In this paper I  intend to discuss the ways studying adaptation in migration cinema sheds new light on the discussions about authorship in adaptation and I will demonstrate how the modern and postmodern understandings of the idea of the author are re-visited and integrated in migratory approaches to adaptation.“Authorship” and its infamous accompanying concepts of “intentions” and “legitimacy” remain to be acentral problem in adaptation, at theoretical and practical levels, in a way that adaptation has indeed become a game scene for the struggle between different understandings of authorship: where the modern,solitary and god-like author faces the more recent post-modern multiplied and delegitimized one. On the other hand, in the context of migration cinema, where adaptation is understudied, centrality of cultural difference and translation, hand in hand with the precariousness of production, imbues adaptation with specific social and political functions, turning it into a mode of survival and political expression with potentials for hybrid types of authorship to emerge.

After giving a general outline of various approaches to adaptation in migration cinema with a focus on their specific authorial aspects, I  will discuss the renegotiation and integration of modern and postmodern understandings of authorship by presenting cases of “self-adaptation” in migration cinema, where the migrant author adapts her own already established work, as it has happened in works of Marjane Satrapi (the Franco-Iranian graphic novelist and filmmaker) and Atiq Rahimi (The Franco-Afghan novelist andfilmmaker).