From the very beginning, the art of film making has been influenced by other forms of art, particularly literature. Many novels, stories and plays have been adapted for movies both in the world cinema and in the Turkish cinema. With the development of the art of cinema the relationship between cinema and literature has been transformed into one of mutual interaction. Particularly the New Novel movement that emerged in French literature in the 1950s, represents a peak point in the close encounter between the novel and the film. Yusuf Atılgan (1921-1989), a prominent figure in Turkish literature, wrote few but remarkable works. In his novels he focused on the problems of modern individuals such as lack of communication, solitude, alienation, and their psychological effects. Anayurt Oteli (Motherland Hotel), a novel woven by the modern techniques of narrative, is appropriate for visualisation as film. Moreover, the novel proves to be a good case of both how cinema influences the novel and how a novel is transformed into a film. The interaction between the novel and the film, how the novel approximates the cinematic narrative, and the way the novel is transformed into a film are among the topics covered in this thesis. In this thesis, the theoretical framework proposed by narratology was used in order to analyze the techniques of narrative, the order of narrative, the speed of the narrative, the iterative in narrative, focalization, alteration of narrators both in the novel and the film. In this effect, Narrative Discourse by Gérard Genette has been used as a key source. The subdivisions of the thesis (“Order”, “Duration”, “Frequency”, “Mood” and “Voice”) have been adapted from the same book. In this thesis it was concluded that Yusuf Atılgan’s novel Anayurt Oteli (Motherland Hotel), which was adapted for cinema by Ömer Kavur in 1986, is a novel which uses cinematic techniques.