Bert McCoy's
"MyTeaching Resources"
English 9-12
  • Home
    • Home #2
    • Home #3
    • Education >
      • Quotes on Education
    • Thoughts on Teaching >
      • Classroom Rules and Expectations
      • Five Methods to Notetaking
      • How To Listen
      • Procrastination >
        • 16 Things I Wished I Had Learned Early
      • The Socratic Method
    • Reading >
      • Audiobooks
      • Audiobooks on line
      • Best Books to Read
      • Free Books on Line >
        • Free Books
        • e-books
      • Science Fiction & Fantasy Stories (Tor.com) >
        • Digital Citizenship 2014/2015 >
          • Digital Citizenship Curriculum Lesson 1
          • Digital Literacy
      • Noble Prise in Literature >
        • Russian writers
    • Top 10 Rules for Success
    • Best Teacher Apps For High School, Middle, & Elementary School >
      • Best EdTech 2014 Websites
    • Cool Websites to Visit >
      • Best i-phone/Android Editing Apps >
        • Storyboards
      • 50 Unique and Useful Websites on the Internet
      • How to Become an Early Riser
      • 100 Tech Hacks
      • 10 Nonf-iction Books to blow Your Mind
      • Roman Numerals and More...
      • Get Almost any Book For Free
    • The Journey of Purpose >
      • youarecreators
      • Absolute Motivation #1 >
        • Absolute Motivation #2
    • Business World Material >
      • Peaceful Warrior Quotes
      • Goal-setting
      • Less Brown
      • Who Move My Cheese >
        • Who Moved My Cheese/ #1
        • Who Moved My Cheese/ #2
        • Who Moved My Cheese/ #3
      • Secrets of Success
      • Did You Know?
      • The 7 Habits of Highly Effective People
      • The Four Agreements: >
        • The Four Agreements
      • John Wooden's, "Pyramid of Success"
    • State Standards 12th Grade
  • Teaching Stories
    • Teaching Stories/ Quotes >
      • Spiritual Paths
    • Mooji Stories
    • "The Emperor's Three Questions" by Leo Tolstoy
    • Avadhuta Gita >
      • Avadhuta Gita
    • Teaching Stories
    • Mullah Nasruddin Stories >
      • Teaching Stories/Idries Shah
    • The Bhagavad Gita vs "To be or not to be." >
      • The Bhagavad-Gita
    • Vedanta Teachings >
      • Advaita / Nonduality Quotes
      • Advaita
    • The Emerald Tablets/Alchemist
    • Aesop's Fables
    • Koans
    • The Oarsman
    • The American Tourist Story
    • The Violinist
    • The Moth Presents
    • inspirational Stories
  • Cool Quotes
    • Rumi Quotes >
      • Non-Dual Quotes
      • Present Moment Quotes
    • Inspirational Quotations 1
    • Inspirational Quotations 2
    • Cool QUOTES!
    • Motivational Quotes
    • Wisdom
  • Film Studies 2017-18
    • Film Quotes
    • My Favorite Films
    • Film Study Syllabus >
      • Film Study Syllabus Notes >
        • Film Studies 2016-2017
      • Film Study Terms
    • Film History/The Lumiere Brothers and more...
    • Film Studies Films >
      • Movies for Film Class
    • Narrative Design/Terms/2016-17 Films >
      • Film Study Narrative Design
      • The Hero's Journey >
        • Hero's Journey >
          • The Hero's Journey #1
          • Hero's Journey #2
          • Hero's Journey #3
      • Peaceful Warrior Reviews >
        • Peaceful Warrior
        • Peaceful Warrior Quotes
        • Peaceful Warrior Script
        • Peaceful Warrior
      • Film Shots
      • Mise En Scene >
        • Mise En Scene
      • Groundhog Day >
        • If today was your last day?
        • Discussion Questions Film Studies
        • Character Counts Film Studies
      • The Legend of Bagger Vance/The Gita >
        • Production Notes Legend of Bagger Vance
      • Meet Joe Black >
        • Death Takes A Holiday 1934
      • Documentary >
        • Basquiat
        • The Secret
        • Sicko
        • filmumentaries
        • 200 Free Documentaries
      • Jaws >
        • Jaws
      • 100-Foot Journey >
        • French Laundry Restaurant
        • The Hundred Foot Journey
        • 100 Foot Journey
      • Alfred Hitchcock >
        • Alfred Hitchcock
        • Alfred Hitchcock Presnts
        • Psycho >
          • Psycho 1960
          • Ed Gain Psycho
        • The Birds
        • Vertigo >
          • Vertigo 1958
        • Rear Window 1954 >
          • Disturbia
        • Rope
        • To Catch a Thief
        • Notorious 1946
        • Strangers on a Train 1951
        • North by Northwest 1959
        • The 39 Steps 1935
        • The Lady Vanishes 1938
      • Close Encounters of the Third Kind
      • Phenomenon 1996
      • 42 The Jackie Robinson Story
      • Forever Strong Rugby >
        • Forever Strong
        • History of Rugby
      • The Matrix >
        • The Matrix Reloaded
        • The Matrix The Animatrix
      • It's A Wonderful Life >
        • it's a Wonderful Life
        • It's a Wonderful Life #2
        • It's A Wonderful Life Screenplay PDF
      • Hoosiers >
        • Hoosiers
      • Goal The Dream Begins
      • War of the Worlds
      • Avatar
      • Malcolm X
      • Film Noir >
        • Film Noir >
          • Film Noir Titles
        • Casablanca >
          • Casablanca
          • Casablanca Review
        • Strangers on a Train/ Hitchcock
        • The Maltese Falcon
      • Promised Land
      • Charlie Chaplin >
        • Charlie Chaplin
        • New Page
      • JFK Assassination 1 >
        • JFK/Oliver Stone
        • JFK Assassination 2
        • Robert Richardson and JfK >
          • Digital Cinema Show
      • The Butler
      • Miracle >
        • Flow
      • Patch Adams >
        • Patch Adams 2
      • I Am Legend
      • Gattaca >
        • Gattaca
        • Gattaca filming Locations
      • Point Break
      • Contagion 2011
      • The Dark Knight >
        • Batman 1
        • Batman 2
      • Finding Forrester
      • Speed Racer
      • Blade Runner 2049
      • The Rainmaker
      • In the Mood for Love
      • 1984 George Orwell
      • Lord of the Rings Films
      • Citizen Kane >
        • Citizen Kane #2
      • Seabiscuit
      • They're Here!
