This Film Studies course examines the relationship of literature and film by considering a question that precedes them both: what does it mean to be a human being? It’s an enduring question, and film allows us to consider how our culture answers this question in different ways at different times. Literary adaptation drives a significant proportion of the artistic and industrial production and marketing of films, and for this reason offers an important window into cultural influence and cultural production. You will keep a journal, write short analyses, and one analytical paper.
The goals of the course can is summarized as follows:
Develop skills in analyzing narratives and films in their various cultural contexts Become fluent in discussing and writing about film, narrative, and gain a nuanced understanding of how films of literature adapt and express literary and cultural values to other times and places.
Expectations:
There are certain things that I will expect from you and, likewise, there are a number of things that you can expect from me. First and foremost is respect. As a community of young writers and thinkers, we must be able to trust one another. Writing (and thinking) is a process that most often involves missteps and risk-taking. We need to create an environment where it’s okay to express half-developed ideas, where we won’t feel ridiculous if the thought we started chasing turns out to be silly or unsupportable, and where we challenge each other to expand thinking beyond the safe and expected. To that end, it is vital that we approach our class – and each other – with a high level of respect. We’ll learn a lot from each other – this class is not necessarily about me imparting learning on you, but rather is a collaborative effort on all our parts – and we’ve got to be able to trust that we’ll support one another in the process of learning. Everything else that we do as a community of young writers and thinkers will expand from that sense of trust and respect; without it, we’ll get no where.
Beyond that, there are certain day-to-day expectations that need to be made clear. You can expect me to be in class every day on time and prepared. You can expect me to take you seriously and to be entirely supportive of your own learning process. You can expect me to be clear about what I want from you in terms of work, both in class an out of it, and you can expect me to assess your work according to those standards. You can expect me to respond to your questions and concerns (whether they be class related or not) in a timely and respectful way. In short, you can expect me to be present and mindful and wholly engaged.
I expect you to be in class every day on time and prepared; that includes having completed any assigned reading and having all necessary materials with you in class. I expect you to be present and engaged in class and to take the time we have together seriously. I expect you to complete all the assignments I give, to participate in group activities, and to be a careful and conscientious participant in workshops with your classmates. I expect you to ask questions, to stretch beyond what you think are the “safe” answers, and to take full responsibility for your own learning. I expect you to come to me with any questions, problems, or concerns you have and, if your concerns are about an assignment, I expect you to come to me well before that assignment is due. I expect you to behave in a mature and respectful way toward the material, yourself, your classmates, and me. In short, I expect you to be present and mindful and wholly engaged.
*A word about participation: please be aware that my definition of participation does not include hiding behind another student, a computer screen, or a cell phone. Unless we are actively working on a writing or research project, computers are to be completely closed and put away altogether. There will never be a time during class discussion that it’s okay to have earphones in your ears or hanging off your ears. Finally, while I understand that some people are able to focus better on what they’re hearing if they’re drawing or doodling, if I feel that your participation while you do such things is suffering, I will ask you to put them away.
Assignments:
As a practice, I don’t map out an entire course on a syllabus; I feel that limits the class too much and stifles our ability to follow fruitful tangents that may come up as a result of our discussions and current events. That does not mean, however, that you won’t know about assignments in plenty of time to complete them. For day-to-day work, I will usually write the assignment on the board or simply tell you what we’re doing for the class. All homework is always posted on our class Film Studies page. For major projects, I will print out an assignment sheet with detailed instructions and the assessment standards I will use to grade the work. These things will also be posted on the class webpage. It is your responsibility to understand the assignment completely before you begin; telling me that you “didn’t get it” is not an acceptable excuse for not having completed an assignment or for doing it poorly.
Unless you are absent from school, work not handed in on the due date will result is a deduction of points. If you are absent from class, it is your responsibility to find out what, if any, homework was assigned that day and to have it ready when you return to school. I do not offer make-up or extra credit work; I do, however, negotiate due dates with students who have legitimate reasons for not being able to complete an assignment on time. If you think you’re going to run into trouble getting something in when it’s due, let me know and we’ll come to an agreement that meets both of our needs. I will make every effort to have your work graded and returned to you in a timely fashion. Please keep in mind, however, that you only had to write one paper; I’ll have to read and assess everyone’s work.
The goals of the course can is summarized as follows:
Develop skills in analyzing narratives and films in their various cultural contexts Become fluent in discussing and writing about film, narrative, and gain a nuanced understanding of how films of literature adapt and express literary and cultural values to other times and places.
Expectations:
There are certain things that I will expect from you and, likewise, there are a number of things that you can expect from me. First and foremost is respect. As a community of young writers and thinkers, we must be able to trust one another. Writing (and thinking) is a process that most often involves missteps and risk-taking. We need to create an environment where it’s okay to express half-developed ideas, where we won’t feel ridiculous if the thought we started chasing turns out to be silly or unsupportable, and where we challenge each other to expand thinking beyond the safe and expected. To that end, it is vital that we approach our class – and each other – with a high level of respect. We’ll learn a lot from each other – this class is not necessarily about me imparting learning on you, but rather is a collaborative effort on all our parts – and we’ve got to be able to trust that we’ll support one another in the process of learning. Everything else that we do as a community of young writers and thinkers will expand from that sense of trust and respect; without it, we’ll get no where.
Beyond that, there are certain day-to-day expectations that need to be made clear. You can expect me to be in class every day on time and prepared. You can expect me to take you seriously and to be entirely supportive of your own learning process. You can expect me to be clear about what I want from you in terms of work, both in class an out of it, and you can expect me to assess your work according to those standards. You can expect me to respond to your questions and concerns (whether they be class related or not) in a timely and respectful way. In short, you can expect me to be present and mindful and wholly engaged.
I expect you to be in class every day on time and prepared; that includes having completed any assigned reading and having all necessary materials with you in class. I expect you to be present and engaged in class and to take the time we have together seriously. I expect you to complete all the assignments I give, to participate in group activities, and to be a careful and conscientious participant in workshops with your classmates. I expect you to ask questions, to stretch beyond what you think are the “safe” answers, and to take full responsibility for your own learning. I expect you to come to me with any questions, problems, or concerns you have and, if your concerns are about an assignment, I expect you to come to me well before that assignment is due. I expect you to behave in a mature and respectful way toward the material, yourself, your classmates, and me. In short, I expect you to be present and mindful and wholly engaged.
*A word about participation: please be aware that my definition of participation does not include hiding behind another student, a computer screen, or a cell phone. Unless we are actively working on a writing or research project, computers are to be completely closed and put away altogether. There will never be a time during class discussion that it’s okay to have earphones in your ears or hanging off your ears. Finally, while I understand that some people are able to focus better on what they’re hearing if they’re drawing or doodling, if I feel that your participation while you do such things is suffering, I will ask you to put them away.
Assignments:
As a practice, I don’t map out an entire course on a syllabus; I feel that limits the class too much and stifles our ability to follow fruitful tangents that may come up as a result of our discussions and current events. That does not mean, however, that you won’t know about assignments in plenty of time to complete them. For day-to-day work, I will usually write the assignment on the board or simply tell you what we’re doing for the class. All homework is always posted on our class Film Studies page. For major projects, I will print out an assignment sheet with detailed instructions and the assessment standards I will use to grade the work. These things will also be posted on the class webpage. It is your responsibility to understand the assignment completely before you begin; telling me that you “didn’t get it” is not an acceptable excuse for not having completed an assignment or for doing it poorly.
Unless you are absent from school, work not handed in on the due date will result is a deduction of points. If you are absent from class, it is your responsibility to find out what, if any, homework was assigned that day and to have it ready when you return to school. I do not offer make-up or extra credit work; I do, however, negotiate due dates with students who have legitimate reasons for not being able to complete an assignment on time. If you think you’re going to run into trouble getting something in when it’s due, let me know and we’ll come to an agreement that meets both of our needs. I will make every effort to have your work graded and returned to you in a timely fashion. Please keep in mind, however, that you only had to write one paper; I’ll have to read and assess everyone’s work.
Film Studies
This course examines the relationship of literature and film by considering a question that precedes them both: what does it mean to be a human being? It’s an enduring question, and film adaptation allows us to consider how our culture answers this question in different ways at different times. Literary adaptation drives a significant proportion of the artistic and industrial production and marketing of films, and for this reason offers an important window into cultural influence and cultural production. You will keep a journal, write short analyses, and one analytical paper.
