This document outlines the theoretical frameworks and main schools of thought regarding the relationship between film and literature. It discusses the precursors to film theory from the avant-garde, Russian formalism, and early 20th century writers. It also summarizes the influential semiological and narratological studies from thinkers like Christian Metz, Umberto Eco and Roland Barthes. Finally, it examines some of the key linguistic differences between film and literature, such as their approaches to space, time, and point of view, as well as some extra-linguistic aspects like their modes of creation and reception.

1. THEORETICAL
FRAMEWORK

2. MAIN SCHOOLS AND THEORIES
• Precursors:
 The avant-garde
 Russian formalism
 Béla Balazs
 Sergei Eisenstein
• ‘Précinema theories’: Etienne Fuzellier, Paul Leglise.
• Claude Magny and the influence of film on literature.
• Semiological and narratological studies: Christian Metz,
Umberto Eco, Roland Barthes, Seymour Chatman,
David Bordwell, François Jost.

3. THE LANGUAGES OF FILM AND LITERATURE
• Linguistic definitions: What is Literature? Film Vocabulary
• The concrete and objective versus the conceptual and
subjective: Beginnings of The Maltese Falcon and The
Great Gatsby
• Diegetic discourse versus mimetic discourse.
• Point of view
• Space and time
• Reception

4. OTHER DIFFERENCES: EXTRA-LINGUISTIC ASPECTS
• Individual creation versus collective creation
• Social (or conventional) limitations
• Reading as a private act versus film as a show.
• Other times: a wish to improve the original