Denis Delaney Ciaran Ward Carla Rho Fiorina fields of vision Teacher’s Book Literature in the English languagePearson Education Limited, Edinburgh Gate, Harlow Essex CM20 JE, England and Associated Companies throughout the world © Pearson Education Limited. Al rights reserved; no part of this publication may he reproduc ced, stored In a retrieval Literature to reinforce language ee | ea Sie) Sece : 2 lel>A Chronological structure Wh the avthors chose the n name : ‘fields of ViSion poem. s Seams gl idea_came from Ileid'Fields of Ni aha ig cow Hooking. gut over a field: seg. tocges pegtnteded tre meen’) ‘The: origin SHeanet, £3 tts about a wow ‘and: spends all day » her Ketehen. Despi by using. her imagination and her intellig che acayives a deeper understanding. of life: : We. believe Frat: literature gives ctudents new. and. nh we: Ve: chosen jelds of viston and thats” w! deeper f for the book.’ “this. ttleThe Modules Text and Context J roduction. ae NE The importance of literature in the history and ongoing development of human civilisation cannot be underestimated, Literature is both a mirror that reflects the innes soul of peoples and a pathway towards a deeper understanding of cultures and societies. It is also a source of personel pleasure and enrichment. Teaching literature in a foreign language is potentially a highly rewarding expertence. In the reallty of the classroom, however, this potential Is, al too often, left unfulfilled, The difficulty of grappling with complex texts and language can make students Jose sight of the enjoyment and intellectual excitement which literature can provide. With this in mind, Fields of Vision aims at making English literature both student- friendly and teacher-friendly. The philosophy that has underpinned the writing of all features in the book bas been ‘simple but not simplistic’. Students should feel confident that they can do the various activities throughout the book with a Large clegtee of autonomy, while the teacher can feel confident that his/her students are being given a thorough grounding in the history and appreciation of literature in the English language. Reading literature is an act of communication, When a student or an adult reads a book outside school, lae/she usually wishes to express hls opinions about it. The pooling of contrasting ideas and the sharing of feelings are natural follow-ups to reading, What takes place ouiside the classroom should also take place inside the classroom. The literature classroom should be a stimulating communicative forum, in which, with the teacher as guide and mentor, the student becomes an active explocer who gradually acquires the skills and tools he/she needs to discover the richness of what he/she is reading. Felds of Vision has been designed to enable the student to acquire these skills and tools in a cleat and straightforward way. Much care has been taken In making Fields of Vision easy-to-use, flexible, and comprehensive. To help the teacher find his/her way through the anthology, the following pages give a general description of how the anthology is organised, of the features which make up the course and of the various ways in which these features can be used. Course Structure eee Fields of Vision is a comprehensive anthology of literature in the English language from the beginnings to the present day, It has been organised into eight modules which can be used on their own or together. The modules are: ‘Module A: Introduction to Literary Appreciation Module B: From the Origins to the Middle Ages Module C: The Renaissance Module D: The Puritan, Restoration and Augustan Ages Module B: The Romantic Age Module F: The Victorian Age ‘Module G: Farly Twentieth Century and Modernism Module H: The Contemporary Age Each Module (B to H) contains representative texts from the works of the major ‘authors of the pettod and a context section which explains the main historical and literary events and trends of the period. In the Context there are also sections (Cross-Curricular Link and Meanwhile, Elsewhere) which offer suggestions on how to extend the work done on texts and context through various links. aaaWithin this overall framework, single teaching modules can be constructed to meet specific class needs. The Table of Contents has been especially designed to help the teacher decide on what material to use in modules. For each text, the genre to which Ii belongs, the theme dealt with and a Literary technique are pointed out. Possible links to other features in the book are also indicated. Along with the Table of Contents, the examples and suggestions in the Modular Paths section of this guide are aimed at helping the teacher get the most out of the material in Fields of Vision. Module A APNE Module A can be used as a self-contained introduction to literary appreciation and/or as a reference section to be consulted when further information is required on any aspect of poetry, drama or fiction. ‘This module covers in a clear and systematic way all the Literary techniques and conventions that students should understand in order to get the most out of thelr study of literature, Each technique is explained and exemplified in context. Literary techniques in fiction are exemplified in short stories. Dama techniques are exemplified in appropriate excerpts ftom well-known plays, while poetic techniques are exemplified in short poems. By working on authentic texts students fulfil a threefold aim: * they become familiar with