      • The Wild Wild West! >
        • John Wayne / True Grit
        • Clint Eastwood/ High Plains Drifter
      • Remember the Titans
      • The Pride of the Yankees 1943
    • Sundance Film Festival
    • How to Writing a Screenplay
    • German Expressionism in Film >
      • Dadaist Films
      • Breathless, by Jean-Luc Godard (1960)
    • Film as Social and Cultural History
    • Filmmaker IQ
    • Planet of the Apes Films
    • Wonder Woman 2017
    • National Archive Films
    • Austin Film Festival
    • Atlas Shrugged /Ayn Rand
    • 2016-17 Film Play List
    • The Hunt For Red October
    • Crimson Tide
    • Das Boot
    • U-571
    • The Secret Life of Walter Mitty
    • Dreamworks
    • Famous Film Directors >
      • John Ford
      • Jean-Luc Godard >
        • Breathless >
          • Breathless
      • François Truffaut
      • Female Film Directors
      • Akira Kurosawae
      • Andrei Tarkovsky
      • David Fincher
      • Christopher Nolan
      • Fassbinder Films
      • Coen Brothers
      • Martin Scorsese
      • Steven Speilberg
      • Quentin Tarantino
      • Directors/Producers
      • Andrei Tarkovsky
      • Stanly Kubrick >
        • Stanley Kubrick
      • The Wachowskis
    • Cinematography
    • Film Study Vocabulary 2016-7
    • How to find the theme (s)
    • Man vs Nature Films
    • Mood Comparison Questions
    • Film Studies
    • Film Set Lingo
    • Film Studies Lectures
    • Sound Design
    • Film Sound
    • Film Editing
    • Film Lighting Terms and Techniques >
      • Film Lighting
    • Acting Techniques
    • James Bond
    • Film Studies Class Info >
      • Letter of Introduction Assignment >
        • Syllabus Fall/2015
        • Permission Letter
        • Filmmaking Techniques
        • Inside The Actor's Studio
        • Film News/ Telegraph
        • How to Analyze a Movie
        • Paper Template
        • Filmmaking and Advice
        • Film Schools
        • Film Jobs
        • The 100 greatest movie quotes of all time
      • Film Club 2016
      • Movie Review Activity
      • Sketchbooks for Class
      • Compare Contrast Paper Monsters Vs Coraline
      • Turner Classic Movies
      • Film Making Techniques
      • French Kiss
      • Indiana Jones
      • Camera Shots
      • Breakfast at Tiffiffany's
      • 12 Angry Men 1957
      • Blade Runner
      • Malala
      • Vimeo Short Films
      • Filmsite
      • Rain Man
      • John Grisham >
        • The Cider House Rules
      • Scary Movies >
        • Poltergeist
        • Ghost of the Lagoon by Armstrong Sperry >
          • H.G. Wells
          • DP/30 >
            • Robert Yeoman
        • Silence of the Lambs
        • Siskel & Ebert Silent Movies
        • Frankenstein 1910 Silent Movie
        • Flowers in the Attic/ Parental Responsibilities
        • The Shining
      • The Hunger Games/Quotes >
        • The Hunger Games Seneca >
          • Suzanne Collins
        • The Hunger Games/ Questions
        • Catching Fire
        • The Hunger Games
        • The Hunger Games/ Chapters
        • The Hunger Games/ Characters, Facts, Themes,
      • Forrest Gump
      • The Green Mile
      • Powder
      • What Dreams May Come
      • Mr. Holland's Opus
      • Ratatouille >
        • Ratatouille Quotes
    • Film Studies/ Film as Literature (FAL) >
      • filmsite.org
      • Classics Movies #1 >
        • Classic Movies #2
      • Buster Keaton
      • Buster keaton vs Charlie Chaplin
      • Sidney Portier Movies
    • Film Techniques and Terminology
    • Zorba the Greek
    • The Hollywood Reporter
    • Education Movies
    • WAR!
    • Braveheart
    • Glory Road
    • Historical and Period Drama Movies
    • Marlon Brando/On The Water-front
    • Mutiny on the Bounty
    • Stages and Archetypes of the Hero's Journey
    • October Sky
    • Spy Movies
    • Stephen Fry
    • Paper Towns
    • Horror
    • From Weak to Strong Movies
    • The Secret Life of Bees
    • Environmental Movies
    • Sports Movies >
      • A River That Runs Through It >
        • Fly Fishing Quotes
      • Money Ball >
        • Money Ball #2
      • Dogville
      • Goal / History of soccer >
        • Goal (page two)
      • Teamwork Movies
      • www.ronaldothefilm.com
      • We Are Marshall
      • Pele
      • Chariots of Fire
      • Remember the Titans
    • Lance Armstrong Doping
    • FAL/ ?
