---
name: literature-to-cinema
description: Translate approved literary adaptation decisions into shootable expressions with source mappings and justified explicitness; no camera execution or media.
---

# Literature to Cinema

When comparing expressions of subtext, memory or time, the Host may consult
[film practice by narrative problem](../director/references/film-practice.md).
Transfer a way of posing the dramatic problem, not another film's scene or its
interpretation. Keep case evidence in author context and the current work's
selected expression in existing cinema decisions.

Own CinemaTranslation in `contracts/creative_source.py`. Consume reviewed source analysis, philosophical constraints and adaptation/compression decisions. Realize each retained destination through observable choice, action, consequence, reaction, performance, gaze, blocking, timing, environment, spatial relation, object/motif, composition, sound/offscreen sound, silence, montage, transition or dialogue.

Begin from the retained literary tension and how the source makes a reader encounter
it, not only the facts that must appear. Distinguish what happens, what a participant
can know and what a later speaker is doing by telling it. A return, omission,
repetition or changed sequence can alter an earlier event. Compare film forms by
what a spectator can perceive, misread, revise or remain unable to settle. Visible
action can carry part of a thought without exhausting private knowledge, irony or
uncertainty; speech can itself be an event. Another person's continuing need or the
world's activity need not confirm the protagonist's account.

Retain the source-unit mappings, then examine the scene's accumulated relation:
which understanding or need is now harder to dismiss, and what the chosen form
cannot give. A complete list of expressive carriers is not proof that literary
force has survived. In an authorized exploratory study, develop materially different
organizations when the question warrants them; identify their source function,
spectator consequence, strongest rival reading and expressive cost. These are
options, not a menu of required styles. Do not make every idea an action, every
scene a delayed revelation or every ambiguity a puzzle. Let Scene and Director
turn the selected relation into their own concrete work; a persuasive explanation
has not succeeded if their design loses it. See [relational form research](references/relational-form.md).

Internal thought does not default to VOICE_OVER. Every expression records a nonverbal alternative and the choice/action/consequence it communicates. VOICE_OVER and EXPLICIT_EXPLANATION require a source/character/structure justification plus an explicit Director decision. Do not ban vocabulary; review dependence on explanation. The compiler supplies the shared theme preference order. Preserve productive ambiguity without excluding necessary philosophical speech or choosing its form in advance.

Record source-bound specialist review. Design screenable dramatic intention; cinematography, blocking, performance, sound and editorial departments retain their execution authority. Return novel inventions outside the contract to literary-adaptation.

Use [Creative Source boundary](../../docs/creative-source.md) for review hashes, routing, persistence and source-map consumers. `source.prepare_screenplay` validates the complete reviewed package; it does not author missing specialist outputs.

For missing retained context read `work.get_work`, `script.get_script`, or `context.build_context`.