accessible and enjoyable literary texts; « they start to learn how to analyse literary texts; « they develop intermediate/advanced language skills. Each section in Module A starts with an explanation of a feature of a literary text, for example ‘setting’. The explanations are clear and straightforward and are followed by a set of questions to be asked when analysing the feature im any text. By familiarising themselves with these sets of questions the students have a ready-made set of analytical tools which can be applied to any text. ‘The explanation and questions are followed by a Case Study which exemplifies the feature under review. In the case of fiction, full-length short stories have been chosen to give students the opportunity to appreciate a complete literary work. The poems are generally short and students are asked to identify a Particular literary technique rather than analyse and understand the full text, The excerpts from drama have also been chosen to highlight certain characteristics of the genre The Case Studies have been organised in the same way as the texts in the rest of the anthology. The text itself is followed by Comprehension, Analysis and an Out. So, by following this order the students become accustomed to the pattern that is repeated in the other Modules. The Analysis of the texts in Module A, however, concentrates in particular on the aspect of the text which is being highlighted. The Table of Contents shows how the work done in Module A on a literary technique or on an Author can be developed in later Modules (both as regards further information on the Author and as regards the literary technique under cxam), while further Clarification and exemplification of literary techniques can be found in the Glossary of Literary Terms and the Guide to genres and sub- genres at the end of the anthology. Introduction Table of Contents Modular Paths “Explanation Case Study. Tasks. LinksIntroduction Modules B-H PORGHEKAD | ¥ach Module is divided into two parts: Text and Context. Its felt that in general it is better to start from’a text/s before moving on to the context, though if circumstances demand, the contest can be studied before the text/s. ‘The texts are divided according to genre and for each author there is one ot two texts, In the case of particularly significant authors, like Shakespeare or Dickens, there are more than two. ‘The activities for each text follow the same pattern, so in a short time the students should be able to find their way autonomously through the various features Depending on the didactic needs of the class, the teacher can decide to do one or more texts by @ certain Author, and can decide to do all or only some of the activities proposed for each Author. The Text The following features are described in the order in which they appear in the book. |.” Aliterary text can often be a challenging experience for 2 student. The Lead in | activity will ease the students into the text and make them reflect on some aspect of what they are about to read. Each novel, play and longer poem has a Lead in which asks the students to think and talk about an issue which will come up in the text/s. These activities are generally quite short but are intended to be highly motivational, as they raise the students’ curiosity about an Author or work and encourage them to think, talk, write and work on the topic under focus. The Lead ins fall into the following categories: groupwork, debating, class discussion, brainstorming, interviewing, research and presentation, pairwork, freowriting, dialogue writing, lecturing, storytelling, role-play, dramatisation and personal reflection. Depending on the type of activity, the Lead in can be done in class and/or at home. If doine in class, the teacher might decide to evaluate the stucients’ work In this example, taken from Module H (> p. H56), the students are asked to doa pairwork activity in which they must plan a trip. In this way they are introduced to the theme of travel, which is a major theme in On the Road, At the end a mark could be given for oral fluency. ay In pairs, imagine that you and two other friend are going to spend three months on the road. You have a van | that seats and sleeps four people and enough money to pay for the bare essentials, including petrol, for three | months. You can go as far as you like and do not need to worry about getting back. Plan your trip, keeping in mind the following: 1 The places yau ate going to see and the things you ate going to do. 2. How far you will travel - 3 How Jong you will spend in each place. 4 The things you will bring with you, 5 The problems that might arise. | Lead in. Suggested procedure: Divide the class into pairs and give twenty-five minutes to fill out the chart. Allow twenty minutes for students to explain what they have written and if time allows, open up a discussion on any interesting points that emerge.Introduction 9 ‘The following example, which is the Lead in to To the Lighthouse (> p. G54), | involves personal reflection and class discussion as students are asked questions that introduce the technique of the interior monologue BAD oo When we are introspective, we examine our thoughts, impressions and feelings deeply. Virginia Woolf puts these | introspective mornents into words. | ne Answer the following questions: 1 Are you very, Quite, a little or not at all introspective? 2 What are the things you think most deeply about? 