There are several suggestions that Imelda Whelehan gives on how to approach the study of adaptations in her article, "Adaptations: The Contemporary Dilemmas." Whelehan offers advice to students of the hybrid study of adaptations by encouraging them to look beyond the fidelity of the original text. She states, "What we aim to offer here is an extension of this debate, but one which further destabilizes the tendency to believe that the original text is of primary importance" (3; all references are to the class texts, Whelehan). In this article, she discusses several key points to consider when studying film adaptations. She points out several film critics and literary critics that comment on their opinion that film adaptations have to be simplified because they only have a present-tense point of view. However, she counters this opinion with that of Tolstoy's, who states that film has the advantage of showing the reader the setting visually, which discontinues the need to write lengthy, and quite frankly, boring descriptions (5; all references are to the class texts, Whelehan). Other aspects to consider in a film adaptation are the Production Code's limitations, the commercial value of a film, production limitations, and the actor's interpretation of their role.
             Whelehan states that the "novelistic expression must be retained in order to guarantee a 'successful adaptation.'" (7; all references are to the class texts, Whelehan) She discusses three types of adaptation: transposition, commentary, and analogy. Transposition is when a novel is copied from literature to film, the commentary is when the work is altered in some way, an analogy is when the text is taken almost completely out and the film is left with a free version of the themes in the original work.(8; all references are to the class texts, Whelehan). Whelehan also discusses three different approaches to film adaptation. The first way is the narratological approach, which...