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English 590:Film & Literary Studies
Travels in the Kingdom of Shadows: The Sense of Place in Film
Dr. Marguerite Helmers, instructor
Radford Hall . Room 226 . 424-0916, office
,
English Department,
Office Hours Tuesday 1:00-3:00pm, Thursday 10:30-1
All other times by appointment. I am available after class to answer questions.
The Kingdom of Shadows
This course will explore the storyworld and filmworld. The course title is attributed to the Russian writer Maxim Gorky, who is alleged to have commented upon watching his first film, "Last night I was in the kingdom of shadows. If you only knew how strange it is to be there. It is a world without sound, without colour. ... It is not life but its shadow, it is not motion but its soundless spectre.” Using the literary works Lord of the Rings, Do Androids Dream of Electric Sheep?, Brokeback Mountain, and A Passage to India paired with criticism and the films Lord of the Rings: Fellowship of the Ring,Blade Runner, Brokeback Mountain, and A Passage to India, we will explore the storyworld, focusing on mise-en scene, the complete look and feel of a film. Questions that will occupy us in this course include: How do we imagine historical and imaginary worlds? Is their realization on screen credible? How does the interchange between author, filmmakers, and audience result in a convincing manifestation and representation of the storyworld?
The term storyworld derives from the field of narratology. In a book titled Story Logic(2002), David Herman argues that “readers (and, where relevant, viewers and listeners) create mental models called ‘storyworlds’ as they comprehend narratives. These storyworlds shift the readers' perceptions from the ‘here and now’ to the deictic [spatio-temporal] coordinates of a fictional or non-fictional story, charting ‘who did what to and with whom, when, where, why’ (5). The storyworlds are non-linguistic cognitive representations of what has happened in a narrative, but the construction of these storyworlds nevertheless depends on readers' responses to subtle (and sometimes ambiguous) textual cues. The process of interpreting textual cues is viewed as crucial, since storyworlds are built by readers as they make inferences using real-world knowledge, knowledge acquired from earlier in the story, and their expectations about the nature of narrative in general and of specific narrative genres. Herman believes “that different genres may be characterized by varying types of textual cues relating to different proportions of storyworld features in these genres” (commentary by Catherine Emmott in her review of Story Logic, [Project Muse] 227-8). As Emmott points out in her review, the study of storyworlds enables us to “explain how readers move from textual cues, such as words on a page, to rich mental models that make readers feel as if they are in a different world, witnessing events and experiencing the emotions of story participants” (228). This is essentially the process that screenwriters, set designers, cinematographers, and directors go through as they adapt literary works for the screen.
Each of the films fits into a particular genre: fantasy, science fiction, westerns, and heritage. Thus, each film raises particular questions about our expectations from that genre. When you also consider that each film has been adapted from a literary source, you begin to see the complex interplay between audience expectation, screenplay, location, and directorial style that emerges into an understanding of and reaction to each film.
This course will alsointroduce you to the study of cinema as an artistic form. We will discuss film language (how to read a film), adaptation, and interpretive theory. In addition to the primary texts (novel and film), you will supplement your readings with readings drawn from literary and film theorists.
Book Purchases / Required Readings
Other than the specified edition of Understanding Movies, no other specific editions of these books is necessary. Feel free to use whatever copies you have.
BrokebackMountain, Annie Proulx.(You can find a full text version online, but I’m not sure of its accuracy:
A Passage to India, E. M. Forster
Do Androids Dream of Electric Sheep? Philip K. Dick (Blade Runner)
Lord of the Rings: Fellowship of the Ring, J. R. R. Tolkien
Understanding Movies, Louis Giannetti. (Prentice Hall, 11th edition)
A selection of book, article, or “book article” (chapter) criticism on each primary reading or on film theory, presented in the form of an annotated bibliography. These are due periodically throughout the semester (see Writing Assignments / Critical Perspectives and Daily Syllabus).
Required Viewing
Lord of the Rings: Fellowship of the Ring (this will be the only complete work screened in class)
Blade Runner
BrokebackMountain (reserve)
A Passage to India (reserve)
A film of your selection that addresses the course questions
Writing Assignments
Assignments are given a letter grade, ABCDF. Assignment directions and further ideas for getting started will be distributed and discussed in class as assignments arise.Turn in paper and electronic copies of Film Crew essays and the Final Researched Essay.
Film Journal (30%). A 3 Ring binder will probably work the best for this course element. In it, you should place—in an organized fashion--the following items, divided into sections for each film:
- Cast Lists. These are available from either The Internet Movie Database or All Movie Guide.