    • Madame Bovary
  • English 9 Curriculum Map 2017-18
    • Direct and Indirect Characterization
    • Overly Sarcastic Productions The Classics
    • English 9 Unit 1 >
      • Story Telling /Moth
      • 10 Rules/Carmichael
    • English 9 Unit 2 >
      • Richard Wright/Blackboy >
        • Black Boy by Richard Wright
      • The Age of the Essay Paul Graham
    • English 9 Unit 3 >
      • Odyssey >
        • The Odyssey Movie
        • Create a Myth Assignment
        • Odyssey Timelines/ AWESOME!
        • Odyssey Audio
        • The Odyssey/60 Second Recap
        • Freewill vs Determinism quotes
        • Freewill vs Determinism
        • Greek Gods
        • Greek Vases
        • Ancient Greeks
        • Greek Gods
        • The Greeks/Gods
        • Greek Gods/Godesses
        • Greek Gods and their Characteristics
        • Greek Gods/Videos
      • Greek and Roman >
        • Untitled
        • What is theater?
        • Ancient Rome
        • The Gladiator Graveyard
        • Spartacus Behing the Myth
        • Helen of Troy
        • Worst Jobs Roman/Anglo-Saxon
        • Ancient Greek Homes >
          • Ancient Greek/Roman Music
        • Rome/History/BBC >
          • Marcus Aurelius
          • The Stoics
          • Metal Detecting Roman/Greek
        • Oedipus The King >
          • Oedipus the King/Prezi
        • Homer, The Iliad
        • The Norse Gods
      • The Alchemist by
    • English 9 Unit 4
    • Graffiti >
      • Bansky
      • Bansky Art Sold fo
      • Street Art
      • The Top Street and Graffiti Artists to Watch in 2015
      • Graffiti Analysis
      • Anamorphic Graffiti Illusions by Odeith – Fubiz
    • Romeo and Juliet
    • English 9 Unit 5/ Poetry >
      • Various Poets
    • English 9 Other >
      • English 9 Essay
      • Video Games >
        • Video Gaming
        • Video Games #2
        • Game Programmer
        • Video Game Jobs
        • Video Games/Presi/Slideshare
  • Vocabulary
    • Glossary of Literature Terms >
      • Literature Glossary
      • Literature Terms
      • Literary Elements
      • Plot Structure
      • Forshadowing
    • Mysteries of vernacular
    • CAHSEE Vocab/Mix
    • SAT/ Vocabulary #2
    • CAHSEE Prep
    • Vocabulary SAT/CAHSEE/CST
    • Sat Vocabulary Words
    • Vocabulary (SAT 100)
    • Vocabulary Roots
    • Vocabulary Prefix
    • Vocabulary Suffix
    • Context Clues
  • English 12 2017-18
    • Restorative Justice >
      • Juvenile Justice Essay Resources
      • Adam Foss
      • Racial Profiling >
        • Racial Poetry
        • Racial Profiling
      • Racism
      • Bullying #1
      • Race/Racism/Bullying
      • Jim Crow Museum
      • What Would You Do?
      • Bullying
      • Bullying
    • Eng 12/ Life after high school >
      • Personal Statement
      • Vision Board Assignment >
        • Vision Board Project
      • UC Writing Prompts/Journals
      • Hidden Intellectualism by Gerald Graff
      • Job Applications/Business Letter
      • Interview Questions and Answers >
        • Interview Q & A
        • Interview Q & A
      • Job Seeking/Resume/Q and A
      • FAFSA
      • Siddhartha by Hermann Hesse
    • Food >
      • BBC Fast Food Baby
      • BBC The Truth About Food
      • BBC Beef Burgers
      • GMOs
      • Food
      • Food
      • Food
    • Unit 2 Week (3-5) "College Application Essay" >
      • Commencement Speeches #1
      • Commencement Speeches #2
      • Great Speeches
    • Zoot Suit >
      • Zoot Suit 2
    • 1984 Language, Gendetr, and Culture in George Orwell's 1984 >
      • 1984 Key facts, characters, themes, motifs, and symbolism
    • Brave New World 2016 >
      • Brave New World 2017 1
      • Gender, Language, and Identity
      • Brave New World Character Name meanings
      • BNW Vocabulary
      • BNW Chomsky
      • Brave New World Vocabulary Words
      • Brave New World 2016 2
      • The Perennial Philosophy/Huxly
      • Mystic Quotes
      • Papaji Advaita Vedanta
      • Nissargadatta
      • Vedanta Advaita Quotes
      • Kristnamurti Quotes
      • Sola BNW
      • Iron Maiden/ BNW
    • Into The Wild 2016-17
    • Into the Wild/ 11/15 >
      • Into the Wild/ Characters >
        • Into The Wild/Characters >
          • Into the Wild/Themes, Characters
      • Into the Wild/ Vocab
      • Into the Wild/ Quotes
      • into The Wild/ Chapter Reviews
      • Into The Wild/ Symbolism
      • Into To Wild/ Themes
      • Into The Wild/ Glossary
      • Into the Wild/ Quiz 1
      • Into the Wild/Jon Krakauer >
        • Is Ignorance Bliss?
