Even though it is problematic to define the realization of an event as a "text" or a "hypotext", works of literary journalism are closely related to the framework of adaptations because an adaptation is defined as the process of making a work of art from elements provided in a different medium; furthermore, works of literary journalism often resemble the filmic construction of a play. Before supporting my argument using Stam's theories on literary film adaptations from his essay "Beyond Fidelity: The Dialogues of Adaptation", I will begin with a brief summary. from Stam's article. He begins his essay by complaining: "The language of criticism dealing with the film adaptation of the novels has often been deeply moralistic, awash in terms such as infidelity, betrayal, distortion, violation, vulgarization and desecration, each accusation carrying its share of accusations. specific accusation of indignant negativity” (54). He argues that more effective criticism will be grounded in “contextual and intertextual history” (75) and less concerned with vague ideas of fidelity. He believes that absolute fidelity is impossible due to (1) the difference in medium between novel and film, (2) the lack of a single absolutely correct reading of a novel, and (3) the intertextuality of all novels and films. He states that: “Each medium has its own specificity arising from its respective materials of expression” (59), and explains that the written word is the only expression component of the novel, while the film has more components such as “the moving photographic image, phonetic sound, music, noises and written documents” (59). Some changes are therefore inevitable. Stam is also interested in the term “fidelity” in film adaptations. Is...... middle of paper ......e subdivided into eighty-six scenes which tell the facts of the case by constantly alternating points of view (132), which is obviously a screen printing technique. In his Capote biography, Clarke also identifies Capote's style as cinematic when he states that: "Despite Brook's efforts, [the film In Cold Blood] has little of the impact of the book. Paradoxically, it is also less cinematic than the book” (386). To conclude, the similarities in the processes of transformation of a corpus of hypotexts, the similarities between the mediation filters in the process of adapting a novel into a film and adapting a factual story. case in a non-fiction novel, as well as the fact that most adaptations are made in a style that creates a cinematic experience for the reader, are factors that prove my proposition that works of literary journalism can also be considered like adaptations..