Özet:

As in all works of art, cinema derives its origin from life and also reproduces life’s subjects per its own understanding. Cinema is in interaction with all the branches of art that existed before it. Among these branches of art, literature is the one it interacts with the most. This strong relationship between literature and cinema stems from their ability to explain the topics they deal with in detail. Since both fields of art are nourished by similar dynamics, many works have been adapted from literature to cinema. The first adaptation from literature to cinema in history is Melies’s movie A Trip to the Moon (1902), which was inspired by Jules Verne and H. G. Wells’s books; this film is followed by many more adaptations, the film A Trip to the Moon has an important place in the history of cinema as it is both the first adaptation and the first example of the science fiction genre. Today, the technique of adapting from literature to cinema is among the methods used by many directors. This study focuses on the films Lo Straniero (1967) and Yazgı (2001), which were adapted for the cinema from Albert Camus’s novel The Stranger (L’Étranger, 1942) by two different directors (Luchino Visconti and Zeki Demirkubuz) in different years. The reason The Stranger was chosen for this study is that is effective all over the world, there are traces of existentialism, and it conveys the depression and alienation experienced by the people of the period. For this reason, these two adaptation films were selected for the study. After analyzing Albert Camus’s literary understanding and The Stranger novel, the general story of these two films and the main characters (Meursault in Lo Straniero, Musa in Yazgı) were analyzed by comparative framing analysis. After the analyses it was discovered that, while Luchino Visconti’s movie was a direct adaptation of the novel, Zeki Demirkubuz made free adaptation inspired by the novel.

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