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The changes to Hardy's Tess of the d'Urbervilles in two adaptations (Polanski's 1979 film and the Blair's 2008 BBC drama) are made for the cultural trends and differing tastes of the modern audience. Polanski and Blair produce their own creative translations by appropriating Hardy's text. Hardy's Tess is both an object of desire/passive victim and a subject of desire/active protagonist. Polanski visualizes Tess as an object of desire and passive victim by magnifying one aspect of the original text. Blair foregrounds pointedly woman's desire which remains embedded within the source text, and highlights primarily Tess as a subject of desire and feeling. Female sexuality and sexual seduction is focused in Tess the film. Polanski submits Tess to the victimizing seduction plot as her fate and shows Tess as a sacrificeable victim in a romantic, even sentimental mode. Blair's BBC version focuses primarily on Tess as a female sexual agency, showing the sexual attraction of Tess towards Angel and the process of Tess's sexual awakening in the dimension of ‘body.' The story of seduction-love-betrayal is made as a modern melodrama. These two adaptations make an effective use of cinematography, visual symbolism, and other filming techniques reflecting Hardy's painterly visuality. In Polanski's and Blair's version, the cinematography creates a number of rich and powerful images reflecting the thematic depictions of Tess in terms of light, darkness, and colour spectrum through the novel. These two cinematic translations are the creative products that can be enjoyed on their own.