- Reviews. Use IMDB.com, Lexis/Nexis, or Google, but find authoritative reviews and not blogs or fansites.
- Interviews with writers, cast, directors, etc. Google will help you, but also some of the standard databases include interviews.
- Criticism. You can begin assembling critical articles on books or films at any time to enhance your viewing, reading, and understanding. This is a critical element of the graduate student portfolio for this course.
- Journaling about the film may be typed or handwritten. A good process is to have two entries, a pre-viewing entry on what you expect to find and a post-viewing entry on what met or disappointed your expectations. These are best when they are specific, tied to particular passages in the books.
- Scene notes with time/ chapter markings. This will help with re-viewing. You should be in the habit of . . .
- Take notes during each film using a simplified double entry log. The left side of your page lists the chapter number and the right side notes what you want to say about it.
The Film Journal is the best when it is thorough. It will be graded on complexity. The more reviews you find, the longer and more specific your journal entries, the more detailed your notes, the higher your grade.
All Movie Guide
Internet Movie Database
Discussion [D2L] (10%). By Monday each week, you will need to post one initial comment and one response to a classmate to the Discussion area of D2L. Please feel free to suggest topics for the class to discuss. Commentary and response should be on topic and substantial and use Standard American English (not IM style). Something like “groovy” is not sufficient as a response.
Film Crew (30% total, or 4 assignments @ 7.5%). Within a group consisting of other graduate students, you will re-viewand analyzea key scene from each film that you select and to which you apply (initially) concepts in film language and (eventually) interpretations based on film and literary criticism. Such efforts will result in four application days, titled “Re-viewing” in which you show the rest of the class what you see and how we can understand the film. We want to talk and learn together, so this is an exploratory moment. Think narrow and small for your scene selection, even narrowing the reviewing to one shot: the biggest problem with such reviewing moments can be that these scenes go on way too long.
Written Element for Film Crew
Final Researched Essay (30%). Apply a critical perspective to one of the works read / screened for this course during the semester. Your topics should be drawn from issues and perspectives raised in class (here’s another time where your Film Journal will be handy). Don’t worry about duplicate topics; many people may select the same film, but your perspective will—and should—be unique. The purpose of the research paper is to synthesize diverse points of view into a coherent statement. Research asks you to manage, interpret, and validate information; to connect ideas; and to formulate and defend your own views. Therefore, it is critical that you work with databases of information to enhance your information literacy.
Peer-reviewed Sources:
Derive from scholarly journals.
Your peer-reviewed sources must be substantial (no one page pieces).
Pamphlets and class notes do not count toward your bibliography.
Interviews do not count toward your bibliography.
Internet sources (.net, .com, and .org) do not count.
For the final paper, you may include non-peer-reviewed resources; however, they must adhere to these guidelines:
Not more than 50% of your final bibliography can be from non-peer-reviewed sources.
The paper must substantially discuss the peer-reviewed works on the bibliography.
This assignment must be completed individually, although you may seek assistance from the librarians and the WritingCenter.
Grading: Your researched written work is graded on the extent to which you addressed the assignment, ideas, organization, use of grammar, and management of sources.
Critical Perspectives (additional 25%, cumulatively graded).Based on the bibliographies in each chapter of Understanding Movies and on your own research, prepare a selection of book, article, or “book article” (chapter) criticism on the primary readings or on film theory, These are due (formally) twice during the semester. You willgive me an annotated bibliography (directions for annotated bibliographies in D2L). Graduate students will be asked to teach the class what they have learned from these materials as noted in the daily syllabus.
Writing About Film
Some useful internet resources for writing about film can help you with Film Crew and with the final, researched essay:
Rick Lewis, “Guidelines for Writing about Film,” SandhillsCommunity College.
DartmouthCollege, “Writing About Film:
Food
I have been a student! I understand that sometimes you are tired and need a coffee and a candy bar. Such light food is fine for class; however, I prefer that you do not bring what I call “disruptive food” to class: pizza (unless I order it), bagels and cream cheese, crackling bags and papers, sub sandwiches.
Attendance
I expect you to attend all class sessions. If you are unable to attend, I ask that you explain to me why you will not be in class. For medical absences, please supply a dated, signed excuse from a doctor. After 3 missed hours of class, your final grade will be lowered on a percentage basis: number of class hours missed divided by 42 class hours per semester (and this will include all absences). Please remember that, if you have the sniffles or you didn’t do the reading or your hair got stuck in your electric dryer and you miss class three times because of this—and then your car breaks down or you have the stomach flu and you miss class two more times because of it, that you will be registered as having 5 absences.