3 Are there tirnes of the day when you are more introspective than others? 4 Are there situations which make you introspective? 5. Have you ever written your thoughts down? if so, why? Suggested procedure: Students should answer the questions at home and discuss their answers for 20/30 minutes in class ‘The Lead ins to shorter poerns are no longer than four or five lines and do not involve structured activities. They focus the students’ attention on the poem they ate about to read. Here fs the Lead in to Refiygee Bites by W.H. Auden (> p. G135). EAD o A refugee is sameone who has been forced to flee from his/her country. How would you fee! if you were obliged! | | by war, by poverty or by political persecution to leave your country anc find anothes one that would take you in? In Auden’s poem the Jewish refugee from Hitler's Germany speaks for millions of refugees both past, present and, future. [fue . _ Suggested procedure: The teacher asks the class to answer the question in the Lead in, Not more than 10/15 minutes would normally be spent on this activity. ‘The Lead in feature is by no means a compulsory part of a teaching module and a teacher can decide whether a work can be studied with or without doing it, The authors, however, believe that Lead ins may help transferm the literature classroom into a communicative forum in which students feel they are active participants in the learning process. Further suggestions on the Lead ins are provided in the Keys section of this Teacher's Book. ‘There Is an Introduction to te work of each Author, wistch highlights its salient Introduction qualities and explains why the Author and his/her work ate regarded as important -)~ 1n the history of literature in English. The extracts from novels and plays are preeeded by a Story which outlines the plot The Story of the work. The authors strongly advise students to read the story before reading the texts so that they have an overview of the work they are studying. The story helps students to understand texts by putting them into context and is particularly useful when only one text fom a work is chosen. The story is also intended to stimulate the students’ interest in the work and in the texts ‘The Story is accompanied by a list of the main Characters in the work, As with the ‘Characters Story, sturlents are strongly advised to read the list of characters before tackling the") texts, If students have a Clear idea of who the characters are, they should find texts easier to understand.“Texts Glossaries: As far as possible Texts have been chosen with the following criteria in mind: * literary importance and worth; + accessibility; = relevance to students’ interest * appropriate length. Where there iy more than one text for a novel or play, the teacher can feel free to do only one or all texts without losing out on a general overview of the work. In the pootry sections as well, Fields of Vision has been flexibly structured so that the teacher can choose to do as many or as few poems by one particular Author as he/she wishes. The texts are representative of the most highly acclaimed writers from Britain, Leland, the United States and the English-Speaking World. In line with recent curricular developments and to ensure that teachers have a wide range of material to choose from, modern and contemporary literature has been afforded ample spac To bring home to the students that drama and poetry in particular are best appreciated when seen and heard, most drama texts and poems have been recorded on audiocassette, Because the language in literary texts can be difficult, special attention has been. paid to the writing of Glossaries. The authors feel that students often get frustrated when studying literature because it takes so long Just to understand a text, While the teacher remains an invaluable tutor for the students who are trying to understand an extract or a poem, Fields of Vision helps them work independently as far as possible by providing clear and exhaustive glossaries. As sition, all glossaries are in English. an incentive to vocabulary acq) The Tasks which follow each text are divided into two sections: Comprehension and Analysis. The Comprehension section is intended to guide the student, step-by-step, towards a full understanding of the text. The Authors have put themselves in the students’ shoes, and have formulated questions which lead the students through the text in such a way that they can gradually build up the meaning of what they are reading. Care has been taken to focus on and explain those points and passages in a text which create most difficulty. The Authors would like to faster the students’ ability to analyse the technical aspects of literature so as to heighten their awareness and appreciation of the skill and artistry of the Authors whose works they are reading. The Analysis section highlights certain important technical and stylistic elements of the text, and asks students to do structured activities that clarify the use and importance of these elements, In both sections the tasks are graded in difficulty, with more complex ones coming towards the end ‘The tasks are not simply meant to test the students’ understanding, but should help them to understand by explaining and encouraging reflection on the most important parts of the text. A great variety of tasks is proposed with frequent use of multiple-choice type exercises which provide the vocabulary students need to answer questions. All tasks aim at making the student an