Analysing Ousmane Sembène’s short story Véhi-Ciosane and sort film Niaye, this article aims to approach the question of film adaptation neither in terms of fidelity neither in terms of semiotic transposition, but rather as discourse. Placing several elements of the pieces–as titles, language, style and contents–in their specific birth context, we understand that each artistic field imposes a particular enunciation that forces the writer-director to manage and redefine his position.
