Page 2 of 17

1. Introduction --------------------------------------------------------------------------3

2. Agatha Christie’s Life ---------------------------------------------------------------3

3. Classification in Crime Fiction - The “Golden Age“ ---------------------------5

4. The Comparison of Book and Film -----------------------------------------------6

4.1 Differences between Books and Movies in general ......................................................... 6

4.2 Adaption Theory ............................................................................................................... 8

4.3 A Brief Summary.............................................................................................................. 9

4.4 The Original versus the Adaptation ................................................................................ 10

5. Conclusion --------------------------------------------------------------------------14
 Page 3 of 17

1. Introduction

In the last decades a huge change in pop-culture occurred. It became more and
more popular to consume moving image media, while written media seems to have partly
fallen into oblivion. Of course, it is incumbent upon us that stories that were already
popular decades ago are now being recreated in a new medium. This procedure is called
adapting. It seems obvious, for example, that if a book is adapted into a film, changes
occur in the story and the way it is presented. But does this change the feeling that a story
conveys? In the following, differences between film and book will be examined and
explained using Agatha Christie's “Murder on the Orient Express“ and Kenneth Branagh's
2017 film adaptation as examples.

2. Agatha Christie’s Life

Agatha Christie, a woman whose name everyone knows. She once stated in one of
her short stories: ‘Very few of us are what we seem’.1 This applies very well to her own
living, since she has consciously blurred all traces that make it possible to reconstruct her
life scientifically. She did not want anybody to know what her life was like. Her life was so
eventful that even her biography reads like a novel.2
The later star author Agatha Christie was born on the 15th September 1890 in
Torquay on the British south coast as Agatha Miller.3 She was the third child of an
Englishwoman and a rich American.4 The Millers lived very noble with their own service
staff. At that time it was common for girls not to be required to attend school, so the young
Agatha was educated from home.5 She began to read at the age of four, although she was
not supposed to learn until she was eight.6 She spent a joyful childhood in Torquay.7 After

1 Agatha Christie, Tommy & Tuppence: The Man in the Mist (New York City: Harper Collins, 2011).
2 cf. https://www.nytimes.com/2019/06/11/books/agatha-christie-vanished-11-days-1926.html(29.10.19).
3 cf. https://www.biography.com/writer/agatha-christie(28.10.19).
4 cf. Laura Thompson, Agatha Christie: An English Mystery (London: Headline Review, 2008), 8.
5 cf. Ibid., 19.
6 cf. Ibid., 18; Agatha Christie, An Autobiography (New York City: William Morrow, 2011), 26.
7 cf. Thompson, Agatha Christie: An English Mystery, 1.
 Page 4 of 17

her father died when she was eleven years old, she went to Paris at seventeen to study the
piano and singing, which she quickly abandoned. 8
Despite money worries, her mother sent Agatha to Egypt, where she spent much
time at balls.9 Back in Torquay at the age of twenty-three, she met her future husband at a
ball. Archibald - Archie - Christie is an officer in the Royal Flying Corps.10 When the First
World War broke out, Agatha Christie worked as a nurse at Torquay Hospital.11 As she was
very touched by the serious injuries, she moved on to work at a pharmacy. 12 This was one
of the most important circumstance for her later life as an author, as she learned a lot about
poisons and the human body. She would often use this knowledge in her novels later.13 In
1926 Christie's mother died and her husband cheated on her with another woman. That was
the starting point for something mysterious. Agatha's car was found abandoned on the
roadside in December in that same year.
She suffered from amnesia due to the accident and she no longer knew who she
was. Thirteen days later, after hundreds of people searched for her, she was found
registered in a hotel in Harrogate, Yorkshire with the name of Archie's escapade. 14 In 1930
she married her second husband, who was 14 years younger than her.15 Max Mallowan was
an archaeologist and he showed her the whole region around Syria and Iraq. 16 Over the
next few years Agatha supported her husband Max on his expeditions and excavations with
the money from her book sales.17
In fifty-five years as a writer she wrote over 66 detective novels, as well as
numerous short stories and plays.18 In 1971, Agatha Christie was elevated to the nobility by

8 cf. Ibid., 33, 60.

9 cf. Ibid., 67.
10 cf. Ibid., 72,73.
11 cf. Ibid., 93.
12 cf. Ibid., 93, 102.
13 cf. Ibid., 103.
14 cf. Ibid., 160, 168, 177, 187, 193, 199, 207, 211.
15 cf. Ibid., 14.
16 cf. Janet Morgan, Agatha Christie: A Biography (New York City: Harper Collins, 2017), ix.
17 cf. Thompson, Agatha Christie: An English Mystery, 417.
18 cf. https://www.krimi-couch.de/autoren/5251-agatha-christie/ (29.10.19).
 Page 5 of 17

Queen Elizabeth II for her extraordinary abilities.19 To this day, she is the only criminal
writer to have been awarded with this honor. In summary, one can see that Agatha
Christie's life influenced her books and the characters in them decisively. She has certainly
also used some of her experiences in stories about her master detective. For example, she
travelled with the real Orient Express to Syria, where Hercule Poirot has to solve a case in
the novel "Murder on the Orient Express".

3. Classification in Crime Fiction - The “Golden Age“

Crime Fiction is a very popular genre. The “Golden Age“ started at the beginning
of the 19th century and lasts until today. Every third book sold in the UK is a thriller.20 Of
course, every story in the crime genre has something in common: A crime has been
committed. However, the different authors and their tales can be classified very well in
sub-genres. One of them is the so-called Golden Age, the period between the two world
wars.21 One of the most famous representatives of the “Golden Age of Crime Fiction“ is
Agatha Christie. Crime thrillers from the Golden Age have the striking similarity of
lacking plausibility and authenticity, as well as a more puzzle-like plot.22 That goes along
with Christie's most famous detectives Hercule Poirot and Miss Marple - but here the focus
will be mainly on Hercule Poirot. Both, Monsieur Poirot and Miss Marple are more there
to convey the puzzle - the purpose - which Christie incorporates into her stories than to be
fully involved in the action themselves. They function on a kind of meta-level between the
people in the story and those who read the story.23 Hercule Poirot is a prime example of
this, as he has exactly the knowledge he needs to solve a case, concentrating on small
details.24 An example of this would be the story “Murder on the Orient Express“ in which
Poirot almost automatically overhears conversations and combines them with his

19 cf. Thompson, Agatha Christie: An English Mystery, 312.

20 cf. https://www.profwritingacademy.com/why-we-love-crime-fiction (30.10.19).

cf. Stephen Knight, Crime Fiction: 1800-2000: Detection, Death, Diversity (New York City: Palgrave
21
Macmillan, 2004), 85.
22cf. Richard Bradford, Crime Fiction: A Very Short Introduction (Oxford: Oxford University Press, 2015),
19.
23 cf. Ibid., 20,21.
24 cf. Knight, Crime Fiction: 1800-2000: Detection, Death, Diversity, 91.
 Page 6 of 17

knowledge to solve the puzzle. To get back on track, one can see that the whole Golden
Age appears with the message that no one can be trusted. The danger usually never comes
from an unknown person, but always from someone with a stronger connection to the
acting characters.25
The murderer, whose identity is mostly revealed by the detective at the end, is
among the other characters, who all seem to be written very deep at first glance. On closer
inspection, however, it becomes apparent that the other characters behave like templates of
their own kind. This becomes clear when you notice that the people react very
stereotypically.26 In the book “Murder on the Orient Express“, for example, Mr. Ratchett
behaves as determined as you would expect from a stereotypical American art dealer and
businessman in the 1920. Princess Dragomiroff is also only an icon that makes use of the
clichés of a snobbish and detached royalty. In addition, they behave exactly as one would
personally suggest them to act and not differently. So they don't have any other deep
characteristics apart from their profession, which is nevertheless very well concealed by
the puzzle-like case typical for the Golden Age, as these characteristics are used for this
purpose.27 Since a butler for instance will behave exactly as expected, the crossword-like
puzzle can be solved. All in all, Agatha Christie’s stories are a prime example for the
Golden Age, as she was a pioneer in this field of literature and made it very popular for
everybody.

4. The Comparison of Book and Film

4.1 Differences between Books and Movies in general

A movie and a novel are completely different genres, but both are meant to
entertain. Both desire to convey a story that, most of the times, stays in one’s mind. Yet it is
to imagine, a written book is contrasting to a film because of many factors. According to

25 cf. Ibid., 91.

26 cf. Bradford, Crime Fiction: A Very Short Introduction, 22.
27 cf. Ibid., 22.
 Page 7 of 17

Seth Hoover there are four major factors: Time, Budget, Technology and Production 28.
Films are limited through their run-time, since everything from setting, character
building to climax has to be portrayed in just one to three hours, watchable in one sitting,
while a novel is not limited in it’s length in that way. A movie is way more compact than a
novel, as the author of a book has to describe important details to convey his point-of-view,
whereby the description of a simple action like walking in a park can take on enormous
scales. Here e.g. the step length of the protagonist is described, as well as his mood. The
movie again pictures the details of walking in a park in just a couple of frames, where the
mood is shown through facial expressions of the actor or things like the step length are
simply portrayed.
The factors budget and technology affect each other because advanced technology
like CGI - Computer Generated Imagery - is very expensive. Also the longer a movie needs
in production, the more it costs due to e.g. payment for the workers or actors. In addition,
each set that appears in the movie must be built, which also costs money. The technology
appearing in a movie costs a huge amount of money, today. Usually if a director wants to
portray anything that cannot be filmed in live action, they use VFX. VFX is short for visual
effects and means the manipulation of image material with the help of computer software
after the imagery is shot, to create a realistic environment or details that are not real. It is
important that the modifications stay unrecognized by the viewer.29 An example for a good
use of VFX is the “Jungle Book“30 where every animal and the whole environment is
computer generated. Here, one can clearly see the difference between literature and a
cinematic adaption. While the narrator of a book only describes surreal situations that
become real in the reader's mind, in a film there is no narrator in this sense. The director
offers his form of a story and has to show it exactly. So it doesn't become real in the
consumer's head but on a screen before it. The difficulty here is to portray what the director
wants to show in a way that firstly corresponds to his vision optically and secondly
distributes it to the viewer in an understandable way. The creative part obviously takes
place in the hands of the director and his team alone and not, as in the case of the book,

28cf. https://www.quora.com/Why-are-movies-and-TV-shows-based-on-books-always-different-than-the-
books(23.09.19).
29 cf. https://www.studiobinder.com/blog/what-is-vfx/(20.10.19)
30 cf. Jungle Book. Jon Favreau. Sydney: The Walt Disney Studios, 2016.
 Page 8 of 17

with the author and the reader.

The forth and final difference is the production. This point also collaborates with
the points of technology and budget. As already mentioned, there is a big difference
between what the reader interprets from what the author has written, what he feels and the
vision that the director brings to the screen. This is mainly down to the consumer's
experience and values, which are fundamentally different for everyone. One can see there
are many factors that influence the film adaption of a written novel, Nonetheless, you can
summarize everything in a so-called “Adaption Theory“.31

4.2 Adaption Theory

Whether each adaption is different or not, one can still determine similarities, since
each adaption follows the same rules. According to Robert Stam an adaptation in general
changes the energy of a text. The linguistic energy of writing is transformed into an
animated audiovisual energy.32 This change often causes many complaints, because in
some cases a translation from novel to film will result in the loss of something.33 A film
adaptation can narrow, sharpen, or change the heart of the story so that the adaptation and
the original work can no longer be compared in that way, as two completely different
works have evolved with their own integrity, each containing potential references only.34
Though literature and screen as storytelling formats have expanded on each other. Some
writers have imitated filmmakers' narrative strategies, while filmmakers can use stories
from writers.35
Classic film adaptations are so fascinating because they do interesting things with
stories that one already cares about. A touching story, written in a book, can be viewed
from a completely different angle. One experiences the world of this narrative in a brand-

31
cf. Deborah Cartmell and Imelda Whelehan, Screen Adaption Impure Cinema (New York City: Palgrave
Macmillan, 2010), 10-15.
32cf. Robert Stam and Alessandra Raengo, Literature and Film: A Guide to the Theory and Practice of Film
Adaption (Oxford: Blackwell, 2005), 46.
33 cf. Ibid., 3.
34 cf. Jonathan Bignell, Writing and Cinema (London: Pearson Education Limited, 1999), 134.
35 cf. Cartmell and Whelehan, Screen Adaption Impure Cinema, 14.
 Page 9 of 17

new way. 36 The task of the filmmaker in an adaptation is to understand the complexity of a
story, so it can be transferred in each part, as nothing of the charm or even the reason for
the popularity of the story should be lost.37 However, it must still be noted that the
audience is undergoing sociological shifts. In most cases, the story has to be changed in
subtle ways because the norms and values of the audience have changed over time.38 For
example, the interaction between cultures and nations must be carefully chosen. Things
that were perfectly normal fifty years ago may be politically incorrect today and cannot be
performed in this way.
A further obstacle, if it comes to adaptations are the differing ways in which a book
or a film brings things across. A book has only the written level to express something,
while a movie has five ways. A film can make the viewer feel something through image,
phonetic sound, music, noises and written materials.39 Of course the different ways of
performance can be combined as well. For example, you can connect inharmonic music
with surreal sounds to frighten the audience.

4.3 A Brief Summary

To facilitate the understanding of the actual comparison, here is a short summary of

“Murder on the Orient Express“ drafted by Agatha Christie.. The story is divided into three
parts called “Part 1 - The Facts“, “Part 2 - The Evidence“ and “Part 3 - Hercule Poirot Sits
Back and Thinks“.
Part 1 starts, when The Belgian protagonist Hercule Poirot - who ist known as the
greatest detective in the world - is on his way home to London from Stamboul to solve an
important case. Since it is winter, the trains in the Orient are usually very empty, but
Monsieur Poirot has to use his connections to the head of the train company Monsieur
Bouc to get on the surprisingly fully booked train called “Orient Express“. At dinner Poirot
and Bouc watch the other guests and Poirot gets a first impression of them. It seems as if
they are not connected to each other at all. One of the travellers - the American Ratchett -

36 cf. Ibid., 20.

37 cf. Ibid., 20.
38 cf. Ibid., 21.
39 cf. James Naremore, Film adaption (New Brunswick, New Jersey: Rutgers University Press, 2000), 59.
 Page 10 of 17

asks Poirot for help because he gets death threats. Poirot refuses, because he is not
interested enough in this case. Hercule Poirot goes to sleep while strange things happen at
night. Ratchett talks to the conductor in the next room, the conductor later communicates
with the American woman down the hall and something slams against his door so he looks
out and sees a woman in a red kimono. The next morning the train doesn't move anymore
because it was covered with snow. M. Bouc orders Poirot to come and reports to him about
the murder of Ratchett last night by 12 knife wounds. Poirot examines the body and finds
several clues, such as that the killer is both, right-handed and left-handed. He also finds a
piece of a pipe cleaner for men and a piece of a handkerchief for women. There are also
two matches in the trash and a piece of paper that says something about Daisy Armstrong
who was kidnapped and murdered years ago by Ratchett alias Cassetti, but the murderer
did not get any penalty.
The second part begins with interviewing the 12 guests, where they were during the
murder and what they did, but everyone involved can cover for each other and provide an
alibi. Then the assassination weapon is found in the pocket of a travelling woman. The
conductor's clothes appear in another lady's pocket and the red kimono in Poirot's own
pockets.
The last and third part consists at initial stage of Poirot's analyses of the evidence
that makes him wonder. After a while he thinks he has the solution: Everyone on this trip
was somehow connected to the Armstrong family. But Poirot offers two possibilities in the
end. In one of them a stranger got on the train and killed Ratchett while the train was
standing. In the other one, which is true, all 12 passengers committed the murder together
to get revenge for the Armstrongs. Poirot leaves it to Monsieur Bouc to decide which
solution he reports to the police. 40 41 42

4.4 The Original versus the Adaptation

To compare the novel with the adaptation, there is the original “Murder on the

40 cf. Agatha Christie, Murder on the Orient Express (London: HarperCollinsPublishers, 2015), 1-274.
41 cf. https://www.shmoop.com/murder-on-orient-express/summary.html (2.11.19).
42 cf. https://www.aresearchguide.com/murder-on-the-orient-express-summary.html (2.11.19).
 Page 11 of 17

Orient Express“ written by Agatha Christie43, as well as the film “Murder on the Orient
Express“ directed by Kenneth Branagh, released in 2017. 44 Looking at both works, it
becomes apparent that the main plot is nearly the same, only that the movie starts a little
earlier and ends a little later. Despite the great similarity of the plot, differences are
noticeable on closer inspection. These differences can be divided into four groups: to
criticize society, to give Poirot the main character more depth, to enlarge the drama and
scenes that have been changed because they are works of different media types in different
times.
If one starts with social criticism, you will notice that the film especially mentions
racial segregation. That fact becomes clear by the white man, who does not want to sit next
to Colonel Arbuthnot while dining, as he is colored in that film version. Miss Debenham is
also ashamed of her feelings towards Colonel Arbuthnot, as he is colored and mixed race
marriages weren't very appreciated plus even illegal in the US at that time. 45 This will
probably be the case, as the production team of the film knows about the misadventures in
the past of mankind at that time and wants to show that humanity has become better and
things that were common in former times, like racial segregation, won't happen anymore.
Agatha Christie was one of the greatest representatives of the Golden Age, in which
protagonists like Hercule Poirot are usually written very flat (see chapter 3), as it is the
case within the book. However, the movie often tries to give Poirot more depth. For
example, at several points in the movie Poirot talks to a picture of a woman and always
calls her by her name. This leads to the conclusion that Poirot has a lover or had one. It
leaves a lot of room for speculation what happened to her at this point, which provides
more depth to the character in the movie, while the Poirot from the book never mentions a
woman or even a love life. Also, Hercule Poirot is mostly very sober and acts very
deliberately and objectively in the book, while this isn't always the case in the movie. An
example would be the scene in which Poirot rejects Ratchett's offer to guard him for
money. In the book Poirot doesn't care about it at first and only looks out of the door once
at night. In the film, however, Poirot looks at the corridor before going to bed and three

43 cf. Christie, Murder on the Orient Express, 1-274.

44 cf. Murder on the Orient Express. Kenneth Branagh. Los Angeles(?): Twentieth Century Fox, 2017.
45 cf. https://www.thoughtco.com/interracial-marriage-laws-721611 (3.11.19).
 Page 12 of 17

more times at night. This now suggests that Poirot has feelings of guilt in the movie and is
worried about his fellow traveller, while he doesn't show any signs of such a thing in the
book. An additional example would be that Poirot in the movie often gets very abusive and
accuses people like Countess Andrenyi and M. MacQueen of committing the crime by
merely shouting at them in the middle of the movie. The Poirot of the book never becomes
very emotional and relies very much on his patience, just as he keeps his reflections to the
very end when he presents to everyone in a meeting his proofs of the murder’s identity.
The main character was probably given more depth in the adaption, since a very flat
character in movies is very boring. It's quite a tension when Poirot gets abusive in the
movie and accuses the countess. With a flat protagonist in the movie it would feel very
dragging and long. Poirot would not be interesting and would not contribute to the plot,
which would be more fatal for the movie than the book, as you have different viewing
habits than reading habits.
“Murder on the Orient Express“ is clearly a drama, but at some points the movie
tries to enhance the drama even more than the original does. There's obviously a lot of
evidence for that. Hercule Poirot, “probably the greatest detective in the world“ 46, was
hired in the movie years ago by Daisy Armstrong's father to find her murderer. However,
he didn't receive the letter until her father had already killed himself out of sorrow. The fact
that Poirot could not solve this case is very preoccupying for him and is a kind of nemesis
for him that does not exist in the book. In addition, Countess Andrenyi is, again only in the
movie, addicted to sleeping pills due to her traumatic experience with Cassetti. Another
noteworthy feature is that the book never really talks about the train continuing its journey,
while in the film there are several significant references to the fact that the train will soon
continue its journey, as it is almost free of snow again. This time pressure naturally puts
Hercule Poirot under further strain, as he has to solve the case before the police enter the
train at the national border. Of course the shot with the pistol at Poirot by Colonel
Arbuthnot, as well as the further murder attempt up to the rescue by Monsieur Bouc that is
only present in the movie generates further tension and drama, since there the character
Poirot has the possibility to literally fall and therefore can never present his solution for the
case. Why the producers wanted to make the film more dramatic than the book, can have

46 Murder on the Orient Express. Branagh, 2017.

 Page 13 of 17

several causes. On the one hand it could be that they found the book simply too boring for
the cinema screen, especially in Part 2, since the book is very linear and dialogue-heavy
there. On the other hand, it is possible that the producers simply wanted to change
Christie’s story a little and thus immortalize themselves in it.
A connoisseur of Christie novels will notice that the order of some scenes has been
changed. In the middle part of the book, for example, there is a linear sequence of the
testimonies of the suspects in the dining room, while in the film, between different
testimonies and places in and around the train is cut. This is just a minor example of the
changes between book and adaption due to the fact that they are two different types of
media. Probably the most striking thing about it is that the reader of the book begins to
learn the story at the station, where only a brief mention is made of what the detective did
before. In the film the viewer already gets into the story. There you can see how Poirot
elegantly solves the case, which is only mentioned briefly in the book, and sets off for the
train. This change was made because it is easy to tell in the book that Poirot is the greatest
detective. However, this possibility is not appreciated in movies, since a movie can also
visualize that he is a good detective. The resolution of the previous case makes it easier to
become familiar with the brilliance of Poirot and his procedures. In addition, the film has
many sexual allusions, such as the encounter with Monsieur Bouc's prostitute at the
beginning of the film, or Mrs. Hubbard's allegations to Ratchett, while the book really
contains none at all. This will probably be due to the fact that the film was released in
2017, while the book was released in England in the 1930s, which were much more
prudish. So the book by Christie can't have any sexual allusions at all. In the film they will
presumably be there for the mere amusement of the audience. Something that the book
contains, but the film has not inherited, is the keywords-like appraisal of information on
the suspects.47 The film was not supposed to do this, because a film is meant to be watched
at once, while a novel can be read on many occasions. The novel once again summarizes
all facts about the suspects, as they are important to understand the entire resolution of the
case in case the reader has forgotten them. This is not necessary in the movie, as the whole
investigation was only a few minutes ago and nothing should be forgotten by the viewer.

47cf. Christie, Murder on the Orient Express, 205-208.

 Page 14 of 17

5. Conclusion

As one can see there are many small differences between the movie and the book,
although the plot is the same. These are due to the fact that the film from the year 2017 is
also designed for the audience of that generation. Of course, these differences are not
serious and the story about the legendary Hercule Poirot and the murder in the Orient
Express remains with all its charm. But it's precisely these small changes that can be
noticed - changes that are unavoidable when the story is told again by other writers for a
completely different generation.
 Page 15 of 17

Bibliography

Primary literature:
Christie Agatha. Murder on the Orient Express. London: HarperCollinsPublishers, 2015.
Branagh Kenneth. Murder on the Orient Express. Los Angeles(?): Twentieth Century Fox,
2017.

Secondary literature:
Book literature:
Richard Bradford. Crime Fiction: A Very Short Introduction. Oxford: Oxford University
Press, 2015.
Cartmell Deborah and Whelehan Imelda. Screen Adaption Impure Cinema. New York City:
Palgrave Macmillan, 2010.
Christie Agatha. An Autobiography. New York City: William Morrow, 2011.
Christie Agatha. Tommy & Tuppence: The Man in the Mist. New York City: Harper
Collins, 2011.
Favreau Jon. Jungle Book. Sydney: The Walt Disney Studios, 2016.
Knight Stephen. Crime Fiction: 1800-2000: Detection, Death, Diversity. New York City:
Palgrave Macmillan, 2004.
Morgan Janet. Agatha Christie: A Biography. New York City: Harper Collins, 2017.
Stam Robert and Raengo Alessandra. Literature and Film: A Guide to the Theory and
Practice of Film Adaption. Oxford: Blackwell, 2005.
Thompson Laura. Agatha Christie: An English Mystery. London: Headline Review, 2008.
Bignell Jonathan. Writing and Cinema. London: Pearson Education Limited, 1999.
Naremore James. Film adaption New Brunswick, New Jersey: Rutgers University Press,
2000.

Internet literature:
https://www.aresearchguide.com/murder-on-the-orient-express-summary.html (2.11.19).
https://www.biography.com/writer/agatha-christie(28.10.19).
https://www.krimi-couch.de/autoren/5251-agatha-christie/ (29.10.19).
 Page 16 of 17

https://www.nytimes.com/2019/06/11/books/agatha-christie-vanished-11-
days-1926.html(29.10.19).
https://www.profwritingacademy.com/why-we-love-crime-fiction (30.10.19).
https://www.shmoop.com/murder-on-orient-express/summary.html (2.11.19).
https://www.studiobinder.com/blog/what-is-vfx/(20.10.19)
https://www.thoughtco.com/interracial-marriage-laws-721611 (3.11.19)
https://www.quora.com/Why-are-movies-and-TV-shows-based-on-books-always-different-
than-the-books(23.09.19).
 Page 17 of 17

Erklärung
Hiermit erkläre ich, dass ich die vorliegende Arbeit ohne fremde Hilfe angefertigt und nur
die im Literaturverzeichnis angeführten Quellen und Hilfsmittel benutzt habe.

Ort, Datum Unterschrift