The goals of the course can be summarized as follows: Develop skills in analyzing narratives and films in their various cultural contexts Become fluent in discussing and writing about film, narrative, and gain a nuanced understanding of how films of literature adapt and express literary and cultural values to other times and places.
Expectations:
There are certain things that I will expect from you and, likewise, there are a number of things that you can expect from me. First and foremost is respect. As a community of young writers and thinkers, we must be able to trust one another. Writing (and thinking) is a process that most often involves missteps and risk-taking. We need to create an environment where it’s okay to express half-developed ideas, where we won’t feel ridiculous if the thought we started chasing turns out to be silly or unsupportable, and where we challenge each other to expand thinking beyond the safe and expected. To that end, it is vital that we approach our class – and each other – with a high level of respect. We’ll learn a lot from each other – this class is not necessarily about me imparting learning on you, but rather is a collaborative effort on all our parts – and we’ve got to be able to trust that we’ll support one another in the process of learning. Everything else that we do as a community of young writers and thinkers will expand from that sense of trust and respect; without it, we’ll get no where.
Beyond that, there are certain day-to-day expectations that need to be made clear. You can expect me to be in class every day on time and prepared. You can expect me to take you seriously and to be entirely supportive of your own learning process. You can expect me to be clear about what I want from you in terms of work, both in class an out of it, and you can expect me to assess your work according to those standards. You can expect me to respond to your questions and concerns (whether they be class related or not) in a timely and respectful way. In short, you can expect me to be present and mindful and wholly engaged.
I expect you to be in class every day on time and prepared; that includes having completed any assigned reading and having all necessary materials with you in class. I expect you to be present and engaged in class and to take the time we have together seriously. I expect you to complete all the assignments I give, to participate in group activities, and to be a careful and conscientious participant in workshops with your classmates. I expect you to ask questions, to stretch beyond what you think are the “safe” answers, and to take full responsibility for your own learning. I expect you to come to me with any questions, problems, or concerns you have and, if your concerns are about an assignment, I expect you to come to me well before that assignment is due. I expect you to behave in a mature and respectful way toward the material, yourself, your classmates, and me. In short, I expect you to be present and mindful and wholly engaged.
*A word about participation: please be aware that my definition of participation does not include hiding behind a computer screen or a cell phone. Unless we are actively working on a writing or research project, computers are to be completely closed and put away altogether. There will never be a time during class discussion that it’s okay to have earphones in your ears. Finally, while I understand that some people are able to focus better on what they’re hearing if they’re drawing or doodling, if I feel that your participation while you do such things is suffering, I will ask you to put them away.*
Assignments: As a practice, I don’t map out an entire course on a syllabus; I feel that limits the class too much and stifles our ability to follow fruitful tangents that may come up as a result of our discussions and current events. That does not mean, however, that you won’t know about assignments in plenty of time to complete them. For day-to-day work, I will usually write the assignment on the board or simply tell you what we’re doing for the class. All homework is always posted on our class Film Studies page. For major projects, I will print out an assignment sheet with detailed instructions and the assessment standards I will use to grade the work. These things will also be posted on the class webpage. It is your responsibility to understand the assignment completely before you begin; telling me that you “didn’t get it” is not an acceptable excuse for not having completed an assignment or for doing it poorly.
Unless you are absent from school, work not handed in on the due date will result is a deduction of points. If you are absent from class, it is your responsibility to find out what, if any, homework was assigned that day and to have it ready when you return to school. I do not offer make-up or extra credit work; I do, however, negotiate due dates with students who have legitimate reasons for not being able to complete an assignment on time. If you think you’re going to run into trouble getting something in when it’s due, let me know and we’ll come to an agreement that meets both of our needs. I will make every effort to have your work graded and returned to you in a timely fashion. Please keep in mind, however, that you only had to write one paper; I’ll have to read and assess everyone’s work.
The goals of the course can be summarized as follows: Develop skills in analyzing narratives and films in their various cultural contexts Become fluent in discussing and writing about film, narrative, and gain a nuanced understanding of how films of literature adapt and express literary and cultural values to other times and places.
Expectations:
There are certain things that I will expect from you and, likewise, there are a number of things that you can expect from me. First and foremost is respect. As a community of young writers and thinkers, we must be able to trust one another. Writing (and thinking) is a process that most often involves missteps and risk-taking. We need to create an environment where it’s okay to express half-developed ideas, where we won’t feel ridiculous if the thought we started chasing turns out to be silly or unsupportable, and where we challenge each other to expand thinking beyond the safe and expected. To that end, it is vital that we approach our class – and each other – with a high level of respect. We’ll learn a lot from each other – this class is not necessarily about me imparting learning on you, but rather is a collaborative effort on all our parts – and we’ve got to be able to trust that we’ll support one another in the process of learning. Everything else that we do as a community of young writers and thinkers will expand from that sense of trust and respect; without it, we’ll get no where.
Beyond that, there are certain day-to-day expectations that need to be made clear. You can expect me to be in class every day on time and prepared. You can expect me to take you seriously and to be entirely supportive of your own learning process. You can expect me to be clear about what I want from you in terms of work, both in class an out of it, and you can expect me to assess your work according to those standards. You can expect me to respond to your questions and concerns (whether they be class related or not) in a timely and respectful way. In short, you can expect me to be present and mindful and wholly engaged.
I expect you to be in class every day on time and prepared; that includes having completed any assigned reading and having all necessary materials with you in class. I expect you to be present and engaged in class and to take the time we have together seriously. I expect you to complete all the assignments I give, to participate in group activities, and to be a careful and conscientious participant in workshops with your classmates. I expect you to ask questions, to stretch beyond what you think are the “safe” answers, and to take full responsibility for your own learning. I expect you to come to me with any questions, problems, or concerns you have and, if your concerns are about an assignment, I expect you to come to me well before that assignment is due. I expect you to behave in a mature and respectful way toward the material, yourself, your classmates, and me. In short, I expect you to be present and mindful and wholly engaged.
*A word about participation: please be aware that my definition of participation does not include hiding behind a computer screen or a cell phone. Unless we are actively working on a writing or research project, computers are to be completely closed and put away altogether. There will never be a time during class discussion that it’s okay to have earphones in your ears. Finally, while I understand that some people are able to focus better on what they’re hearing if they’re drawing or doodling, if I feel that your participation while you do such things is suffering, I will ask you to put them away.*
Assignments: As a practice, I don’t map out an entire course on a syllabus; I feel that limits the class too much and stifles our ability to follow fruitful tangents that may come up as a result of our discussions and current events. That does not mean, however, that you won’t know about assignments in plenty of time to complete them. For day-to-day work, I will usually write the assignment on the board or simply tell you what we’re doing for the class. All homework is always posted on our class Film Studies page. For major projects, I will print out an assignment sheet with detailed instructions and the assessment standards I will use to grade the work. These things will also be posted on the class webpage. It is your responsibility to understand the assignment completely before you begin; telling me that you “didn’t get it” is not an acceptable excuse for not having completed an assignment or for doing it poorly.
Unless you are absent from school, work not handed in on the due date will result is a deduction of points. If you are absent from class, it is your responsibility to find out what, if any, homework was assigned that day and to have it ready when you return to school. I do not offer make-up or extra credit work; I do, however, negotiate due dates with students who have legitimate reasons for not being able to complete an assignment on time. If you think you’re going to run into trouble getting something in when it’s due, let me know and we’ll come to an agreement that meets both of our needs. I will make every effort to have your work graded and returned to you in a timely fashion. Please keep in mind, however, that you only had to write one paper; I’ll have to read and assess everyone’s work.
http://www.englishcompanion.com/pdfDocs/acvocabulary2.pdf
Student Learning Outcomes
1. Analyze representative literary and film texts.
2. Connect study of literature and film texts to human values in historical and social contexts.
3. Identify similarities and differences between film art and various literary genres.
4. Demonstrate understanding of the creative and interpretive issues surrounding film adaptations of literary texts.
5. Research and analyze primary and secondary sources relating to the study of literature and film.
Scholarly Standards
One purpose of course lectures, presentations, and discussions is to demonstrate pre-college level academics. These standards are better learned in class than from any manual. The Leuzinger High School writing standard ought to be well known and, for this class, specifically employs The Little Seagull Handbook for correct English expository style. The English department further authorizes film study students to use the MLA parenthetical citation method for scholarly form.