active, conscious learner and care has been taken to include activities that allow students to provide « personal response to what they have read,Introduction For every major novelist and poet in the anthology there is at least one Writers’ ‘Writers’ Workshop : Workshop. In this feature students arc invited to experiment with literary techniques in their own creative writing. In this way they approach the work of Jiterature {rom the writer's point of view, and are then able to identify styles and techniques more easily. ‘This feature is meant to involve the student directly and actively in the writing rocess. It also provides the teacher with a means to verify how much a student has understood of a particular technique. Because this activity develops language skills it can. be highly motivational for weaker students, and gives better studenis the opportunity to expand their capabilities. The teacher should not feel that the Writers’ Workshop is compulsory, but shouid look on it as a useful and interesting Janguage and literature activity to be done when compatible with the needs of a class, The Writers’ Workshop opens with a simple and clear definition of a literary technique. Students must then look for examples of the technique in the text that ‘has been read and are then asked to practise using the technique in the Over to you activity. These activities normally involve writing phrases, sentences, a paragraph or a dialogue but sometimes involve research and discussion. The Over to you often gives the teacher the opportunity to evaluate writing skills, as in the followitig Writers’ Workshop on ‘Personification’ for Percy Bysshie Shelley's Ode fo the West Wired (> p. B44). WRITERS WORKSHOP. Peronincidcs Personification is a type of metaphor in which human characteristics such as emotions, © personality, behaviour and so on are attributed to an animal, object or idea: e ‘The proud ion surveyed hls kingdom. “fs The primary function of personification is to make abstract ideas clearer to the reader “© by comparing them to everyday human experience. Humantsing cold and complex "abstractions can bring them to life, render them more interesting and make them easier to understand, Find one example of personification for each ofthe following in Ode to the West Wind andl “write the line references: © wind seeds the Mediterranean the AUANLIC ssn $A fOliagE wonen wave. What purpose does personification serve in Shelley's poem? eee Personify in one or more sentences one of the following abstract ideas: "= Boredom Hatred Pride Kindness Victory Revenge "2 Example: The dull monotonous voice of boredam hegan to fil the room. For every dramatist these is atleast one Staging the Play. This feature encourages.” staging the Play students to view drama as a perfurmance-based activity and not merely as a literary» text. [n the Staging the Play students are asked to reflect on what they have read and then produce something. For example, students might be asked to design | costumes of to choose the actors for a play. They might also be asked to practise how lines should be delivered, In the example which follows students ae asked to design a set fora production of | William Shakespeare's A Midsummer Night's Dream ( p. C21).“12; Introduction STAGING THE PLAY Setting © © 4 Midssmer Night's Dream takes place in the daytime world of Athens, a state of disciplined order and down-to-earth reality, and the night-time world of the enchanted wood, a realm of disorder and fantasy. These two distinct settings must be created by stage scenery, properties (props) and lighting. Settings for a play may vary from extravagant expensive sels to essential or abstract staging, depending on the budget thal is available and the personal preferences of the director. Whatever the case may be, the stage setting should not be a distraction but should enhance the audience's understanding of the play. ‘The speech in Text C4 takes place in the enchanted night-time wood where fairies and disorder rule. Work in groups and decide what stage scenery, props and lighting you would use for a performance of the speech in your classroom. Take into consideration the amount of time you have to prepare scenery and props, the space that is available and the possible sources of light. Be realistic in your suggestions. Discuss your proposals with other groups, Choose the best ideas and plan a performance. Every text is rounded off with an Out. This Is @ language extension exercise in which students are offered the opportunity to share theif responses to the issues | ana themes raised by the literary text, The purpose of the Outs sto bring the world of literature closer to that of the student. The activities tonch on major themes which are of as much interest today as they were in the past and which offer the students the opportunity to Link their own personal experience with a literary work. The activities vary in length and complexity and sometimes require a written and/or an oral response that can often be evaluated (sce examples below). They fall into the following categories: groupwork, debating, class discussion, brainstorming, interviewing, research and presentation, pairwork, freewriting, dialogue writing, lecturing, role-play and dramatisation. Here are two examples. The first is an activity based on a reading of Colerigde's The Rimne of the Ancient Mariner (> p. £29), while the second is an oral discussion inspired by Marlowe's actor Faustus (® p. C7). ‘Out | Think