        • Into the Wild/ Essential questions
        • Into the Wild/20/20 >
          • Into the Wild/Eckhart Tolle
        • Chris McCandless Articles/Outside Magazine
        • Into the Wild/Jon Krakaur
        • Into the Wild/2015/Nomads
        • Into the Wild
        • Into the Wild/The Big Two-hearted River/Nick Adams
        • Into the Wild/Who Am I
        • Into the Wild/Pierre Bezuhov/From War and Peace
        • Into The Wild/Various
        • Into the Wild/2015/Rush
        • Into the Wild/Tolstoy
        • Into the Wild/Springsteen
        • Into the Wild/Jack London
        • Into the Wild/Emerson
        • To Build a Fire/Jack Londen
        • Into the Wild/Louis L' Amour
        • Into the Wild/Thoreau
        • Into the Wild/Boris Pasternak
        • Into the Outdoors
        • Into the Wild/Alaska Denali
        • Into the Wild/Snowboarding
        • Into the Wild/2014/15/Supertramp
        • Into the Wild/Vocabulary
        • Into The Wild/Themes >
          • Into the Wild/Themes
        • Into The Wild/Glossary
        • Into the Wild/ Papaji
        • Into the Wild/Eckhart Tolle
        • Into the Wild
        • Into the Wild (Prezi)
        • Into the Wild/John Muir
        • Into the Wild/Quiz
        • Into the Wild /Movie Questions
        • Into the Wild/ Q&A
        • Into the Wild/ Climbing Videos
        • Into the Wild/Moose
    • Standards
    • English 12 Syllabus
    • English 12 2016-17 >
      • English 12a Final Essay
      • Letter To Myself >
        • Letter to Myself
        • Letter to Myself
    • English 12 Essay 2015
    • History of the English Church >
      • History of English
      • History of English
      • The History of English >
        • BBC Anglo-Saxons >
          • Anglo Saxons >
            • Anglo Saxon Lyre
            • Anglo-Saxon The History of English
            • Worst Jobs in History (Middle Ages)
            • The Worst Jobs in History--The Dark Age - Part 1-6
            • The Worst Jobs In History - 1x03 - Tudor
            • The Worst Jobs In History--Roman & Anglo-Saxon
            • The Worst Jobs In History--Medieval
            • The Worst Jobs In History--Tudor
            • The Worst Jobs In History--Stuart
            • The Worst Jobs In History--Georgian
            • The Worst Jobs In History--Victorian
            • The Worst Jobs In History--Urban
            • The Worst Jobs In History--Royal
            • The Worst Jobs In History-- Industrial
            • The Worst Jobs In History--Maritime
            • The Worst Jobs In History--Rural
            • The Worst Jobs In History--Christmas
            • The Medievil Mind >
              • The Medieval Belief
              • The Medievil Treasures BBC
              • The Medieval Power
              • Age of Conquest
              • The Crusades
              • The Black Plague
              • AEngla Land
              • Treasures of the Anglo-Saxons
              • The Staffordshire Hoard
            • Beowulf >
              • In Search of Beowulf
              • Beowulf PPt Presentations
              • British Literature Learning Videos >
                • Paganism vs Christianity
                • The Germanic Tribes
                • Beowulf & the Anglo-Saxons (1-8)
            • The Canterbury Tales
        • Language
    • English 12 Reading >
      • Epic of Gilgamesh Audio 2000 BC.
      • Sir Gawain and the Green Knight Late 14th-century
      • The Wife of Bath's Tale 1405-1410 from canterbury Tales
      • The Passionate Shepard
      • Shakespeare 1564-1616 >
        • Shakespeare/ Tudor England
        • Novels/Plays >
          • Hamlet's, "To Be or Not to Be"
          • A Midsummer Night's Dream
          • Macbeth
          • Macbeth
          • Macbeth Act by Act
          • Shakespeare Poems
          • Globe Theater
          • Shakespeare Sonnets
          • Sonnet 1
          • Sonnet 1 Blog:
          • Sonnet 18
          • Sonnet 29
          • Sonnet 29 Blog:
          • Sonnet 75
          • Sonnet 75 Blog
          • Sonnet 130
      • Romeo & Juliet/ Shakespeare 4/15 >
        • Romeo & Juliet/ Shmoop Resources
        • Shakespeare Glossary
        • Shakespeare's Globe
        • Quotes about Shakespeare >
          • Shakespeare Quotes
          • Shakespeare Castles
        • Romeo & Juliet/ Characters
        • Romeo & Juliet/ Themes, Motifs, Symbolism
        • Elizabethan Clothing
        • Royal Shakespeare Company
        • Romeo and Juliet 1
        • Romeo and Juliet 2
        • Romeo and Juliet 3
        • Romeo and Juliet/ 60 Second
    • Six Centuries of Verse: Metaphysical & Devotional Poets >
      • Ben Johnson
      • John Donne
      • Andrew Marvell >
        • Jonathan Swift
        • A Modest Proposal
      • To His Coy Mistress
    • Romanticism 1790-1850 >
      • Romantic Spirit
      • Mysticism
      • William Blake
      • William Wordsworth
      • Samuel Taylor Coleridge
      • John Keats
      • Percy Bysshe Shelley
      • Mary Shelley
      • Lord Byron
      • James Joyce
  • My Favorite People
    • Favorite Artists >
      • Brian Dettmer Book Cutting
      • Bansky
      • Julian Schnabel
      • Phillip Guston
      • David Salle
      • Robert Motherwell
      • Picaso
      • Raushenburg
      • Francisco Clemente
      • Joseph Beuys
      • Cy Twombly
      • Jean Michel Basquiat
      • Keith Haring
      • Kenny Scharf
      • Kaws
      • Sun Xun
      • L' Arte
      • Richard Serra
    • AESOP
    • Adyashanti
    • Maya Angelou
    • Jane Austin
    • James Baldwin
    • Bansky Quotes
    • Coleman Barks
    • Joseph Beuys
    • Harold Bloom >
      • Harol Bloom/ How to read and why
    • Jorge Luis Borges
    • Robert Bly 1 >
      • Robert Bly 2
    • David Bowie
    • Ray Bradberry >
      • There Will Come Soft Rains
      • Usher II
      • The Veldt
      • Marionettes Inc.
