Abstract

This paper analyzes Vladimir Nabokov’s screenplay for Lolita as a case of intermedial rewriting rather than self-translation. Although remaining a written text, the screenplay operates as a transitional form between literature and film, reshaping the novel’s narrative for a new medium. In doing so, it reinforces Nabokov’s authorial control and clarifies his often misunderstood position regarding the story’s moral stance and the complexity of its characters. The study examines how the screenplay reinterprets key narrative elements, offering an alternative lens on issues of adaptation, authorship, and interpretation. It highlights the screenplay as a significant and creative intervention in the ongoing reception of Lolita.