Leuzinger High School has a code that regulates academic ethics. While the code is self-evident, there is one ethical question that needs be addressed here. Plagiarism is a serious academic offense, i.e., to commit academic theft by presenting the ideas or words of another as though they were one’s own, and therefore correct citations must be taken to indicate borrowed ideas by endnotes, and borrowed phraseology by endnotes and quotation marks. Again, it is the student’s responsibility to know what constitutes plagiarism.
If the code and the guidance here are insufficient, The Little Seagull Handbook (p. 82-92) has an excellent description with helpful examples. If questions about plagiarism remain, it would be best to consult the me before submitting any assignment for evaluation. Any assignment deemed to have been plagiarized will receive a zero and cannot be made-up or revised.
Quizzes/ Weekly quizzes will be administered to assure that students keep up with the reading and in-class movie viewing assignments and course lectures. Of the 10 quizzes administered during the semester, students may elect to skip four of them or, alternatively, the four lowest scores will be dropped at the end of the semester.
Final Examination . Students will take an online comprehensive final examination based on assigned notes, class readings, class discussions, and viewed films.
Research Project
Student will complete one of the following two choices for research projects:
• Documentary Film Option: an eight to ten minute documentary/review about one of the films we are discussing this semester
• Original Script Option: an original ten to 15 page script adapting a work of short fiction or poetry.
Grading Schedule
Listed below is the weight that will be given to the particular assignments detailed in the section above. The instructor’s practice of grading is at a high academic standard and scrupulously fair.
Group Project 20%
Essay 10%
Quizzes 20%
Final Examination 10%
Participation 40%
A (90-100%) ==> Outstanding, and therefore rare
Exceptional in mechanics, style, and content
B (80-89%) ==> Superior work, surpasses an “average” performance
Superior in one or two areas: mechanics, style, content
C (70-79%) ==> Has satisfied requirements for college work
Performed in an average manner, good but unexceptional
D (60-69%) ==> Less than adequate, frequently slipshod
Noticeably weak in mechanics, style, content
F (0-59%) ==> Not at all adequate
Does not show mastery of course material
I ==> Incomplete
Course Communication
I will be available for general consultation in person at lunch or text by
appointment. Each week, I will post different “Virtual Office Hours,” during which students may conference with me by using "formal writing" in a text.
The instructor’s objective in teaching is to educate students at a high academic standard, that is, to equip students intellectually and empower them to think critically and to read and write correctly. What students learn in this course ought to be
relevant to other courses and to their lives. My teaching method is, in sum, Socratic. Consequently, I encourage/implore students to engage in dialogue.
“Everyone who sees films based on novels feels able to comment, at levels ranging from the gossipy to the erudite, on the nature and success of the adaptation involved. That is, the interest in adaptation [...] ranges backwards and forwards from those who talk of novels as being ’betrayed’ by boorish film-makers to those who regard the practice of comparing film and novel a waste of time.”
—Brian McFarlane, Novel to Film
OBJECTIVES: Students will
Enhance their ability to understand, appreciate, and discuss works of literature through reading and discussion of short stories, novels and plays.
Analyze works of fiction and drama for plot structure, setting, characterization, theme, motif, and narrative point of view.
Develop an understanding of critical analysis of film through careful examination of cinematic adaptations of literary texts, focusing on character development, dramatic structure, and performance.
Learn and utilize the terminology of film analysis, both those terms shared with literary discussion (character, plot, theme, setting) and those specific to cinema (Menes-en-scene, lighting, montage, special effects, etc.).
Demonstrate an understanding of the possibilities and problems involved in the transposition of literature to film, applying terminology and critical skills acquired during the semester to analyze a cinematic adaptation of a text not discussed in class.
—Brian McFarlane, Novel to Film
OBJECTIVES: Students will
Enhance their ability to understand, appreciate, and discuss works of literature through reading and discussion of short stories, novels and plays.
Analyze works of fiction and drama for plot structure, setting, characterization, theme, motif, and narrative point of view.
Develop an understanding of critical analysis of film through careful examination of cinematic adaptations of literary texts, focusing on character development, dramatic structure, and performance.
Learn and utilize the terminology of film analysis, both those terms shared with literary discussion (character, plot, theme, setting) and those specific to cinema (Menes-en-scene, lighting, montage, special effects, etc.).
Demonstrate an understanding of the possibilities and problems involved in the transposition of literature to film, applying terminology and critical skills acquired during the semester to analyze a cinematic adaptation of a text not discussed in class.
Film Studies
Course Description: Narritives are an essential part of every human culture; they help us to make meaning and to understand ourselves, each other, and our place in the world. The means by which these stories are told – whether they are written, spoken, or acted on stage or screen – influences the way we approach and interpret them. Film, while it may be influenced by written work, should always be considered an entirely unique piece of art for the purposes of critique and analysis. This course explores the complex interplay between film and literature. Selected novels, short stories and plays are analyzed in relation to film versions of the same works in order to gain an understanding of the possibilities—and problems—involved in the transposition to film. We will also investigate films that do not have written work as their inspiration to discover the ways in which these stories work in terms of our understanding of the nature of literature and the role it plays in our lives.
Objectives: In this class, students will;
• Enhance their ability to understand, appreciate, and discuss works of literature through extensive reading and discussion of short stories, novels and plays.
• Analyze works of fiction and drama for plot structure, setting, characterization, theme, and narrative point of view.
• Develop an understanding of critical analysis of film through careful examination of adaptations of literary texts, focusing on character development, dramatic structure, and performance.
• Learn and utilize the terminology of film analysis, both those terms shared with literary discussion (character, plot, theme, setting) and those specific to cinema (lighting, dialogue, special effects, etc.).
• Demonstrate an understanding of the possibilities and problems involved in the transposition of literature to film, applying terminology and critical skills acquired during the semester to analyze a cinematic adaptation of a text not discussed in class.
Texts, Materials & Films:
Required Texts:
• Monk Kidd, Sue. The Secret Life of Bees
• Lewis, C.S. The Lion, the Witch, and the Wardrobe
• Grisham, John. The Client
• Rowling, J.K. Harry Potter and the Order of the Phoenix
Access to a good dictionary (online is fine)
*A note about texts: I have no investment whatsoever in how you access these texts; you may buy them (new or used), you may borrow them from friends or the library, or you may obtain them online or as e-books. If you choose to go the electronic route, however, please understand that you must – must! – have the text with you in class; excuses about computer or printer problems will not be accepted.*
Films: Semester 1
• The Secret Life of Bees. 2008; Gina Prince-Blythwood, dir.
• The Kite Runner. 2007, Mark Forster, dir.
• The Sixth Sense. 1999, M. Night Shyamalan, dir.
• Willow. 1988, Ron Howard, dir.
• Harry Potter and the Order of the Phoenix. 2007, David Yates, dir.
• The Chronicles of Narnia; The Lion, the Witch, and the Wardrobe. 2005, Andrew Adamson, dir.
• Empire of the Sun. 1987, Stephen Speilberg, dir.
• The Client. 1994, Joel Schumacher, dir.
• Finding Nemo. 2003, Andrew Stanton and Lee Unkrich, dirs.
• Karate Kid. 1984, John Avildsen, dir.
• Hook. 1991, Stephen Speilberg, dir.
* this film list is subject to change and/or addition.
Expectations: There are certain things that I will expect from you and, likewise, there are a number of things that you can expect from me. First and foremost is respect. As a community of young writers and thinkers, we must be able to trust one another. Writing (and thinking) is a process that most often involves missteps and risk-taking. We need to create an environment where it’s okay to express half-developed ideas, where we won’t feel ridiculous if the thought we started chasing turns out to be silly or unsupportable, and where we challenge each other to expand thinking beyond the safe and expected. To that end, it is vital that we approach our class – and each other – with a high level of respect. We’ll learn a lot from each other – this class is not necessarily about me imparting learning on you, but rather is a collaborative effort on all our parts – and we’ve got to be able to trust that we’ll support one another in the process of learning. Everything else that we do as a community of young writers and thinkers will expand from that sense of trust and respect; without it, we’ll get no where.
Beyond that, there are certain day-to-day expectations that need to be made clear. You can expect me to be in class every day on time and prepared. You can expect me to take you seriously and to be entirely supportive of your own learning process. You can expect me to be clear about what I want from you in terms of work, both in class an out of it, and you can expect me to assess your work according to those standards. You can expect me to respond to your questions and concerns (whether they be class related or not) in a timely and respectful way. In short, you can expect me to be present and mindful and wholly engaged.