of @ common superstition, Do some research into its origin and explain your findings to the rest of the class. a Faustus wanted to know more and do more than any other mortal man. in the end he paid a very high price for his superhuman powers. Today, as science pushes the frontiers of human knowledge ever forwards, some people are arguing that scientific research should be tightly controlled and, if necessary, limited, to avoid abuse by unserupufous individuals or groups. In Which of the following fields do you think research shouid or should not be limited? Give details. | Medicine UE Miltary technology | 8 Communications and information technology Space exploration Genetic modification of animals and plants. Suggested time: One lesson isis‘As with the Lead ins, the teacher should choose which Outs he/she thinks will be ‘most stimulating and of most benefit to students. ‘urther suggestions on the use of the Out activities are provided in the Keys section of the Teacher's Book. ‘Where appropriate, texts have been linked thematically with songs or pieces of ‘music. This is just ome way of showing that the world of literature is not closed and cut off from the rest of reality, The themes that are dealt with in literature aze those that have always been dealt with in every art form throughout history, and music is a particularly appropriate art form to stimulate the interest of young people. The theme of vanity, for example, which is dealt with by Pope in The Rape of the Lock (® p. 23) is also dealt with in Carly, Simon's song, You're so Vain, while the destructive nature of an over-strict educational system is condemned by both Charles Dickens in Hard Times (» p. F9) and by Pink Floyd in The Wall. ‘Students should be encouraged to find and bring the recorded versions of the songs into class and suggest any other possible links from their own personal knowledge of the world of music. This activity should provide ample opportunity for purposeful language exploitation. This feature describes the Life and Works of each writer, so that students can view the work they have studied in the context of the Author's life and other works. It can be read before or after the texts, at home or in class. Each Writers’ Gallery is followed by a brief task, Some addresses of internet sites that contain extra information about the authors are given in the Teacher's Book. The Context Literature is not produced in a vacuum but is open to influences from society, cultural trends and historical circumstance. For this reason the second part of each Module (B-H) describes the context in which the works of literature were produced. ‘There are two sections: + Social and Historical Background; «The Literary Background, ‘The teacher can decide when and whether to do all or some of the Context. In order to make the Context as student-friendly as possible a simple, direct style of writing has been adopted, There are numerous tasks to test comprehension as well as side-headings, and an Jndication of when the background can be Linked to a work and/or Author. ‘Yo complement the two background areas, there are authentic documents (Pieces of the Past/Present) with tasks, links to other literatures (Meanwhile, Elsewhere) with tasks, and links to other subjects (Cross-Curricular Link) with a project. ‘An example of a Project is provided on page 25. ‘There is one Historical and Social Background section in cach module. Modules B, Cand D cover British history only, while Modules E, E, G and H contain separate sections on British History and American History. Rather than simply list facts in chronological order, the authors have endeavoured to highlight dearly and simply the main political, social and economic trends in each period. Links between history and the works of specific Authors are indicated in the margin. At the end of the Social and Historical Background there is a list of the main events of the period. Introduction Link to the world of music Writers! Gallery Historical and Social Background ~introduction Literary Background Pieces of the Past Meanwhile, Elsewhere Cross-Curricular Link There is a Literary Background section in each module. As with history, a separate American section is introduced from Module E onwards, In Module #, since literature in English bas become a global phenomenon, a section on the literature of the English-speaking world has been added. ‘Phe Literary Background describes the cultural and literary context in which the anthologised Authors worked and work. It provides information on additional woiters whose works have not been reproduced in Fields of Vision and pinpolnes the main artistic and cultural developments in each historical period Pieces of the Past is a recurring feature in both the Historical and Literary Background sections. It contains authentic documents that shed extra light on a historical social or literary aspect of the period being described. Each document is followed by a task. ‘The Meanwhile, Elsewhere occurs in the Literary Background, It focuses the students’ attention on major literary developments in other countries by highlighting a major literary figure, with special reference to the world of Italian literature. There is a task to aid and test comprehension. The Meanwhile, Elsewhere’s are listed in the Links column of the Table of Contents. For example in Module G, the Italian poet Petrarch is the focus of attention (> p. C62). This feature, which comes at the end of each