Late Papers
All assignments are due in paper form at the beginning of the class period (unless otherwise specified). Please be responsible for delivering your own work to me on time. In exceptional circumstances, such as documented illness, I will accept a late paper.
Late Persons
While there are no bells in college, class begins at the time listed in the timetable. You may be late once due to weather; however, repeatedly walking into class late will affect your final grade: it is not constructive, it is disrespectful, and it interferes with students' ability to learn in a conducive and positive environment.Announcements, such as changes to the schedule, clarification of essay assignments, and announcements of English Department and campus events, are made in the first-10 minutes of class. Missing these will impair your ability to succeed.
Plagiarism
Plagiarism is a punishable offence, covered by the university rules. I can tell when your writing is not your own and the university now subscribes to Turnitin, which is an authentication tool for all essays. In addition, all essays must be original, which means that, even if you work with someone in class, you should ensure that you turn in individual writing and research. Even duplicated sentences between essays is considered an infringement of the academic honesty codes. We will discuss writing and plagiarism in this class. In the meantime, if you have any doubts about how to properly cite research, talk to me before you write.
WritingCenter
The WritingCenter will help you conceptualize your essays (for this class and others). The WritingCenter is not a proofreading or editing service. All WritingCenter services are free, but you need to schedule an appointment. The WritingCenter is located in the basement of Radford Hall. The phone number is 424-1152; you may also email them at .
Daily Syllabus
September 11: Introduction
September 18: Adaptation
Lord of the Rings: issues in adaptation
Screening some special features from the LOTR films
Read:Understanding Movies(UM), Chapter 9 (Writing)
Dudley Andrew “Adaptation,” E Reserve
Robert Stam “Beyond Fidelity”, E Reserve
September 25: Genre~Fantasy
Screening Lord of the Rings: Fellowship of the Ring
Read and Apply: Understanding Movies: Chapter 1 (Photography), Chapter 2 (Mise en Scene)
October 2: Re-viewing Lord of the Rings: Fellowship of the Ring
Film Crews: Take One
Read: Understanding Movies: Chapter 3 (Movement), Chapter 4 (Editing)
Study the drawings of Alan Lee: realizing the vision
October 9: Theoretical Perspectives
Turn in Film Journal
Graduate Presentations
Read: Understanding Movies: Chapter 10 (Ideology), Chapter 11 (Critique)
Wim Wenders, “In Defense of Places” (Craft 2003,
Laura Mulvey “Visual Pleasure and Narrative Cinema” (E Reserve)
Marita Sturken, “Spectatorship, Power, and Knowledge,” from Practices of Looking(E Reserve)
Christopher Tilley, “Space, Place, Landscape and Perception” (E Reserve)
Kent Ryden, “Of Maps and Minds: The Invisible Landscape” (E Reserve)
October 16: Genre~Sci Fi
Read Do Androids Dream of Electric Sheep?
Read Understanding Movies: Chapter 8 (Story)
Watch Blade Runner by this date
October 23: Re-viewing Blade Runner
Film Crews: Take Two
Read Robins, “The City in the Field of Vision” (E Reserve)
Jarvis, “Mapping the City of the Future” (E Reserve)
October 30: Genre~The Western
ReadBrokebackMountain
Read Understanding Movies: Chapter 6 (Acting)
WatchBrokebackMountain by this date
November 6:Re-viewingBrokebackMountain
Film Crews: Take Three
Read Braudy, The World in a Frame (104-39) (E Reserve)
Critical perspectives from GLQ: A Journal of Lesbian and Gay Studies 13.1 (2007). Project Muse.
November 13:Genre~The Heritage Film
Turn in Film Journal
Read A Passage to India
Watch A Passage to India by this date
November 20: Re-viewingA Passage to India
Film Crews: Take Four
November 27: Understanding Heritage Film
Graduate Presentations
Read Neil Sinyard, “Lids Tend to Come Off” (E Reserve)
Read Understanding Movies: Chapter 7 (Drama)
Read Brian Graham, G. J. Ashworth, J. E. Tonbridge, A Geography of Heritage, Chapter One: “The Uses and Abuses of Heritage” & Chapter Two: “Heritage, Power and Identity.”
December 4
Cumulative Review / Comparison
Your own application: select your own clips to screen, from any film
December 11
Turn in Film Journal & Final Researched Essay
Kingdom of Shadows Trivia
In the “Hardball” episode of the CBS television program Numb3rs (November 2006), a conversation between two main characters mentions that a part of town looks like Blade Runner. Blade Runner director Ridley Scott produces Numb3rs with brother Tony Scott.
This syllabus produced August 25, 2007. Dates subject to change.