There have been many successful cinema films adapted from literature to cinema, but the successful productions, which have been adapted to the TV series in recent years, have received great interest abroad as well as in the country. In this context, how accurate is the bias that “the cinema can make the best of an art work but the television cannot? Are the depth and the multi-layer structure of literary works in a nature that demands much more than the course and the structure of a cinema film? Does the "aesthetic" value of a literary work diminish on TV or in cinema? Or does it really diminish? If every piece of work is also a commodity, and if our people are aware of our literary works thanks to these TV series, does television reproduce literature? In this context, Behzat Ç, adapted from Emrah Serbes's novel, was filmed as a movie for cinema after running as a TV series, but it did not attract the same interest as in TV. But can it be interesting and thought-provoking that a production, watched on TV for three seasons, was actually an adaptation of a novel? In this study, it was questioned whether literature could allow building a structure (that is perhaps even more appropriate) for TV as well as cinema, under the light of the questions asked above.
Keywords: Structure, television, aesthetic depth, Behzat Ç