module, suggests how some of what has been studied in the module could be linked to other subjects on the curriculum, A project is proposed which could be cartied out in collaboration with teachers of other subjects. In the Teacher's Book, an explanatory example is given of how to tackle a project (p.25). The Visual Links Ca OHAE 9 ‘The Visual Links, which are to be found at the end of each book, are images, paintings and photographs that add to the students’ understanding and appreciation of a text or of a period. It is not necessary to be an expert on art to use these pages, and the tasks have been designed to render the link between art and literature enjoyable and to promote worthwhile language work While the teacher should not feet under any obligation to use the Visual Links, the authors believe that visual stimuli can prove highly motivating to students. ‘The reference to Visual Links is highlighted in the Table of Contents, as well as throughout the book, whenever it may be of relevance. soyIntroduction 15 Other sections ENON i At the end of each book there is a complete list, in alphabetical order, of all the Glossary of Literary literary terms used in the book. A concise, succinct definition is given for each ‘Terms term. The terms which appear in the Analysis, the Writers’ Workshop and Module ” are explained. The definition of the term is followed by an example, This section gives a succinct guide to the genres and sub-genres that have been Genres anid dealt with in Module A, the Analysis and the Writers’ Workshop Sub-genres “The index at the end of the anthology lists in alphabetical order all the items to be Index found in the book. The Teacher's Book oe GAINHOMAB NS The Teacher's Book includes: an introduction to the course; © a course description; + modular paths with a step-by-step example of how to build a module; + further suggestions for modular and thematic paths; * an example of cross-curticular project development; +a filmography with a worksheet; + Literature resources on the Internet; # the keys to all exercises in volumes one and two; tests; # the keys to all tests.Period Introduction KENSAL S Fnglish literature is a vast and varied field of study in which several different organising priiciples can be used to create rewartiing and effective syllabi. Peshaps the most familiar organising principle is chronology. Based on the analysis of representative texts and the study of the historical and literary background, the chronological approach provides students with an overview of the development of English literature and gives them the opportunity to appreciate the greatest literary achievements in the language. Fields of Vision, which is made up of an introductory module on genre and Literary technique and seven chronological macto-modules, contains all the material that is necessary for the teacher who wishes to use this approach. While a chronological approach is valid for many teachers, others find themselves in teaching situations where time restraints or other factors make it unsuitable. 4 modular approach to the teaching of literature offers these leachers an effective altemative by providing meaningful frameworks in which they can organise their work, Fields of Vision makes the building of modules simple and straightforward, What is a Module? Cr SRG 9 Module (from modulus, the Latin word for ‘small measure’) means ‘one of a set of separate parts which, when combined, form a complete whole’, In education a module [s a unit of teaching/learning that: ‘* has precise objectives and content; * is self-contained; is limited in time (10-30 hours); * is assessable. The sum of the modules chosen by a teacher constitutes his/ler complete teaching syllabus, Modules have the following features: Level the complexity of the module, which is indicated by the terms basic ox advanced. Time the estimated time that it will take to complete the module Objectives the skills students acquire in the course of the module. Materials the texts, music and visual stimuli the students analyse. Assignments the tasks the students are called upon to perform, Extensions inks to European literature and other forms of artistic expression. Evaluation the intermediary and final testing of both oral and written skills. Types of Modules Ce ENOHOMD~ Fields of Vision facilitates the construction of four basic module types: Period, Genre, Theme, Critical Analysis. A sample of each of these module types can be found at the beginning of cach volume, A module based on Period gives the students an overview of the literature that was produced in a specific historical era. The students become familiar with the most representative works of the period and deepen their understanding of thetexts by analysing the historical and literary background and the lives of the ‘Authors. Links to literature from other European countries (Meanwhile, Elsewhere), and to visual arts (Visual Links) help the students to contextualise and more fully appreciate the material they are studying. 