Literary Film Adaptation

1.In her book, A Theory of Adaptation, Linda Hutcheon proposes three kinds of representation that are treated as the basis for her theorization. They are “telling”, “showing”, and “interactive” modes. Please elaborate on her statement to pave the way for her further discussion.
2.Discuss the three levels of meaning in Roland Barthes’s essay entitled “The Third Meaning.”
3.What are the three hostilities of filmic adaptation indicated by Robert Stam?
4.Is there fidelity in adaptation? If yes, what is it? If not, why not?
5.Kristeva’s concept of intertextuality is used by Robert Stam, who treats it as “the effective co-presence of two texts” in his discussion of film adaptation. Please elaborate on his statement to examine the relationship between literary texts and films.
6.According to Bela Balazs, how does the film script differentiate drama and the stage play?
7.Is there likely to be any possibility for film adaptation to have its own aesthetics? What is the conviction supporting such an assumption?