2. 1. Length Challenge.
Screenplays rarely run longer than 120 pages. According to the calculations by Lynne Pembroke and Jim Kalergis (2005): .
"Figuring one page of a screenplay equals one minute of film, a 120-page screenplay translates into a two-hour motion picture." Such a significant limitation shift of a film adaptation has its peculiarities of reproduction. The main task here is to capture the essence and spirit of the story. The through-line and major sub-plot of the story are determined in a film and the rest features of a novel have to be viciously cut out. So-called "through-line" denotes the expression of the protagonist's goal and determines circumstances or other forces or antagonists, which oppose him of her. (Pembroke; Kalergis; 2005). .
2.2. Sensory Experience.
The shift from a single-track, uniquely verbal medium such as the novel, which 'has only words to play with,' to a multitrack medium such as film, which can play not only with words (both written and spoken), but also with theatrical performance, music, sound effects, and moving photographic images provides the audience with absolutely another sensory experience. To highlight this change in signifying materials the term transformational grammar is used in the field of film studies (Stam, 2000:56). The transformational grammar features the aspects of permutations in locale, time and language. The one of the most essential differences between film and novel is that films show and novels tell. By its nature, film has a visceral quality that eludes even the most moving printed page. Film's arsenal of pictures, movement, perception, mise en scene, shadow, character, and sound create an entity, which, to the senses, feels more real than words on page. The visceral nature of film viewing is rooted in the chemical exchange created by the simulation of the visual and auditory senses. Territorial space or locations and proximity are elements of mise en scene composition dependent on the restriction of freedom in a shot.