      • Fehrenheit 451
      • Fahrenheit 451 Vocabulary
      • Fahrenheit 451 Quotes
    • Russell Brand
    • David Brooks
    • Barbara Brodsky
    • James Brown
    • Buddha >
      • Buddha
    • Warren Buffet
    • James Cameron
    • Albert Camus
    • Jack Canfield
    • George Carlin
    • Lewis Carrol
    • Caroline Casey
    • Paulo Coelho/Alchemist >
      • Paulo Coelho
    • John Coltrane >
      • John Coltrane
    • Steven Covey >
      • Steven Covey
      • The 7 Habits of Highly Effective People/Steven Covey
    • Charlie Chaplin
    • Noam Chomsky
    • Deepak Chopra >
      • Ask Deepak
      • Deepak Chopra
    • Junot Diaz
    • Winston Churchill
    • Ram Dass
    • Simone De Beauvoir
    • Anthony De Mello
    • Daniel Dennett
    • Shanti Devi
    • Fyodor Dostoyevsky >
      • Fyodor Dostoyevsky/ The Brothers Karamazov
    • Carol Dweck/Mindsets
    • Bob Dylan >
      • Bob Dylan
    • Thomas Edison Quiz
    • Albert Einstein >
      • Albert Einstein
    • T. S. Eliot
    • Ralph Waldo Emerson
    • Jane Eyre
    • Anneliese Marie Frank
    • William Faulkner
    • F Scott Fitsgerald >
      • The Roaring 20's
      • F Scott Fitzgerald 2014-15
      • The Great Gatsby
    • Benjamin Franklin
    • Robert Frost
    • Stephen Fry >
      • Stephen Fry
    • Neil Gaiman
    • Dan Gilbert
    • Malcom Gladwell
    • Johann Wolfgang von Goethe
    • Gurdjieff
    • Steven Hawking /black Holes
    • Hafez/Hafiz #1 >
      • Hafez/Hafiz Poems #2
      • Hafez/Hafiz #3
      • Hafez/Hafiz #4
      • Hafez #5 >
        • Hafiz Poems #7
      • Hafez Poems #6
      • Hafez Poems #8
    • Thich Nhat Hanh
    • Tyrone Hayes
    • Ernest Hemingway
    • Hermann Hesse >
      • Siddhartha Quotes
    • Christopher Hitchens
    • HOU HSIAO-HSIEN
    • Langston Hughes >
      • Langston Hughes/ Poems
      • Langston Hughes
    • Aldous Huxley >
      • Brave New World 4/15 >
        • Secret Societies >
          • The Knights Templar
          • The Freemasons
          • The Rosicrucians
          • The Illuminati
          • The Carbonari
        • BNW/ Chemtrails vs Contrails
        • BNW/ Unit Plan
        • BNW/ 2015
        • BNW/ TED
        • BNW/ William Blake/Doors of Perception
        • BNW/ Details #1
        • BNW/ Details #2
        • BNW/ Soma= DMT?
        • BNW/ Futuristic Movie Trailers
        • BNW/ Dystopia vs Utopia
        • BNW vs 1984
        • BNW/ Orwell vs Huxley
        • BNW/ Noam Chomsky
        • BNW/ Huxley Complete Works
        • BNW/ Vedanta and Huxley
        • BNW/ Advaita Vedanta
        • BNW/ Bohemian Grove
        • BNW/ Corporate Deceit
        • BNW/ Shakespeare and Religion by Huxley
        • BNW/ Geo-Engineering
        • BNW/ About Aldous Huxley
        • BNW/ Doors
        • BNW/ Conspiracy?
        • BNW/1984 Synthetic Telepathy
        • BNW/ May 13th
        • BNW/ Transhumanism
        • BNW/ What is DMT? Soma?
        • BNW/ Psychological Warfare
        • BNW/ NWO
      • Brave New World 2014 >
        • Brave New World 2014 >
          • Brave New World #5 2014
          • Oligarcy
          • Transhumanism
          • Agenda 21
          • Inequality For All
          • Inequality For All
          • Brainwash Update
          • Globalization
          • Eugenics
        • Brave New World Quotes
        • Brave New World >
          • Brave New World #2
          • Brave New World #3
          • Brave New World #4
          • enotes/Brave New World
          • Brave New World Vocabulary Words
          • Aldous Huxley
          • Bio-Engineering
          • CHEM-TRAILS
          • Genetic Engineering
          • Aldous Huxley
          • Aldous Huxley - Videos
      • Brave New World 1/2015
    • Pir Zia Inayat-Khan/Sufi
    • Phil Jackson
    • Eta James
    • James Joyce
    • Mahatma Ghandhi
    • John Irving
    • Carl Gustav Jung/Interview >
      • C. G. Jung/Quotes
    • Jon Kabat-Zinn
    • Kabir
    • Franz Kafka >
      • Franz Kafka
    • Immanuel Kant
    • Byron Katie
    • John Keats
    • John F. Kennedy
    • Kibir
    • Stephen King
    • Alfie kohn
    • Matt Kohn >
      • Pleiadian Broadcast ???
