Why, yes, M. They are all adaptations, but that very term can subsume great variations. In some, eg the Morses, they are original works based on some characters and environments, having long outlived the plots bequeathed by the original authors. In others, eg Brideshead, the object is to reproduce the plot, characters, &c, in another literary medium [ie in this instance, tv drama rather than prose narrative with its authorial voice & interpolation and so on. & so forth. I don't see how the fact that one term can be universally applied to all should discount my original statement that I was only, in this OP, concerned with one specific form of adaptation, that of prose fiction to cinema film. This is not to devalue the interest of problems and comparisons that might arise in re other forms of *adaptation*; but simply to indicate that the comparisons arising need not be identical, and that too wide an interpretation of a term can lead to diffusiveness rather than specificity in a thread. Those who want to write about other adaptive forms can OP other threads for the purpose...

...which I appreciate that in relation to Mudcat, with its tradition of drifting hither & thither & here & yon, I might as well piss into the wind while sighing for the Moon & trying to stop a Bandersnatch...

~M~