4 Cross-Curricular Link suggests how the major themes addressed In the module can be linked to other subjects. ‘This type of module teaches students to recognise a particular Genre or subgenre and the techniques which are specific to it, They learn how the genre first developed and how it has evolved through different historical periods. Basic information about genre and the accompanying literary techniques are provided in Module A and in the section on Genres at the end of each volume. Visual Links and Link to the world of music encourage students to draw comparisons between. literary genres to other forms of artistic expression, In the Writers’ Workshops they are encouraged to experiment with the techniques associated with the genre in their own creative writing. In the Meanwhile, Elsewhere section they explore how genre is exploited by writers from other European counties. Ina module based on Theme students see how one of the universal themes in literature has been dealt with throughout the ages in Fiction, Poetry and Drama ‘They examine howr major writers have viewed the same subject at different times and in greatly differing contexts. They are invited to express their own views on the theme both in classroom discussions and in their creative writing. In the section Link to the world of music they can cxamine how the theme is dealt with by contemporary songwriters, and in the Visual Links section they can also analyse how the theme is presented in visual arts. ‘A module based on Critical Analysis allows the students to see literature from the writers’ perspective. It encourages them to examine how great writers shape their ‘thoughts into language and gives them the opportunity of experimenting with some of the techniques in their own creative writing, It also gives them a deeper understanding of how literary texts work and a fuller appreciation of the art of writing. Essential material for this approach can be found in Module A, where the major literary techniques are explained and exemplified. The Writers’ Workshops may prove a useful guide when choosing texts, as they often focus on the analysis of specific literary techniques, How to build a Module CoG. 9 To facilitate the construction of modules the Table of Contents in Fields of Visions has been organised into columns, each of a different colour and each associated ‘with one of the four basic module types. The columns indicate: * which period the Author belongs to; ‘+ which genre he/she employs, * which themes he/she deals with; + which Literary or stylistic techniques he/she uses. The course consists of an introductory module and seven period macro-modules from which period modules of varying iength and difficulty can easily be formed, Genre-modules, theme-modules or critical. analysis-modules can be constructed by referring to the appropriate colurnn, For example, if a teacher wishes to build a ‘theme-based module, he/she can find the relevant material by consulting the blue ‘Theme’ column in the Table of Contents. Modular Paths Genre Theme ~ Critical Analysis ‘Table of ContentsModular Paths | A Step-by-Step Guide to a Module based on a Theme Le OHO The following isa detailed description of one of the four simple modules presented at the beginning of each volume. Time calculations have been made on the basis that a lesson lasts $0 minutes. Theme: The many faces of love OUT Rle EERO es aide noe erat enue tants Is this a theme which will interest and motivate the students? «Does this theme allow the students to analyse texts from all three major genres: fiction, drama and poetcy? : * Does this theme involve working on texts from different historical periods? | © Will the students be able to explore the theme in other forms of artistic expression, such as visual arts | and music? | * Can this theme be linked to other subjects on the students’ curriculum? | # Is it possible to collaborate with other teachers on producing a cross-curricular project on this theme? | PDT AAT SEE EOE OE EO ee asta Objectives: To analyse the theme of love in Titerature throughout the ages. | To study how different Authors dealt with the theme of love in poetry, fiction and drama. To examine the theme of love in songs and compare songs to literary works To write and Lalk about issues related to the texts, # Reflect on what you wish the students to do in the course of the module and formulate a series of objectives that are appropriate to their linguistic and literary competence. Ensure that the objectives involve both writing and speaking skills. Basic level: ‘Teaching Units 1-3 ‘Time: 10 hours (including evaluation) Advanced level: Teaching Units 1-5 Time: 15 hours (including evaluation} * Decide whether the students should explore the theme at a basic or advanced level. The basic level should be based on texts that are more linguistically and conceptually accessible to the students. Themes that you consider fundamental to the students’ literary and cultural development should be dealt with at an advanced level. * Work out the amount of time you think will be spent in completing the modutes, taking into consideration: = the number of texts; ~ the number and type of tasks; ~ whether the activities will be carried out in class under your supervision, or at home by the students autonomously. | Asa general guideline, modules should cover a minimum of 10 hours and a maximum of 30 hours,Modular Paths 19: Teaching Unit 1 (basic level, 2 lessons) Material ‘| Assignments ‘He Wishes for the Cloths of » Analyse the theme of pure, romantic love in @ 20th-century poem. Heaven by WB. Yeats » Identify metaphor and references to light. {Text G25, p. GIF) Out (p. 6112} » Write down what you would give to a loved one, extension: » Compare Elton John’s Your Song’ to Yeats’s poem, Link to the world of music (p. G112) ~ j Lesson 1 ‘The text js chosen for its brevity and linguistic accessibility. With the help of the | glossary, students should be able to read the poem and do the comprehension exercises on their own. » Read the poen aloud in class. » Correct the Comprehension tasks. » Do the Analysis tasks. 