I expect you to be in class every day on time and prepared; that includes having completed any assigned reading and having all necessary materials with you in class. I expect you to be present and engaged in class and to take the time we have together seriously. I expect you to complete all the assignments I give, to participate in group activities, and to be a careful and conscientious participant in workshops with your classmates. I expect you to ask questions, to stretch beyond what you think are the “safe” answers, and to take full responsibility for your own learning. I expect you to come to me with any questions, problems, or concerns you have and, if your concerns are about an assignment, I expect you to come to me well before that assignment is due. I expect you to behave in a mature and respectful way toward the material, yourself, your classmates, and me. In short, I expect you to be present and mindful and wholly engaged.
*A word about participation: please be aware that my definition of participation does not include hiding behind a computer screen or a cell phone. Unless we are actively working on a writing or research project, computers are to be completely closed and put away altogether. There will never be a time during class discussion that it’s okay to have earphones in your ears. Finally, while I understand that some people are able to focus better on what they’re hearing if they’re drawing or doodling, if I feel that your participation while you do such things is suffering, I will ask you to put them away.*
Assignments: As a practice, I don’t map out an entire course on a syllabus; I feel that limits the class too much and stifles our ability to follow fruitful tangents that may come up as a result of our thinking. That does not mean, however, that you won’t know about assignments in plenty of time to complete them. For day-to-day work, I will usually write the assignment on the board or simply tell you what we’re doing for the class. All homework is always posted on our class Haiku page. For major projects, I will print out an assignment sheet with detailed instructions and the assessment standards I will use to grade the work. These things will also be posted on the class webpage. It is your responsibility to understand the assignment completely before you begin; telling me that you “didn’t get it” is not an acceptable excuse for not having completed an assignment or for doing it poorly.
Unless you are absent from school, work not handed in on the due date will not be accepted and will count as a zero in your grade. If you are absent from class, it is your responsibility to find out what, if any, homework was assigned that day and to have it ready when you return to school. I do not offer make-up or extra credit work; I do, however, negotiate due dates with students who have legitimate reasons for not being able to complete an assignment on time. If you think you’re going to run into trouble getting something in when it’s due, let me know and we’ll come to an agreement that meets both of our needs. I will make every effort to have your work graded and returned to you in a timely fashion. Please keep in mind, however, that you only had to write one paper; I’ll have to read and assess everyone’s work.
WRITING ASSIGNMENTS:
Response Paper Topics:
For each week, a question or topic is provided. Students may complete more than five response papers for extra credit: the best five scores will be utilized in determining final grades.
Instructions: Respond to each question or topic below in a well-developed, coherent, and thoughtful essay of at least two to three pages (500-750 words). Your essay should include independent analysis and demonstrate careful thought, but no research is necessary, nor should any secondary sources be used. Although these are personal responses, and therefore there is no "correct" answer, remember that they are still formal essays: in your analyses, formulate a clear, explicit, assertive (persuasive), objectively-worded thesis statement, and avoid use of "I" or "you" throughout. Do not attempt to address all aspects of the text, but carefully focus your topic, and avoid merely paraphrasing or summarizing the work. Be sure to support your answers with specific references to the work. Essays must be typed, double-spaced, and grammatically correct; essays will be evaluated according to the Model for Evaluation of Student Writing.
1) What is Orwell’s 1984 really about? That is, if it can be said to have a theme, what is that theme? Is it concerned with truth, with politics, with war, with language, with man’s place in the cosmos? What is Orwell saying—not about Smith, or even Oceania, but about modern life, society, or the human condition?
2) Why "A Clockwork Orange"? That is, what is the real significance of the title, beyond F. Alexander’s apparent belief that "all lewdies nowadays were being turned into machines and that they were really—you and me and him and kiss-my-sharries—more like a natural growth like a fruit"? What does Burgess seem to be saying here—not about Alex, or even Ludovico’s Technique, but about society or the human condition?
3) In Lord of the Flies, Simon and Piggy both occupy relatively ambiguous positions: less important—perhaps— than Jack and Ralph, yet more important than "minor" characters; not leaders, yet not quite followers; innocent (?) victims, yet not innocents. How should we read these characters; that is, what exactly are their roles, and what is each one’s significance or importance to the novel?
4) Why "Lord of the Flies"? That is, what is the real significance of the title, beyond the obvious (?) allusion? What connection does this title have with "the Beast," and what does Golding seem to be saying—not about this group of boys, but about the human condition?
5) According to Stephen King, "Frankenstein is a mystical morality tale about what happen[s] when man dares to transgress the limits of knowledge" (qtd. Haining, Peter, ed. The Frankenstein Omnibus. Edison, NJ: Chartwell Books, 1994. 3). Is Shelley’s novel really concerned with the idea that, as the cliché has it, "there are some things man was not meant to know"? Why or why not?
6) According to Fred Botting, in "Reflections of Excess: Frankenstein, the French Revolution, and Monstrosity," Mary Shelley’s novel "is not only about the manufacture of a monster. It is, as many critics have noted, a monster itself [...] composed from an extensive literary corpus: direct citations of Romantic poetry, Paradise Lost and myths of Prometheus, references to many literary, philosophical and historical texts, events, and figures, as well as many others" (436, in Shelley, Mary. Frankenstein, 2 ed. Ed. Johanna M. Smith. Boston: Bedford, 2000. 435-449.) Trace one element of the novel’s component parts as identified by Botting, for example, the French Revolution, the influence of Rousseau, or the myth of Prometheus (as creator and fire-bringer or as Romantic ideal of rebellion against tyranny). How does this reference or theme function in the text?
7) According to Cyrus Hoye, "four subjects—melancholy, demonology, the nature of man, and death—[...] were, in their several ways, of absorbing interest to the late Renaissance, and each, in varying degrees, impinges on important issues raised by The Tragedy of Hamlet" ("Preface." Hamlet: A Norton Critical Edition. New York: Norton, 1992). Select one of these four subjects and briefly explore how it "impinges on important issues" in the play.
8) Hamlet is in some ways a play about power, including not only political but also personal power. What are the types of power in the play, what gives one character power over another, how is power acquired or distributed, and how is it used and abused? And, more importantly, does Shakespeare seem to be challenging or supporting his society’s views on the nature of power?
9) Jane Austen refers to Emma in less than flattering terms; she calls Emma herself "a heroine whom no one but myself will much like," and expresses her belief that "to those readers who have preferred ’Pride and Prejudice’ it will appear inferior in wit, and to those who have preferred ’Mansfield Park’ very inferior in good sense" (qtd. Parrish, Stephen M. "Preface to the Third Edition." Emma: A Norton Critical Edition by Jane Austen. New York and London: Norton, 2000. viii). Are Austen’s concerns, or her ambivalence toward the novel, justified? Why, or why not?
10) According to John Wiltshire, "the narrative voice of Emma, while flexible, and capable even of picking up Mr. Elton’s vulgarisms when in his vicinity, is overwhelmingly the style of Emma, youthful, confident, presumptive, witty, dogmatic, commanding, assured" ("Emma." The Cambridge Companion to Jane Austen. Eds. Edward Copeland and Juliet McMaster. Cambridge: Cambridge UP, 1997. 66-75; reprinted in Parrish, Stephen M., ed. Emma: A Norton Critical Edition. New York: Norton, 2000. 435-444). How does this narrative voice inform our reading—or misreading—of people and events in the novel? That is, how do Emma’s perceptions shape the readers’, and to what effect?
11) Othello’s plot clearly is informed by the issue of race; however, a reductive reading of the play is complicated by the fact that Othello is an Elizabethan play. Given the historical context in which this play is written and performed, how does Shakespeare either confirm or challenge his society’s views on race? How is this different from the way(s) in which Othello functions (or may function) as social critique today?
12) According to some readings of Othello, Desdemona’s passiveness or acquiescence is indicative of the Elizabethan view of women; women are subordinated to men, weaker, passive, victims, et cetera. However, can Desdemona be read as heroic, as active rather than passive? How?
Research Paper Topics
Select one of the following topics, and complete a research paper of 7 to 12 pages, typed, double-spaced, and grammatically correct; essays will be evaluated according to the Model for Evaluation of Student Writing. In addition, essays must use a minimum of five sources, properly documented utilizing MLA format (see also Documenting Films in MLA Style), with a cover page and Works Cited page (cover page and Works Cited do not count toward the 7-12 page requirement). Remember that these are formal essays: the paper must be persuasive, with a clear, explicit, assertive, objectively-worded thesis statement, support your assertions with specific references to the works, and should avoid use of "I" or "you" throughout. I will be available to meet with any student who needs assistance or additional instruction; please e-mail me to set up an appointment.