    • Jeff Koons
    • Jiddu Krishnamurti
    • Stanley Kubrick >
      • Stanley Kubrick
    • Llewellyn Vaughan Lee
    • C S Lewis
    • Jack London
    • Anandamayi Ma
    • Ramana Maharshi
    • Nelson Mandela
    • Og Mandino/Greatest Salesman >
      • Og Mandino/Summary
    • Karl Marx >
      • Karl Marx
    • John Mayer
    • Bert McCoy Quotes
    • Herman Melville
    • Lionel Messi
    • Dan Millman >
      • Peaceful Warrior
    • Hsin Hsin Ming The Book of Nothing
    • Mooji #1 >
      • Mooji/Avadhuta Gita #2
      • Mooji / Video & Sayings #3
      • Mooji #4
      • Mooji #5
    • Bill Moyer
    • Henry Miller
    • Thelonious Monk
    • Van Morrison
    • Elon Musk >
      • Elon Musk
    • Caroline Myss
    • Nietzsche >
      • Nietzsche
    • Anais Nin
    • Nissargadatta >
      • Nissargadatta I Am That
      • Nisargadatta Maharaj
    • John Oliver
    • John O'Donohue
    • Suze Orman
    • George Orwell >
      • 1984
      • 1984 >
        • george orwell biography
        • 1984 #1
    • Osho
    • Papaji
    • Pablo Picasso
    • Plato
    • Edgar Allen Poe
    • William Sydney Porter
    • Premananda
    • Marcel Proust
    • Anthony Robbins >
      • Tony Robbins
    • Robert Reich
    • Sen no Rikyu/Zen
    • Jim Rohn
    • Teddy Roosevelt quotes >
      • Week 1-4/ Uncovering the Self >
        • Uncovering the Self
      • English 9 >
        • Grade 9/Unit 1/ Writing Task
        • Grade 9/Unit 2
        • Grade 9/Unit 3
        • English 9/Unit 4
        • English 9 TEDs
        • English 3D
        • English 3D
        • Read 180/Intensive 2
      • Victorian Period (1833-1901) >
        • Victorian Era
        • Robert Browning
        • Charles Dickens
        • Edgar Allen Poe
        • Alfred Lord Tennyson
    • Don Miguel Ruiz/The 4 Agreements
    • Rumi >
      • Rumi/Dr. Omid Safi
      • Rumi/Coleman Barks #1
      • Rumi/Coleman Barks #2
      • Rumi/Coleman Barks #3
      • Rumi/Coleman Barks #4
    • Bertrand Russell
    • Sadhguru #1 >
      • Sadhguru #2
      • Sounds of Isha #3
      • Sounds of Isha
      • Isha
    • Stefan Sagmeister
    • Joel Salatin
    • Samarpan
    • Michael Sandel
    • Shakespeare
    • Anoushka Shankar
    • Percy Bysshe Shelley >
      • Mary Shelly
    • Nickolas Sparks
    • Bruce Springsteen
    • Ralph Steadman
    • David Steindl-Rast
    • Robert Louis Stevenson >
      • Rober Louis Stevenson 2
      • Robert Louis Stevenson 3 >
        • Robert Louis Stevenson Poems
        • Jekyll/2007
        • Dr> Jekyll and Mr. Hyde Audio $$ >
          • Dr. Jekyll and Mr. Hyde (Videos)
          • Key Facts
        • Treasure Island/RLS
    • Teal Swan
    • Rabindrath Tagore
    • Henry David Thoreau
    • Nikola Tesla
    • Eckhart Tolle
    • Leo Tolstoy
    • Brian Tracy
    • Mark Twain
    • Irina Tweedie
    • Lao Tzu/Tao/The Way
    • Ludwig van Beethoven
    • Swami Vivekananda
    • Llewellyn Vaughan-Lee
    • Kurt Vonnegut
    • David Foster Wallace >
      • David Foster Wallace
    • Neale Donald Walsch
    • George Washington
    • Holocaust/Night/Elie Weisel >
      • Night/Elie Weisel #2 >
        • Elie Weisel Pictures
    • Orson Welles
    • Oscar Wilde
    • Walt Whitman
    • Marianne Williamson >
      • Marianne Williamson
      • Marianne Williamson
    • Ed Witten
    • John Wooden
    • William Wordsworth
    • W B Yeats
    • Zig Ziglar
    • Zizek
  • TED
    • TED Talks >
      • Videos #34 >
        • Videos #35
        • Videos #36
        • Videos #37
        • Videos #38
      • ted talks
      • TED #2
      • TED #3
      • TED X
      • TedxWomen
    • Ted Ed >
      • TED.Ed #1
      • Ted Ed #2
      • Ted Ed #3
      • Ted Ed #4
      • Ted Ed #5
      • Ted Ed #6
      • TED Ed #8
  • Poetry
    • Quotes on Poetry >
      • Poets on Poetry
    • TED Poetry >
      • Rives Poetry >
        • Beats
    • Poetry Images
    • Button Poetry
    • Our Life In Poetry
    • Haiku >
      • Haiku
    • Poetry "Random"
    • Fredrico Lorca
  • Music
    • John lennon
    • Rolling Stones
    • Light in Babylon
    • Resham Firiri/ Nepal
    • Guitar
    • Estas Tonne
    • Andres Segovia/ Guitar
    • Anna RF
    • Gipsy Kings
    • Hindi Songs
    • Music #2
    • JAZZ/ Louis Armstrong
    • Blues
    • The Beatles
    • om
    • Jack Johnson
    • Jazz
    • NPR Music
    • Krishna Das
  • Philosophy
    • Economics >
      • Economic Philosophy
    • Existentialism Quotes >
      • Hegel
    • The School of Life
  • Untitled
  • Letters of Note Website
  • Awakening
  • Mantras
  • Google
  • Last Minute Substitute Ideas
  • linguistics
  • Short Stories
    • The Emperor's Three Questions
    • Short Stories
    • Sonata for Harp and Bicycle by Joan Aiken
    • Carry Your Own Skis by Lian Dolan >
      • Snowboard Playlist/mix
    • The Gift of the Magi/O. Henry
    • The Necklace/Maupassant
    • The Most Dangerous Game/Connell
  • Novels
    • Catcher in the Rye
    • I know Why the Caged Bird Sings
    • Lord of the Flies
    • Of Mice and Men
    • A Single Shard
    • Stargirl/ >
      • Jerry Spinelli
      • Stargirl/ Characters
  • Comedy
  • Google Project Street Art
  • HAARP
  • People Are Awesome
  • Health Care
  • Fracking
  • Girls in Sports/Gender Equality
  • Untitled
  • Music/Sufi
    • History of the Blues
    • Sufi Music
  • Literature Analysis
  • Avadhuta Gita .pdf
  • Rumi/Deepak Chopra
  • Present Moment/The Now/The Zone
  • English Language Explained/Maps
  • How to trademark a phrase!
