The film The Devil Wears Prada is the adaptation of Lauren Weisberger's novel of the same title. The story is about Adrea Sachs, an intelligent and recent Ivy League journalism graduate, who is looking for a writing opportunity in the New York Times, but finds herself landing a job as second assistant to Miranda Priestly, managing editor of a major house fashionable. Runway magazine and is considered an industry legend and is famous for her ruthless attitude towards her employees. The film and the novel are a beautiful interplay of visual and verbal rhetoric. The plot examines the benefits and survival in the fashion industry which requires certain body shapes and expectations which can affect the personal lives of people working in this industry. Leitch's argument about adaptation theory: "novels allow readers to read verbal texts 'with the pace and inflection they prefer' and films provide 'prescribed and unalterable visual and verbal performances'" helps the case for study to look at the rhetorical gestures and norms of the fashion industry presented in the film through the analysis of the hybrid frame in visual and verbal performances. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Perhaps the most powerful distinction between novel-to-film adaptation is that: "The written text of the film (screenplay) is interpreted verbally by teams translating it into a 'performance text' that requires verbal interpretation by part of the cast and the audience while 'a literary text requires (verbal) interpretation only by its readers'" confirming this film's approach in which the actors take their lines from a written script and recite these lines to This helps bring the story closer, since with the character's body language, facial expressions, gestures and appearances, even if the film excluded visual rhetoric, the audience would still be able to deduce what is happening, what she's thinking and what they're trying to express to the designers through her facial expression (a nod, a press of the head, a shake of the head) what they can post in Runway is a verbal breakdown of notes. visual. This game of visual notes transformed into verbal confirms Leitch's interesting theory: “the gaps in the characters allow the reader to fill in the blanks, which makes the work a success. This film uses verbal cues in the visual frame as well as interprets the novel's visual imagery and attempts to provide as many “significant details” as are presented in its novel, but with its own visual perception of the fashion industry validating Leitch's observations : “no intertextual model is adequate for the study of adaptation if it limits each intertext to a single precursor". All emotions, attitudes and messages are conveyed through facial expressions, body gestures and unexpressed behaviors that fill the screen with the backstory of unspoken emotions. Andrea's first interaction with Miranda or any other person in the Runway office is a play of verbal rhetoric in a visual frame as the camera captures Andrea from head to toe every time she meets a new person and clearly gives a 'expression that they are not impressed by her appearance and to them she does not belong here. This interplay of visual and verbal rhetoric is one of the significant aspects of this film that is "understandable even by less attentive viewers". The purpose of adaptation is to improve the meaning, make it understandable with 9”