1) A large number of literary works, in addition to those discussed in class, have been filmed more than once. (For example, William Shakespeare is credited as Writer on 668 films on IMDB.com, and another 14 for either Miscellaneous Crew or Soundtrack!) Choose one such text, and analyze at least two different film versions (see Sample Introduction). How does each version adapt, revise, or alter the story? What is changed or left out, and why? How do all of these individual changes contribute to a different interpretation of the text; that is, what is the significant difference between the versions? And, finally, how does the socio-cultural milieu of each film inform these differences? Some suggested works (see me if you have others in mind):
[Anonymous.] Beowulf (several versions, including the 2007 version. Also, check out the free study guide to Beowulf from Paramount Pictures)
Apollonius of Rhodes, Argonautica, or, The Voyage of the Argo (as the classic Jason and the Argonauts, aka Jason and the Golden Fleece by Ray Harryhausen, and the not-so-classic made-for-television 2000 remake)
Douglas Adams, The Hitchhiker’s Guide to the Galaxy (as the 1981 BBC television miniseries and as the 2005 theatrical release)
Jane Austen, Pride and Prejudice (including Pride & Prejudice, 2005, Pride and Prejudice, 1940, Pride and Prejudice, 1938, and (of course!) the “Pride and Prejudice” miniseries, 1995, with Colin Firth and Jennifer Ehle)
Jerome Bixby, “It's a Good Life” (as “It's a Good Life” on The Twilight Zone, 1961; as the third story, directed by Joe Dante, in Twilight Zone: The Movie, 1983; as well as the segment “The Bart Zone,” from The Simpsons episode 8F02, “Treehouse of Horror II”)
Robert Bloch, Psycho (the original 1960 version and the 1998 remake)
Pierre Boulle, Planet of the Apes (or, La Planète des Singes) (as the original Planet of the Apes, 1968, and the Tim Burton remake, Planet of the Apes, 2001)
Charlotte Bronte, Jane Eyre (Not only Franco Zeffirelli’s 1996 version but also versions from 1910, 1914 (I), 1914(II), 1915, 1921, 1934, 1944, and 1955; also, at least five made-for-television versions: 1956, 1961 , 1963, 1970, and 1997; and three miniseries: 1973, 1983, and 2006.)
John W. Campbell (writing as “Don A. Stuart”), “Who Goes There?” (1938) as The Thing; a.k.a. The Thing from Another World (1951), The Thing, a.k.a John Carpenter's The Thing (1982), and The Thing (2011) (See also Peter Watts, “The Things.” Clarkesworld Magazine Jan. 2010. Web. 20 Oct. 2011.)
Lewis Carroll, Alice's Adventures in Wonderland and Through the Looking Glass and What Alice Found There (at least 68 versions or adaptations of one or both the two works, or portions thereof, from the first Alice in Wonderland, 1903, to Tim Burton's Alice in Wonderland and beyond: two works currently in development are The Looking Glass Wars and Alice, the latter based on the computer game American McGee's Alice, freely adapted from the texts!)
Richard Condon, The Manchurian Candidate (as The Manchurian Candidate,1962, and The Manchurian Candidate, 2004)
Richard Connell, “The Most Dangerous Game” (as Lethal Woman, 1989, Deadly Prey, 1988, Slave Girls from Beyond Infinity, 1987, Woman Hunt, 1975, Bloodlust!, 1961, Run for the Sun, 1956, A Game of Death, 1945, The Most Dangerous Game, 1932, and innumerable episodes of television shows including Fantasy Island, Gilligan’s Island and—of course--The Simpsons, albeit only a few brief allusions; also adapted as Ultimate X-Men Vol. X (issues 54-57): The Most Dangerous Game—not a film, but hey, still a cool homage to the short story!)
Raold Dahl, Charlie and the Chocolate Factory (as Willy Wonka and the Chocolate Factory, 1971, and Charlie and the Chocolate Factory, 2005)
Charles Dickens, A Christmas Carol (seriously, pick a version!)
Frederick Forsyth, The Day of the Jackal (as The Day of the Jackal, 1973, and The Jackal, 1997)
Bruce Jay Friedman, “The Heartbreak Kid” (Elaine May’s 1972 adaptation, with a screenplay by Neil Simon, and the Farrrelly Brothers’ 2007 remake with Ben Stiller, Michelle Monaghan, and Malin Akerman)
Frank Herbert, Dune (the 1984 De Laurentiis version--with Kyle MacLachlan, Patrick Stewart, Max von Sydow, and Sting [yes, Sting!]--and the Sci-Fi Channel’s Emmy-winning 2000 miniseries)
Eric Hodgins, Mr. Blandings Builds His Dream House, aka Mr. Blandings Builds His Castle, as Mr. Blandings Builds His Dream House with Cary Grant and Myrna Loy (1948), remade as The Money Pit with Tom Hanks and Shelley Long (1986) and Are We Done Yet? with Ice Cube and Nia Long (2007) (Female leads played by Loy, Long, and Long—a coincidence?)
Victor Hugo, The Hunchback of Notre Dame (at least 17 versions, including Disney’s The Hunchback of Notre Dame Topsy Turvy Games, a videogame from 1996, whatever that means!)
Ilya Ilf, Dvenadtsat stulyev, a.k.a. The Twelve Chairs (as Mel Brook’s brilliant farce, The Twelve Chairs, 1970; as Tomás Gutiérrez Alea’s ideological reworked comedy, Las Doce Sillas, a.k.a. The Twelve Chairs,1962; as the Russian film 12 Stulvev, a.k.a 12 стульев, a.k.a. 12 Chairs,1971, and so on)
Daniel Keyes, “Flowers for Algernon” or Flowers for Algernon (short story/novel) into Charly (1968) and Flowers for Algernon (2002)
See also, Daniel Keyes, Algernon, Charlie and I: A Writer's Journey (2000)
Stephen King, The Shining (Stanley Kubrick’s 1980 classic, and the 1997 television miniseries directed by Mick Garris)
George Langelaan, “The Fly” (as the original 1958 version with Vincent Price and the 1986 version directed by David Cronenberg, as well as the segment “Fly vs. Fly” from The Simpsons episode 5F02, “Treehouse of Horror VIII”)
C. S. Lewis, The Lion, The Witch, and The Wardrobe (as The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, 2005, The Lion, the Witch and the Wardrobe, 1979 (television, animated), and The Lion, the Witch, & the Wardrobe,1988 (BBC television))
Fritz Leiber, Conjure Wife (as Weird Woman, 1944, Burn, Witch, Burn, 1962, and Witches' Brew, 1980)
Richard Matheson, I Am Legend (as The Last Man on Earth with Vincent Price, 1964, The Omega Man with Charlton Heston, 1971, and I Am Legend with Will Smith, 2007, and—I am not making this up—as the low-budget I Am Omega, 2007, as well as the segment “The Homega Man,” from The Simpsons episode 5F02, “Treehouse of Horror VIII”)
William Shakespeare, King Lear (too many versions to count!)
William Shakespeare, Macbeth (again, too many versions to count!)
Bram Stoker, Dracula (I mean, c’mon, how many versions are there? Like hundreds? and remember, as Homer Simpson says, “Vampires are imaginary—like elves, gremlins, and Eskimos.”)
Jules Verne, Journey to the Center of the Earth (several versions, including the classic1959 version, directed by Henry Levin, and the 2008 version starring Brendan Fraser)
H. G. Wells, The Island of Dr. Moreau (several versions, including Island of Lost Souls, 1932, The Island of Dr. Moreau, 1977, and The Island of Dr. Moreau,1996)
H. G. Wells, The Time Machine (the classic1960’s The Time Machine, directed by George Pal, and the not-so-classic 2002 remake)
H. G. Wells, The War of the Worlds (the classic The War of the Worlds, 1953, and the less than classic 2005 remake)
John Wyndham, The Midwich Cuckoos into the classic 1960 Village of the Damned (parodied on The Simpsons as The Bloodening), the Spanish-language Pueblo de Malditos, and the 1995 John Carpenter remake.
and more to come, as I think of them.....
2) Other literary works have been adapted into films in a manner more free than that employed for those listed above. These adaptations are generally less “faithful” to the text, essentially involving a radical transformation or expansion or a complete revision of the original, often including a shift in setting (both time and place). For example, consider the discussion regarding Amy Heckerling’s Clueless (1995) and its radical (Suzanne Ferriss might say reactionary) revision of Jane Austen’s Emma. (see Sample Introduction 2). Choose one of the following adaptations (see me if you have another adaptation in mind): what changes were made, and why? What effect do the changes have on our “reading” of the movie as text?
