressive power, of effective diegetic and nondiegetic sounds and of carefully composed setting.2