  • Narration and Literature
  • Mahatria
  • Teaching Stories
  • Harlem Renaissance Music/and some Sara Vaughan
    • Harlem Renaissance Doc
  • Oasis of the Seas
  • Ap History Exam Prep
  • Advertising Techniques
  • Academic Literary Terms
  • Untitled
    • Untitled
  • Happiness 1
    • Happiness 2
    • How to get Happy!
    • Philosophy, A guide to Happiness
    • Toxic People
    • A Guide to Happiness (Philosophy)
    • The Power of Time Off
  • Pierre Bezuhov/From War and Peace
  • Writing
    • 25 Phrases That Are Said Wrong
    • Writing Advice/ Roberto Bolano >
      • George Orwell/ Why I Write
    • Grammar >
      • Pronouns Overused
      • Nouns
      • Punctuation
    • Writing/Journaling >
      • Journaling/Goalsetting >
        • Journaling
        • 180 Journaling Prompts
        • 100 Benefits of Journaling
        • Colgate's Living Writers
      • Cool Stuff to Journal About >
        • Big Think >
          • Big Thinks
        • Sanskrit Terms
        • Spirit Animals/Totems >
          • Power Animals
        • Hip-Hop
        • Met-Publications
        • Google "Art Project"
        • Old Guys Telling Jokes
        • Vimeo
        • UFO >
          • DARPA
          • Area 51
        • Videos 1-10 >
          • Videos #1
          • Videos #2
          • Videos #3
          • Videos #4
          • Videos #5
          • Videos #6
          • Videos #7
          • Videos #8
          • Videos #9
          • Videos #10 >
            • Videos 11-20 >
              • Videos #11
              • Videos #12
              • Videos #14
              • Videos #15
              • Videos #16
              • Videos #17
              • Videos #18
              • Videos #19
              • Videos #20
            • Videos #21-30 >
              • Videos #21
              • Videos #22
              • Videos #23
              • Videos #24
              • Videos #25
              • Videos #26
              • Videos #27
              • Videos #28
              • Videos #29
              • Videos #30
              • Videos 31-40 >
                • Videos #31
                • Videos #32
                • Videos #33
      • MIT Writing/Reading Class Syllabus
      • The Art of War
    • Writing
    • Literacy
    • Arguementative Essay Writing
    • Writing Tips
    • Some writers on writing >
      • Ayn Rand
    • Best Essays Ever!
    • How To Write
    • Writing Advice
    • "Quick Writes"
    • Expository Writing
    • CAHSEE Essay
    • Collection of "How to write" videos
    • Common Errors in Writing
    • Grammar #1 >
      • Grammar
      • Adverbial Clause
    • Composition Forum
    • Symbolism
    • Final Essay Resources
  • Environmental/Health Designs/Concerns
    • Environment
    • Health Care
    • Sugar/Poison
    • Digital Citizenship Cyberbullying 6/15 >
      • Risky Relationships On-line
      • Digital Footprint
    • Environment >
      • Water
      • Plastic Water Bottles 1
      • Plastic Water Bottles 2
      • Fluoridation
      • Fluoride
      • Cell Phones Cause Cancer
      • Oil/Tar Sands
      • Treehugger.com
      • hand sanitizer
      • Skin Lotions
    • RSA Videos
    • crashcourse! >
      • crashcourse 2!
    • Environmental
    • Design in a Nutshell >
      • Design
      • Designers
      • Open-University Bike Design
    • Beauty Industry Modeling
    • Minute Physics >
      • Minute Physics 2
    • How it's Made
    • Make:
    • Etsy Art and Culture
    • PBS Off/Soft Book
    • Iron-on Transfers
  • Cool Stuff to Write About!
    • Writers on Writing
    • Writer's Block...HaHa
    • Soccer >
      • Soccer
    • Amazing
    • Medicine/Doc Mike Evans
    • Mysteries & Scandals
    • Sex Education >
      • Teen Pregnancy
    • Tax The Rich?
    • The Creators Project >
      • The Creators Project
    • Harvard Thinks Big
    • Coffee
    • Art Misc >
      • MTV unplugged
    • Pulp Magazine Project
    • Thinker
    • Gun Control
    • Suicide
    • Citizen Hearing on Disclosure 2013
    • Witness Testimony
    • Ufo
    • Archaeology
    • The Truth About...
    • Helping Others
    • New Yorker Cartoons
    • Prostetics
    • Astronaut
    • Creators Project
    • Wearable Project
    • Minecraft
    • Archives/Various
    • Upworthy
    • Reincarnation
    • Undocumented
  • Character/ How to build it!
    • Red Frost/ Motivation
    • Confidence
    • Responsibility
    • Decision Making
  • Untitled
  • bio.com
  • The Science of Happiness
  • Gnostic Society Library
  • Sign Language Hip Hop
  • Summer Reading 2015
    • Nothing to Envy by Barbara Demick
  • Summer School 2015
    • Is Google making us stupid?
    • Does Technology Make Us Smarter?
  • News Reporting/Reading Same Script
  • English 12a
    • Unit 1 Week (1 & 2) "Summer Reading Assignment: Unbroken by Laura Hillenbrand" >
      • Unbroken Characters
      • Unbroken/ Prezi
    • Unit 3 Week (6-10) "Value of Life"
    • Unit 4 Week (9-12) "Racial Profiling"
  • Understanding Stress
  • Dr. Seus
  • Untitled
  • Drums and Drummers
  • Boy Scouts
    • Boy Scout Merit Badge Info
    • Climbing Knots/Boy Scouts
  • Unbroken
    • Unbroken Vocabulary
    • Unbroken Characters
    • Unbroken Discussion Questions
    • louie Zamperini and the 1936 Olympics
    • Louie Zamperini goes to War
    • Hiroshima
    • Unbroken - Louis Zamperini Story - ZAMP and HIS SUPER MAN B-24
    • Unbroken - Louis Zamperini Story - B-24s IN COMBAT
    • How Accurate is the movie Unbroken?
