ABSTRACT
Fidelity Criticism, a critical point of view that measures the success of an adaptation against the supposed value and meaning of the original, is as much a stalwart companion of adaptation studies as it is an embarrassment for it. Especially forms of adaptation studies that seem to assume that adaptation only comes into being with film, and that its traditional ‘enemy’ is literary studies, are often perplexed at the fact that critics are still tempted to search for truthful representations of original works or, worse, the intentions of their authors. Focused on the overt communal production of media such as film, such perspectives appear to them outdated and downright inappropriate.
