The study of the process of adaptation from novel to film also offers an insight into the nature of expression through words and images respectively. In what context are the powers of seduction found and the suggestiveness of the film developed? And when can a word say more than a thousand images? Another great reason for studies of novels turned into films is that such studies clearly stimulate interest in literature, in reading, and there are numerous examples of film adaptations that provoke a demand for the books on which they are based. Old, little-known novels often experience a rebirth. Long forgotten novels have been reprinted, published in paperback with film images on the cover, and sold on newsstands alongside magazines, newspapers and comics. Even an author with more limited accessibility, such as Virginia Woolf, gained a significantly expanded readership after the adaptation of her Mrs. Dalloway (1997) and Michael Cunningham's The Hours (2002). There is also the new phenomenon of novelization. When Charles Dickens' Great Expectations was last filmed in 1998, many people, as usual, wanted to read the book on which the film was based. For a number of inexperienced young readers, however, Dickens's original was too great a challenge. They instead chose to read the light version of the story, based on the film's screenplay – a so-called novel. Of course this is a controversial type of novel, but some argue that it is sometimes good for young people to read books and that a light version is far better than no version at all. In any case, reading the novel is stimulated by the film adaptation. Literature has always been...... middle of paper ......air consideringWorks Cited1 http://d2buyft38glmwk.cloudfront.net/media/ cms_page_media/11/FITC_Adaptation_1.pdf2 Linda Hutcheon, A Theory of Adaptation, and. Linda Hutcheon. (New York; Rouledge,2006. Preface (pgXVI)) Reason; Definition of adaptation3 franscesco Casseti, "adaptation and maladaptation", a companion to literature and film 2004, pg81 http://grad.uprm.edu/testis/mendezrodriguezsharon.pdf4 Wolfgang Is ofer, The Implied Reader, 2006, pg763-7785 Barbaera Tepa Lupack, introduction “19th century women at the cinema; adapting classic women's fiction to cinema” pag. 1-226 http://filmadaptation.qwriting.qc.cuny.edu/files/2012/08/McFarlane-Backgrounds-Issues-New- Agenda.pdf7 ariane Hudelet, The Role of Sound in Embodiment jane austen www.jasna. org/persuasions/printed/number27/hudelet.pdf 8http://cassandrajade.wordpress.com/2009/11/26/10-reasons- film-libri/