    • Unbroken - Louis Zamperini Story - SUPER MAN ATTACKS - FUNAFUTI and NAURU
    • Unbroken - Louis Zamperini Story - A GREEN HORNET and GREY SHARKS
    • Unbroken - Louis Zamperini Story - PRISON CAMPS - OFUNA and OMORI
    • Unbroken - Louis Zamperini Story - NAOETSU and CAMP B-4
    • Unbroken - Louis Zamperini Story - THE BIRD - THEN AND LATER
    • Unbroken - Louis Zamperini Story - WHEN LOUIE MET BILLY
    • Unbroken - Louis Zamperini Story - FORGIVENESS
    • Unbroken vs History
    • USA/Japan POWs
    • Norden Bombsight
    • B-24 Bomber
    • Can We Drink Salt Water?
    • Unbroken - Louis Zamperini Story - KWAJALEIN - EXECUTION ISLAND
  • Romeo & Juliet/ Classical Music/Deep Purple, Etc,..
  • How to be Happy!
  • Thoughts
  • J.K. Rowlings
  • James Patterson/ Writing
  • Business Planning
  • Personal Statement
    • www.essayhell.com
    • Show not Tell in Writing
    • Map Out The College App Essay
  • The Value of Life
    • John Paul Sartre/ bad faith
    • Addicted to Suffering/ Red Ribbon 2015
    • Actuarial Table
    • Value of Life Quotes
    • Ric Elias
    • Matt Whoolery/ How to be Unhappy
    • Jill Bolte Taylor
    • What Makes a Life Worth Living?
    • "What is a Life Worth?" AmandaRipley
  • Top Business Movie Speeches
  • Overcoming Hopelessness
  • Upcoming Movies to Watch!!
  • Finding Your Life Purpose
  • 20 Free Tools for Entrepreneurs
  • www.recitethis.com
  • Best Websitesfor Teaching 201 5
  • Best Websites for Teaching 2014
  • Best Websites for Teaching 2013
  • Test of Three
  • What I Wish I Knew In High School
  • Best Practices
  • Value of Life 11/15
  • 8 Iconic Movie Rules To Live By
  • Kathryn Schulz/ On Being Wrong
  • Dealing With Anger
  • Learning The Stock Market
  • What To Do in Your Life
  • TED Talks
  • Poetry of Perception/ Harvard
  • New Page
  • funniest jokes
  • SAT Writing Prep Questions
    • Note To Self/ Letter to Self
    • Tips to writing short stories
  • Opinion Paper Basics
  • Found Poems for, Into The Wild
  • willpower
  • How much sleep to successful people get?
  • How to be attractive to others
  • 12 Things Enormously Successful People Refuse to Do
  • The Smartest Thing You Can Do for Yourself Today (You Won’t Regret It) Written by Marc Chernoff
  • How to Change Your Thoughts
  • Hack Life
  • schoolofthought.org
  • Marc & Angel
  • Restorative Justice
  • Coloring Books
  • Verbal Workout/Vocab from books
  • How to run faster!
  • http://www.ethosconsultancynz.com/
  • Pindex
  • Understanding Assignments
  • Slavery
  • Commencement Speeches
  • New Page
  • Writing Prompts
  • Personal Statement
  • English 12 Writing Prompts
  • Block Letter Format
  • PIQ
  • El Toro High School Class of 1979
  • SNL
  • Blackout Poems
  • Nerdwriter1
  • Internet Movie Script Database
  • Unit 5
  • Product Placement in Films
  • Tablets of Destiny
  • Public Service Videos
  • Instramental Beats For Poetry
  • Sexual Innuendos
  • Animal Totems
  • English 9 Ted Talks
  • Animal Farm
  • John F. Kennedy 3
  • How to be Happy?
  • The Boiling Frog Story
  • Lord Of The Flies
  • 2017 Summer Reading
  • Fashion History
  • Be Here Now Film
  • Ayahuasca
  • Russian Dystopian Novel "We" George Orwell/Aldous Huxley
  • Connor McGregor
  • Smart Websites
    • 99U.com
  • Gladiator
  • Before I Fall
  • Mr. & Mrs. Smith
  • Mark Knopfler
  • Quotes on Manners
  • Eng 12/ Good Food Bad Food
  • Summer Reading 2017
  • Vanderbilt Writing Resources
  • David Lynch
  • New Page
  • Time Loop Films
  • Breaking Into Hollywood
  • Writing a Business Letter
  • Digital Literacy 1
  • Live and Learn by Louise Menand
  • How to write an essay?
  • USING FILM TO TEACH PSYCHOLOGY
  • Dial M for Murder
  • Ishmael Nazario
  • False Flags False attacks
  • Millikan Soccer Team
  • WALT DISNEY QUOTES
  • Transition Word List
  • Best of David Letterman
  • White Sounds for feeling Good
  • Food Unit English 12b
  • Directors Favorite Films
  • 1984 (New 2018)
  • 1984 Vocabulary Words
  • The Odyssey Vocabulary Words
  • Possession Soccer
  • Inception
  • A Fist Full of Dollars
  • Siddhartha
  • The Odyssey and the Hero's Journey
    • The Odyssey Presentations
  • War of the Worlds 2
  • Are we living in the Matrix?
  • Russell Brand
  • Stand-up Poetry
  • Nikos Kazantzakis
  • Sativacation
​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.

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.
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.

 
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)

Powered by
✕