Dipsikha Bhagawati

One of the arch gordian knots of the applied science of Humanities is the poised implementation of an interim medium. In the age long history of Liberal Arts, many innovations and discoveries were made, exercised, experimented, and explored by the newbies, veterans and the masterhands and that transformatory journey of visual transparency has been coined as cinema. Many films are made that had unfolded the stationery couch through an extended vision of cinematic text. The naratives of the pages have been brought into life, making it an experience even for the terminal groundlings. "If film did not grow out of literature, it grew towards it; and what novels and film most strikingly have in common is the the potential and propensity for narrative." (Mc Farlane, Bria. "Novel to Film: An Introduction to the Theory of Adaptation." Clarendon Press, 1996, Oxford) The intertwining relationship between literature and cinema resorts in the fact that cinema is the narrative of the 20th century that is beyond the generic intellectual silence of linguistic theories. The cultural workers figure it as a symptomatic unit of multidimensional use, but the statement for the folk is that, science of words is complex, it is related to psychological vision, but when translocated to the the screen, it becomes comparatively simpler and accessible visual topography for the audience, though technically complex. The vibration of sounds and music, visuals in auditory motion that enrich its spectators with happy conditional logic is the success of the transformation of art. It is a journey from mute to motion. A 1951George Hoellering film "Murder in the Cathedral" is a literary adaptation of American wizard T.S.Eliot's successful verse drama sharing the same title, written and staged simultaneously in the year 1935. Eliot tried to spiritualize history, did not give an account of it. The movie explores not what was there as a literary narrative but what happened in history through the tailored character of the Archbishop of Canterbury, Thomas Becket. In the drama, history was a legacy of time, but in the movie, history is a living character. Spiritualised, empowered and reflection of time that speaks through images. Set in the background of 1170, "Murder in the Cathedral" displays how the rise of Fascism used religious doctrines as the tools of domination of the subjects who resorted in Gods' country. Director George Hoellering too was compelled to leave his homeland due to the treachery of the Nazis, and this pain of exile and seperation from his own god was reflected in "Murder in the Cathedral." Films are the micro units of cultural knowledge. Machines are always in love with human brains and the colab of these two potencies have created many beautiful realms in audio visual history, a quintessence of pursuit to establish an unified force out of two strong, intertwining mediums of liberal and visual arts.