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The transfer of an artistic work from the literary medium to the filmic medium presents technical, personal, social and political factors for consideration which are capable of revealing important information about the times in which both the literary work and the film work were created. In a Russian context, where both literature and film have played roles of central cultural importance, the study of this interaction can be particularly fruitful. The first chapter of this dissertation considers the theoretical aspects of adaptation, namely fidelity to the original work and questions of metaphor and narrative structure. After examining these issues in a general context, Chapter 1 then views them in the light of specific stages of Russian cinematic history. The remaining chapters of this dissertation consider selected post-revolutionary Soviet and Russian filmic adaptations of the works of Nikolai Gogol', Fedor Dostoevskii and Anton Chekhov in chronological order. Analysis of both text and film is undertaken in order to demonstrate the complexity of literary and extra-literary factors involved in adaptation. The works of Gogol' have provided film makers with the challenge of finding "adequate" filmic equivalents to this writer's narrative devices, particularly his use of skaz [oral folk narration]. Dostoevskii's works have proven to be a stumbling block for film makers, both in terms of their ideological acceptability, and their exploration of complex psychological and religious issues. The adaptations of Chekhov's works have provided cinema with diverse subject matter that reflects the various stages and developments of Russian cinematic history, from pure fabula borrowing to an emphasis on mood and atmosphere. The interdisciplinary approach of this dissertation strives to show both the on-going relevancy of nineteenth-century Russian literature to modern culture, and the cinema's ability to present vastly differing interpretive possibilities of the literary cano

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