[Anonymous.] Beowulf into Michael Crichton’s Eaters of the Dead, filmed as The 13th Warrior; or into John Gardner’s Grendel, filmed as the animated Australian Grendel, Grendel, Grendel; or the vaguely futuristic science fiction version of Beowulf
[Anonymous.] 13th-century Swedish ballad “Töres dotter i Wänge,” adapted by screenwriter Ulla Isaksson as Ingmar Bergman’s Jungfrukällan, a.k.a. The Virgin Spring, 1960, and by Wes Craven as Last House on the Left, 1972 (Seriously! See here, for example. See also, Dennis Iliadis’s remake of The Last House on the Left, 2009).
Joseph Conrad, Heart of Darkness into Francis Ford Coppola’s Apocalypse Now
Homer, The Odyssey into O Brother, Where Art Thou?
C. de Laclos, Les Liaisons Dangereuses (no English language e-text available?) into Cruel Intentions
Edmond Rostand’s Cyrano de Bergerac into Roxanne
William Shakespeare, Henry IV into My Own Private Idaho (1991)
William Shakespeare, King Lear into Akiro Kurosawa’s Ran (1985)
William Shakespeare, Macbeth into Akiro Kurosawa’s Kumonosu jô, a.k.a. Throne of Blood (1957)
William Shakespeare, Macbeth into Vishal Bhardwaj’s Maqbool (2003) (Thank you, Jaspinder, for letting me know of this one!)
William Shakespeare, Macbeth into Scotland, PA
William Shakespeare, Othello into Vishal Bhardwaj’s Omkara (2006)
William Shakespeare, The Taming of the Shrew into 10 Things I Hate About You (1999)
William Shakespeare, The Tempest into Forbidden Planet (1956)
William Shakespeare, Twelfth Night into She’s The Man (2006)
Philip Van Doren Stern, “The Greatest Gift” into It’s a Wonderful Life (multiple versions or revisions)
Course Description: Narritives are an essential part of every human culture; they help us to make meaning and to understand ourselves, each other, and our place in the world. The means by which these stories are told – whether they are written, spoken, or acted on stage or screen – influences the way we approach and interpret them. Film, while it may be influenced by written work, should always be considered an entirely unique piece of art for the purposes of critique and analysis. This course explores the complex interplay between film and literature. Selected novels, short stories and plays are analyzed in relation to film versions of the same works in order to gain an understanding of the possibilities—and problems—involved in the transposition to film. We will also investigate films that do not have written work as their inspiration to discover the ways in which these stories work in terms of our understanding of the nature of literature and the role it plays in our lives.
Objectives: In this class, students will;
• Enhance their ability to understand, appreciate, and discuss works of literature through extensive reading and discussion of short stories, novels and plays.
• Analyze works of fiction and drama for plot structure, setting, characterization, theme, and narrative point of view.
• Develop an understanding of critical analysis of film through careful examination of adaptations of literary texts, focusing on character development, dramatic structure, and performance.
• Learn and utilize the terminology of film analysis, both those terms shared with literary discussion (character, plot, theme, setting) and those specific to cinema (lighting, dialogue, special effects, etc.).
• Demonstrate an understanding of the possibilities and problems involved in the transposition of literature to film, applying terminology and critical skills acquired during the semester to analyze a cinematic adaptation of a text not discussed in class.
Texts, Materials & Films:
Required Texts:
• Monk Kidd, Sue. The Secret Life of Bees
• Lewis, C.S. The Lion, the Witch, and the Wardrobe
• Grisham, John. The Client
• Rowling, J.K. Harry Potter and the Order of the Phoenix
Access to a good dictionary (online is fine)
*A note about texts: I have no investment whatsoever in how you access these texts; you may buy them (new or used), you may borrow them from friends or the library, or you may obtain them online or as e-books. If you choose to go the electronic route, however, please understand that you must – must! – have the text with you in class; excuses about computer or printer problems will not be accepted.*
Films: Semester 1
• The Secret Life of Bees. 2008; Gina Prince-Blythwood, dir.
• The Kite Runner. 2007, Mark Forster, dir.
• The Sixth Sense. 1999, M. Night Shyamalan, dir.
• Willow. 1988, Ron Howard, dir.
• Harry Potter and the Order of the Phoenix. 2007, David Yates, dir.
• The Chronicles of Narnia; The Lion, the Witch, and the Wardrobe. 2005, Andrew Adamson, dir.
• Empire of the Sun. 1987, Stephen Speilberg, dir.
• The Client. 1994, Joel Schumacher, dir.
• Finding Nemo. 2003, Andrew Stanton and Lee Unkrich, dirs.
• Karate Kid. 1984, John Avildsen, dir.
• Hook. 1991, Stephen Speilberg, dir.
* this film list is subject to change and/or addition.
Expectations: There are certain things that I will expect from you and, likewise, there are a number of things that you can expect from me. First and foremost is respect. As a community of young writers and thinkers, we must be able to trust one another. Writing (and thinking) is a process that most often involves missteps and risk-taking. We need to create an environment where it’s okay to express half-developed ideas, where we won’t feel ridiculous if the thought we started chasing turns out to be silly or unsupportable, and where we challenge each other to expand thinking beyond the safe and expected. To that end, it is vital that we approach our class – and each other – with a high level of respect. We’ll learn a lot from each other – this class is not necessarily about me imparting learning on you, but rather is a collaborative effort on all our parts – and we’ve got to be able to trust that we’ll support one another in the process of learning. Everything else that we do as a community of young writers and thinkers will expand from that sense of trust and respect; without it, we’ll get no where.
Beyond that, there are certain day-to-day expectations that need to be made clear. You can expect me to be in class every day on time and prepared. You can expect me to take you seriously and to be entirely supportive of your own learning process. You can expect me to be clear about what I want from you in terms of work, both in class an out of it, and you can expect me to assess your work according to those standards. You can expect me to respond to your questions and concerns (whether they be class related or not) in a timely and respectful way. In short, you can expect me to be present and mindful and wholly engaged.
I expect you to be in class every day on time and prepared; that includes having completed any assigned reading and having all necessary materials with you in class. I expect you to be present and engaged in class and to take the time we have together seriously. I expect you to complete all the assignments I give, to participate in group activities, and to be a careful and conscientious participant in workshops with your classmates. I expect you to ask questions, to stretch beyond what you think are the “safe” answers, and to take full responsibility for your own learning. I expect you to come to me with any questions, problems, or concerns you have and, if your concerns are about an assignment, I expect you to come to me well before that assignment is due. I expect you to behave in a mature and respectful way toward the material, yourself, your classmates, and me. In short, I expect you to be present and mindful and wholly engaged.
*A word about participation: please be aware that my definition of participation does not include hiding behind a computer screen or a cell phone. Unless we are actively working on a writing or research project, computers are to be completely closed and put away altogether. There will never be a time during class discussion that it’s okay to have earphones in your ears. Finally, while I understand that some people are able to focus better on what they’re hearing if they’re drawing or doodling, if I feel that your participation while you do such things is suffering, I will ask you to put them away.*
Assignments: As a practice, I don’t map out an entire course on a syllabus; I feel that limits the class too much and stifles our ability to follow fruitful tangents that may come up as a result of our thinking. That does not mean, however, that you won’t know about assignments in plenty of time to complete them. For day-to-day work, I will usually write the assignment on the board or simply tell you what we’re doing for the class. All homework is always posted on our class Haiku page. For major projects, I will print out an assignment sheet with detailed instructions and the assessment standards I will use to grade the work. These things will also be posted on the class webpage. It is your responsibility to understand the assignment completely before you begin; telling me that you “didn’t get it” is not an acceptable excuse for not having completed an assignment or for doing it poorly.
Unless you are absent from school, work not handed in on the due date will not be accepted and will count as a zero in your grade. If you are absent from class, it is your responsibility to find out what, if any, homework was assigned that day and to have it ready when you return to school. I do not offer make-up or extra credit work; I do, however, negotiate due dates with students who have legitimate reasons for not being able to complete an assignment on time. If you think you’re going to run into trouble getting something in when it’s due, let me know and we’ll come to an agreement that meets both of our needs. I will make every effort to have your work graded and returned to you in a timely fashion. Please keep in mind, however, that you only had to write one paper; I’ll have to read and assess everyone’s work.
