ABSTRACT
Although numerous books have been written about the filmic adaptation of literary works, mainly novels and plays, the term adaptation in its strict sense does not fully capture how filmmakers have used and re-created fairy tales and folk tales for the cinema. As Robert Stam, one of the foremost scholars of film studies, remarks,
In the case of filmic adaptations of novels, to sum up what has been argued thus far, sourcenovel hypotexts are transformed by a complex series of operations: selection, amplification,
culturalization. The source novel, in this sense, can be seen as a situated utterance, produced in one medium and in one historical and social context, and later transformed into another, equally situated utterance produced in a different context and relayed through a different medium. The source text forms a dense informational network, a series of verbal cues which the adapting film text can then selectively take up, amplify, ignore, subvert or transform.17
