Acknowledgments  Upon the completion of my thesis, I hereby am very grateful to the people and surroundings that have greatly helped me a lot during the past several months.
Firstly, my deepest gratitude goes to my supervisor Professor Chen Jiaxu who offered me great and valuable suggestions on the thesis-writing process, ranging from choosing the topic to organizing the outline and the paper. When searching for the common grounds, Professor Chen allowed the difference between our two ideas and it was such sparks that had made an enrichment to the thesis. Dedicated in the study of English literature, Professor Chen has enlightened me on the improvement of the thesis. But for his help, the thesis could definitely not be fulfilled.36069
I would also like to extend my heartfelt appreciation to all the teachers who helped me in various respects, especially the professors in the schools of foreign languages who guided me into a world of English literature and offered me different perspectives with their distinct scholarship.
Last but not least, I wish to give my thanks to my university which has given me so abundant information about English literature, the related theories as well as the printing books and digital versions available in the library. Its distinctive academic atmosphere served as an inspiration for the accomplishment of my thesis. 
Abstract
In 2004, American novelist Nicholas Sparks’ first touching fiction of love The Notebook was put onto the screen. Since then his fictions have become increasingly popular among filmmakers and up to now, there are altogether nine novels that have been adapted to films.
When making comparisons from texts to images, people unconsciously begin to explore whether the film version is faithful to the original or not. However, the criteria of “faithfulness” vary a lot among different audiences. By comparing the movie The Notebook and its original fiction, this paper holds that the “real faithfulness” of an adapted film from a fiction is not so much the requirement of a faithful literal adaptation as of keeping faithful to such core concepts as spirit, characters and commercial orientation.
The paper falls into five parts. The first part is the introduction. The second part is to analyze the feasibility of adapted works from fiction by taking The Notebook as a study case. The third part explores the necessity of changes to be made from fictions to films. The fourth part probes into the criteria of a successful adaptation work. Based on the thorough discussion in the previous sections, the conclusion is drawn in the last part that film-adaptation is a re-creation process, which should never be limited to the constraints of the original novels but should be given more appropriate freedom. The author sincerely hopes that the present research would not only cast light on the practice of film adaptation to promote the development of the film-making industry, but also helps people improve their ability of literary appreciation and thus making some contribution to cultural inheritance.
Key Words: film adaptation theory, The Notebook, faithfulness
摘要2004年，美国小说家尼古拉斯•斯帕克斯的第一部感人的爱情小说《恋恋笔记本》被搬上了银屏，从那以后，他的小说成了电影制片人的改编热潮。迄今为止，他一共有九部小说被改编成了电影。
当人们对比这种从文本到影像的转变时，会在潜意识里比较电影版本是否忠实于原版的小说。然而，人们对“忠实度”标准的认识不尽相同。本文将对比《恋恋笔记本》的电影改编版本和其原版小说，指出真正的“忠实论”并不是仅忠实于原著文字的改编，而是对小说的精神、人物形象和市场价值导向的忠实。

本篇论文共分为五个部分。第一部分是介绍。第二部分以《恋恋笔记本》为例分析小说改编成电影的可行性。第三部分研究小说改编成电影不同角度发生的必然变化。第四部分论述一部相对成功的改编作品应遵循的标准。通过以上分析，本论文的结尾旨在指出电影改编过程是一个再创造的过程，应该给予更大的自由度。作者亦希望本文能对如何更好地促进电影产业的发展以及通过人们对文学品位的提升，从而促进经典文学产业的传承做出贡献。 论《恋恋笔记本》文学作品的影视改编:http://www.youerw.com/yingyu/lunwen_34380.html