WRITING ASSIGNMENTS:
Response Paper Topics:
For each week, a question or topic is provided. Students may complete more than five response papers for extra credit: the best five scores will be utilized in determining final grades.
Instructions: Respond to each question or topic below in a well-developed, coherent, and thoughtful essay of at least two to three pages (500-750 words). Your essay should include independent analysis and demonstrate careful thought, but no research is necessary, nor should any secondary sources be used. Although these are personal responses, and therefore there is no "correct" answer, remember that they are still formal essays: in your analyses, formulate a clear, explicit, assertive (persuasive), objectively-worded thesis statement, and avoid use of "I" or "you" throughout. Do not attempt to address all aspects of the text, but carefully focus your topic, and avoid merely paraphrasing or summarizing the work. Be sure to support your answers with specific references to the work. Essays must be typed, double-spaced, and grammatically correct; essays will be evaluated according to the Model for Evaluation of Student Writing.
1) What is Orwell’s 1984 really about? That is, if it can be said to have a theme, what is that theme? Is it concerned with truth, with politics, with war, with language, with man’s place in the cosmos? What is Orwell saying—not about Smith, or even Oceania, but about modern life, society, or the human condition?
2) Why "A Clockwork Orange"? That is, what is the real significance of the title, beyond F. Alexander’s apparent belief that "all lewdies nowadays were being turned into machines and that they were really—you and me and him and kiss-my-sharries—more like a natural growth like a fruit"? What does Burgess seem to be saying here—not about Alex, or even Ludovico’s Technique, but about society or the human condition?
3) In Lord of the Flies, Simon and Piggy both occupy relatively ambiguous positions: less important—perhaps— than Jack and Ralph, yet more important than "minor" characters; not leaders, yet not quite followers; innocent (?) victims, yet not innocents. How should we read these characters; that is, what exactly are their roles, and what is each one’s significance or importance to the novel?
4) Why "Lord of the Flies"? That is, what is the real significance of the title, beyond the obvious (?) allusion? What connection does this title have with "the Beast," and what does Golding seem to be saying—not about this group of boys, but about the human condition?
5) According to Stephen King, "Frankenstein is a mystical morality tale about what happen[s] when man dares to transgress the limits of knowledge" (qtd. Haining, Peter, ed. The Frankenstein Omnibus. Edison, NJ: Chartwell Books, 1994. 3). Is Shelley’s novel really concerned with the idea that, as the cliché has it, "there are some things man was not meant to know"? Why or why not?
6) According to Fred Botting, in "Reflections of Excess: Frankenstein, the French Revolution, and Monstrosity," Mary Shelley’s novel "is not only about the manufacture of a monster. It is, as many critics have noted, a monster itself [...] composed from an extensive literary corpus: direct citations of Romantic poetry, Paradise Lost and myths of Prometheus, references to many literary, philosophical and historical texts, events, and figures, as well as many others" (436, in Shelley, Mary. Frankenstein, 2 ed. Ed. Johanna M. Smith. Boston: Bedford, 2000. 435-449.) Trace one element of the novel’s component parts as identified by Botting, for example, the French Revolution, the influence of Rousseau, or the myth of Prometheus (as creator and fire-bringer or as Romantic ideal of rebellion against tyranny). How does this reference or theme function in the text?
7) According to Cyrus Hoye, "four subjects—melancholy, demonology, the nature of man, and death—[...] were, in their several ways, of absorbing interest to the late Renaissance, and each, in varying degrees, impinges on important issues raised by The Tragedy of Hamlet" ("Preface." Hamlet: A Norton Critical Edition. New York: Norton, 1992). Select one of these four subjects and briefly explore how it "impinges on important issues" in the play.
8) Hamlet is in some ways a play about power, including not only political but also personal power. What are the types of power in the play, what gives one character power over another, how is power acquired or distributed, and how is it used and abused? And, more importantly, does Shakespeare seem to be challenging or supporting his society’s views on the nature of power?
9) Jane Austen refers to Emma in less than flattering terms; she calls Emma herself "a heroine whom no one but myself will much like," and expresses her belief that "to those readers who have preferred ’Pride and Prejudice’ it will appear inferior in wit, and to those who have preferred ’Mansfield Park’ very inferior in good sense" (qtd. Parrish, Stephen M. "Preface to the Third Edition." Emma: A Norton Critical Edition by Jane Austen. New York and London: Norton, 2000. viii). Are Austen’s concerns, or her ambivalence toward the novel, justified? Why, or why not?
10) According to John Wiltshire, "the narrative voice of Emma, while flexible, and capable even of picking up Mr. Elton’s vulgarisms when in his vicinity, is overwhelmingly the style of Emma, youthful, confident, presumptive, witty, dogmatic, commanding, assured" ("Emma." The Cambridge Companion to Jane Austen. Eds. Edward Copeland and Juliet McMaster. Cambridge: Cambridge UP, 1997. 66-75; reprinted in Parrish, Stephen M., ed. Emma: A Norton Critical Edition. New York: Norton, 2000. 435-444). How does this narrative voice inform our reading—or misreading—of people and events in the novel? That is, how do Emma’s perceptions shape the readers’, and to what effect?
11) Othello’s plot clearly is informed by the issue of race; however, a reductive reading of the play is complicated by the fact that Othello is an Elizabethan play. Given the historical context in which this play is written and performed, how does Shakespeare either confirm or challenge his society’s views on race? How is this different from the way(s) in which Othello functions (or may function) as social critique today?
12) According to some readings of Othello, Desdemona’s passiveness or acquiescence is indicative of the Elizabethan view of women; women are subordinated to men, weaker, passive, victims, et cetera. However, can Desdemona be read as heroic, as active rather than passive? How?
Research Paper Topics
Select one of the following topics, and complete a research paper of 7 to 12 pages, typed, double-spaced, and grammatically correct; essays will be evaluated according to the Model for Evaluation of Student Writing. In addition, essays must use a minimum of five sources, properly documented utilizing MLA format (see also Documenting Films in MLA Style), with a cover page and Works Cited page (cover page and Works Cited do not count toward the 7-12 page requirement). Remember that these are formal essays: the paper must be persuasive, with a clear, explicit, assertive, objectively-worded thesis statement, support your assertions with specific references to the works, and should avoid use of "I" or "you" throughout. I will be available to meet with any student who needs assistance or additional instruction; please e-mail me to set up an appointment.
1) A large number of literary works, in addition to those discussed in class, have been filmed more than once. (For example, William Shakespeare is credited as Writer on 668 films on IMDB.com, and another 14 for either Miscellaneous Crew or Soundtrack!) Choose one such text, and analyze at least two different film versions (see Sample Introduction). How does each version adapt, revise, or alter the story? What is changed or left out, and why? How do all of these individual changes contribute to a different interpretation of the text; that is, what is the significant difference between the versions? And, finally, how does the socio-cultural milieu of each film inform these differences? Some suggested works (see me if you have others in mind):
[Anonymous.] Beowulf (several versions, including the 2007 version. Also, check out the free study guide to Beowulf from Paramount Pictures)
Apollonius of Rhodes, Argonautica, or, The Voyage of the Argo (as the classic Jason and the Argonauts, aka Jason and the Golden Fleece by Ray Harryhausen, and the not-so-classic made-for-television 2000 remake)
Douglas Adams, The Hitchhiker’s Guide to the Galaxy (as the 1981 BBC television miniseries and as the 2005 theatrical release)
Jane Austen, Pride and Prejudice (including Pride & Prejudice, 2005, Pride and Prejudice, 1940, Pride and Prejudice, 1938, and (of course!) the “Pride and Prejudice” miniseries, 1995, with Colin Firth and Jennifer Ehle)
Jerome Bixby, “It's a Good Life” (as “It's a Good Life” on The Twilight Zone, 1961; as the third story, directed by Joe Dante, in Twilight Zone: The Movie, 1983; as well as the segment “The Bart Zone,” from The Simpsons episode 8F02, “Treehouse of Horror II”)
Robert Bloch, Psycho (the original 1960 version and the 1998 remake)
Pierre Boulle, Planet of the Apes (or, La Planète des Singes) (as the original Planet of the Apes, 1968, and the Tim Burton remake, Planet of the Apes, 2001)
Charlotte Bronte, Jane Eyre (Not only Franco Zeffirelli’s 1996 version but also versions from 1910, 1914 (I), 1914(II), 1915, 1921, 1934, 1944, and 1955; also, at least five made-for-television versions: 1956, 1961 , 1963, 1970, and 1997; and three miniseries: 1973, 1983, and 2006.)
