The historical connection between literature and cinema can be traced from the very beginning of the last century. If the first Lumiere films were an attempt to capture on film an urban texture or a simple genre-everyday scene, then very soon literature became a real supplier of plots, as the popularity of cinema only grew, and it seems that by the early 1920s there were simply no works of the past and present that would not have been filmed. However, the specificity of cinema's appeal to literature lies in the fact that this process never loses its relevance. One explanation lies in the different ways in which these arts relate to time. In this regard, literature is a more "free" art, and we can consider a text written several decades ago to be a contemporary work. This is not the case with cinema, which is fundamentally tied to the specificities of the decade, which explains the constant demand for literary pretexts: after two or three decades, the cinema once again feels the need to adapt material that has already been filmed. When publishing our essays, we adhere to the principle of linear chronology, not with regard to books, but with regard to films. It is also worth noting that a comparative study that takes into account the specific interaction between two arts, as in this case, is beneficial for both arts rather than for each art individually. By examining cinema through the lens of literature and vice versa, we can understand how a synthetic art form manifests its own unique characteristics, rather than simply imitating literature, by interpreting and enriching its own language of expression.
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