Thesis (M.A.)--University of Wisconsin--Madison, 1973. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Th.--Lett.--Paris 1, 1986.

Th. 3e cycle--Litt. et civilis. fr.--Aix-Marseille 1, 1986.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 210-221).

Thèse de doctorat : Sciences de l'information et de la communication : Nancy 2 : 2007. / Titre provenant de l'écran-titre.

Thesis (Ph. D.)--Case Western Reserve University, 1979. / Typescript. Includes bibliographical references (leaves 262-265). Also issued in print.

Thesis (Ph. D.)--Case Western Reserve University, 1979. / Typescript. Includes bibliographical references (leaves 262-265).

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

El proyecto del presente trabajo de investigación se centra en el estudio de algunas de las relaciones intertextuales, de influencias temáticas y estilísticas que se establecen entre las obras de ambos autores, teniendo a Truffaut como cineasta heredero del legado creativo de Renoir. / This research project focuses on the study of the thematic and stylistic relationships established in the works of the two authors. / Trabajo de investigación

In this thesis the process of adaptation from novel to film is examined. La Bête humaine by Emile Zola and the film version by Jean Renoir provide specific examples. The starting point is the assumption, often made by cinema audiences, that the film should be "faithful" to the novel upon which it is based. A statement made by Renoir regarding his efforts to be true to what he describes as the "spirit of the book" is quoted to illustrate the prevalence of this attitude. Novel and film are then compared in order to test Renoir's claim to fidelity. What is revealed are the differences between the two. Through an examination of character, action, and space some of the reasons for the director's departure from the novel begin to emerge and it becomes increasingly clear that Renoir was obliged to adopt a different approach. Theme and form are then examined and the organic nature of their relationship suggested. Finally, the departure of the film from the novel is traced to the very different ways in which the two media function — linearity in the written medium as opposed to simultaneity in the cinematic medium — and the indelible nature of the association of theme and form is confirmed. In conclusion, the view that the media should and do correspond is found to be mistaken, and Renoir's statement is re-evaluated and assessed as an attempt, by a director sensitive to the public's insistence on fidelity, to disarm criticism. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate