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Un coup d’oeil heuristique sur le champ de l’adaptation de la littérature au cinéma montre qu’un grand nombre d’études donnent la priorité à la narration du cinéma classique, tout en effaçant le support matériel du médium ainsi que sa place dans une histoire des régimes visuels. Plutôt que de suivre ce paradigme comparatif institutionnel, avec ses notions restreintes d’action (agency) et de réception, le présent article élabore une approche de l’adaptation qui situe les techniques des médias au centre de ce qui est raconté. Cette étude de cas se penchera sur « Las Babas del Diablo » de Cortázar et son adaptation cinématographique, Blow-Up d’Antonioni, afin d’ébaucher ce type de récit qui s’attarde à montrer ses propres opérations discursives.A brief heuristic survey of research on the adaptation of literature to film shows that it has consistently given priority to the narrative of the classical cinema, effacing the media's respective material support as well as its place in a history of visual regimes. Instead of following this institutional comparative paradigm, with its implications for agency and reception, this article develops an approach to adaptation that places the media's technologies at the center of the storytelling process. A case study of Cortázar's short story “Las Babas del Diablo” and Antonioni's film Blow-Up, it focuses on how each of these nearly theoretical texts outlines the kind of story that pushes its own discursive processes into the foreground

How to Watch the Story of Film Adaptation. Cortázar, Antonioni, Blow-Up