John W. Campbell (writing as “Don A. Stuart”), “Who Goes There?” (1938) as The Thing; a.k.a. The Thing from Another World (1951), The Thing, a.k.a John Carpenter's The Thing (1982), and The Thing (2011) (See also Peter Watts, “The Things.” Clarkesworld Magazine Jan. 2010. Web. 20 Oct. 2011.)
Lewis Carroll, Alice's Adventures in Wonderland and Through the Looking Glass and What Alice Found There (at least 68 versions or adaptations of one or both the two works, or portions thereof, from the first Alice in Wonderland, 1903, to Tim Burton's Alice in Wonderland and beyond: two works currently in development are The Looking Glass Wars and Alice, the latter based on the computer game American McGee's Alice, freely adapted from the texts!)
Richard Condon, The Manchurian Candidate (as The Manchurian Candidate,1962, and The Manchurian Candidate, 2004)
Richard Connell, “The Most Dangerous Game” (as Lethal Woman, 1989, Deadly Prey, 1988, Slave Girls from Beyond Infinity, 1987, Woman Hunt, 1975, Bloodlust!, 1961, Run for the Sun, 1956, A Game of Death, 1945, The Most Dangerous Game, 1932, and innumerable episodes of television shows including Fantasy Island, Gilligan’s Island and—of course--The Simpsons, albeit only a few brief allusions; also adapted as Ultimate X-Men Vol. X (issues 54-57): The Most Dangerous Game—not a film, but hey, still a cool homage to the short story!)
Raold Dahl, Charlie and the Chocolate Factory (as Willy Wonka and the Chocolate Factory, 1971, and Charlie and the Chocolate Factory, 2005)
Charles Dickens, A Christmas Carol (seriously, pick a version!)
Frederick Forsyth, The Day of the Jackal (as The Day of the Jackal, 1973, and The Jackal, 1997)
Bruce Jay Friedman, “The Heartbreak Kid” (Elaine May’s 1972 adaptation, with a screenplay by Neil Simon, and the Farrrelly Brothers’ 2007 remake with Ben Stiller, Michelle Monaghan, and Malin Akerman)
Frank Herbert, Dune (the 1984 De Laurentiis version--with Kyle MacLachlan, Patrick Stewart, Max von Sydow, and Sting [yes, Sting!]--and the Sci-Fi Channel’s Emmy-winning 2000 miniseries)
Eric Hodgins, Mr. Blandings Builds His Dream House, aka Mr. Blandings Builds His Castle, as Mr. Blandings Builds His Dream House with Cary Grant and Myrna Loy (1948), remade as The Money Pit with Tom Hanks and Shelley Long (1986) and Are We Done Yet? with Ice Cube and Nia Long (2007) (Female leads played by Loy, Long, and Long—a coincidence?)
Victor Hugo, The Hunchback of Notre Dame (at least 17 versions, including Disney’s The Hunchback of Notre Dame Topsy Turvy Games, a videogame from 1996, whatever that means!)
Ilya Ilf, Dvenadtsat stulyev, a.k.a. The Twelve Chairs (as Mel Brook’s brilliant farce, The Twelve Chairs, 1970; as Tomás Gutiérrez Alea’s ideological reworked comedy, Las Doce Sillas, a.k.a. The Twelve Chairs,1962; as the Russian film 12 Stulvev, a.k.a 12 стульев, a.k.a. 12 Chairs,1971, and so on)
Daniel Keyes, “Flowers for Algernon” or Flowers for Algernon (short story/novel) into Charly (1968) and Flowers for Algernon (2002)
See also, Daniel Keyes, Algernon, Charlie and I: A Writer's Journey (2000)
Stephen King, The Shining (Stanley Kubrick’s 1980 classic, and the 1997 television miniseries directed by Mick Garris)
George Langelaan, “The Fly” (as the original 1958 version with Vincent Price and the 1986 version directed by David Cronenberg, as well as the segment “Fly vs. Fly” from The Simpsons episode 5F02, “Treehouse of Horror VIII”)
C. S. Lewis, The Lion, The Witch, and The Wardrobe (as The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, 2005, The Lion, the Witch and the Wardrobe, 1979 (television, animated), and The Lion, the Witch, & the Wardrobe,1988 (BBC television))
Fritz Leiber, Conjure Wife (as Weird Woman, 1944, Burn, Witch, Burn, 1962, and Witches' Brew, 1980)
Richard Matheson, I Am Legend (as The Last Man on Earth with Vincent Price, 1964, The Omega Man with Charlton Heston, 1971, and I Am Legend with Will Smith, 2007, and—I am not making this up—as the low-budget I Am Omega, 2007, as well as the segment “The Homega Man,” from The Simpsons episode 5F02, “Treehouse of Horror VIII”)
William Shakespeare, King Lear (too many versions to count!)
William Shakespeare, Macbeth (again, too many versions to count!)
Bram Stoker, Dracula (I mean, c’mon, how many versions are there? Like hundreds? and remember, as Homer Simpson says, “Vampires are imaginary—like elves, gremlins, and Eskimos.”)
Jules Verne, Journey to the Center of the Earth (several versions, including the classic1959 version, directed by Henry Levin, and the 2008 version starring Brendan Fraser)
H. G. Wells, The Island of Dr. Moreau (several versions, including Island of Lost Souls, 1932, The Island of Dr. Moreau, 1977, and The Island of Dr. Moreau,1996)
H. G. Wells, The Time Machine (the classic1960’s The Time Machine, directed by George Pal, and the not-so-classic 2002 remake)
H. G. Wells, The War of the Worlds (the classic The War of the Worlds, 1953, and the less than classic 2005 remake)
John Wyndham, The Midwich Cuckoos into the classic 1960 Village of the Damned (parodied on The Simpsons as The Bloodening), the Spanish-language Pueblo de Malditos, and the 1995 John Carpenter remake.
and more to come, as I think of them.....
2) Other literary works have been adapted into films in a manner more free than that employed for those listed above. These adaptations are generally less “faithful” to the text, essentially involving a radical transformation or expansion or a complete revision of the original, often including a shift in setting (both time and place). For example, consider the discussion regarding Amy Heckerling’s Clueless (1995) and its radical (Suzanne Ferriss might say reactionary) revision of Jane Austen’s Emma. (see Sample Introduction 2). Choose one of the following adaptations (see me if you have another adaptation in mind): what changes were made, and why? What effect do the changes have on our “reading” of the movie as text?
[Anonymous.] Beowulf into Michael Crichton’s Eaters of the Dead, filmed as The 13th Warrior; or into John Gardner’s Grendel, filmed as the animated Australian Grendel, Grendel, Grendel; or the vaguely futuristic science fiction version of Beowulf
[Anonymous.] 13th-century Swedish ballad “Töres dotter i Wänge,” adapted by screenwriter Ulla Isaksson as Ingmar Bergman’s Jungfrukällan, a.k.a. The Virgin Spring, 1960, and by Wes Craven as Last House on the Left, 1972 (Seriously! See here, for example. See also, Dennis Iliadis’s remake of The Last House on the Left, 2009).
Joseph Conrad, Heart of Darkness into Francis Ford Coppola’s Apocalypse Now
Homer, The Odyssey into O Brother, Where Art Thou?
C. de Laclos, Les Liaisons Dangereuses (no English language e-text available?) into Cruel Intentions
Edmond Rostand’s Cyrano de Bergerac into Roxanne
William Shakespeare, Henry IV into My Own Private Idaho (1991)
William Shakespeare, King Lear into Akiro Kurosawa’s Ran (1985)
William Shakespeare, Macbeth into Akiro Kurosawa’s Kumonosu jô, a.k.a. Throne of Blood (1957)
William Shakespeare, Macbeth into Vishal Bhardwaj’s Maqbool (2003) (Thank you, Jaspinder, for letting me know of this one!)
William Shakespeare, Macbeth into Scotland, PA
William Shakespeare, Othello into Vishal Bhardwaj’s Omkara (2006)
William Shakespeare, The Taming of the Shrew into 10 Things I Hate About You (1999)
William Shakespeare, The Tempest into Forbidden Planet (1956)
William Shakespeare, Twelfth Night into She’s The Man (2006)
Philip Van Doren Stern, “The Greatest Gift” into It’s a Wonderful Life (multiple versions or revisions)