50 minutes in total Lesson 2 The Out activity involves the students in a creative activity which may be oral or yritten. The Link to the world of music shows how the theme that the students have analysed in Yeats’s poem is dealt with by a contemporary singer/songwriter. Students should be encouraged to find recorded versions of the song which they can listen to in dass. > Allow students the time to carry out the Out task and to shave their responses with their classmates. 10 minutes, » Read the lyrics, listen to the song and do the follow-up tasks, 40 minutes Teaching Unit 2 (basic level, 5 lessons) [ Material ] Assignments Lead in (p. C10) » Define what love is for you. Romeo and juliet » Read, analyse and understand two texts from a Renaissance play, by Wiliam Shakespeare Text C2 (p. C10) » Reflect on the intensity of the lovers’ passion. » Trace how dramatic tension is built up in the text, » Think of examples of suspense in books, films etc. Text G3(p. C13) » Focus on the thome of ove and death, Writers’ Workshop (p. C12) > Identity dramatic irony, personitication and metaphor. Out (p.C13) » Takk about love between members of opposing groups, Extensions: » Identity elements from the play in the Dire Straits song ‘Romeo and Juliet’. Link to the world of music (p. C16) Visual Link C3 » See how the theme has been dealt with in modern film versions, As preparation for this Teaching Unit, teachers might ask their students to read the two texts from Romeo and Juliet at home and do the Comprehension tasks. Lesson 7 > Do the Lead in task which invites the students to formulate their own definitions of love. Allow students the time to write their definitions and read them aloud in class 10 minutes > Listen to the recording of Text C2 in class.20° Modular Paths faterial are Eyre by Charlotte Bronté “ext FB, p. F29) ‘riters’ Workshop (p. F31) ‘ut (9. F31) > Do/Correct the Comprehension tasks. >» Do the Analysis tasks. 40 minutes in total Lesson 2 > Read Fext C2 in parts. Ask students to highlight elements in the text which convey the intensity of the lovers’ passion. 25 minutes > Do the Writers’ Workshop task on Dramatic Tension. Discuss how this technique is uscd to heighten the emotional impact of the scene, 25 minutes Lesson 3 » Read Text C3 in class. > Conect the Comprehension tasks, 35 minutes » Do the Analysis tasks and the Writers’ Workshop task on dramatic irony. » Read the text in parts, and have a short class discussion on the theme of love and deatin/people who die for love. 15 minutes As preparation for Lesson 4 students could be asked to form groups and to do research on the historical and political background to conflicts involving opposing factions. For example Catholics and Protestants in Northern Ireland, Palestinians and Israelis in Isracl, Indians and Pakistanis in Kashmir, et. Lesson 4 » Ask a spokesperson for cach group to give a five-minute presentation of their findings. The presentation will help students to improve their language skills and provide feedback to the teacher for future language lessons. » At the end of the presentation discuss what would happen if members of the opposing groups fell in lave. Lesson 5 » Read/Listen to the Dire Straits song ‘Romeo and Juliet’ and find elements it has in common with the play as suggested in the Link to the world of music (p. C16). 30 minutes » Do the Visual Links tasks which invite students to reflect how the play has been dealt with. in modem film versions, 20 minutes Teaching Unit 3 (basic level, 2 lessons) Assignments ¥ Analyse the theme of love denied ina Victorian novel » See how the protagonists characteris defined through dialogue. Have a class discussion about acting on principle. As preparation for Lesson 1 teachers might ask students to read the text at home and do the Comprehension tasks. Lesson 7 » Read the text in class, » Do/Correct Comprehension tasks. > Do Analysis tasks. 50 minutes in total Lesson 2 > Analyse how the protagonist’s character ts defined through dialogue. Identify points in the text where the protagonist is speaking with her heart and where she is speaking with her head. 30 minutes > Have a class discussion about whether or not Jane was right to stifle her love for Rochester in order to uphold a principle. Is acting on principle always correct? 20 minutesModular Paths Assignments 7” : Funeral Blues by WH. Auden > Analyse the theme of love and bereavement in a 20th.censury poem. : | (lent G31, p. 6132) |» Examine the images in the poem. > Listen tothe poem and decide if would make @ good song Extension: > Compare ‘Funeral Blues’ with the song ‘Dreamin’ by Lou Reed. Link tothe world of musi (p. G134) Lesson 7 » Read the short poem Funera! Blues in class and do the Comprehension and Analysis tasks » Analyse the imagery in the poem which conveys the idea of lost Jove. 50 minutes In preparation for Lesson 2 students shouid find recordings of Blues music. Lesson 2 isten to a recording of Blues music and discuss the features of Bhues music. 5 > Discuss whether the paem would make a good song, and decide what type of : music would suit it. 25 minutes B > Compare the theme of ‘love and loss’ in Auden’s poem and in Lou Reed's song ‘Dreamin’. 25 minutes Teaching Unit 5 (advanced level, 3 lessons) Be Material Assignme Lead in (p. H90) » Think of novels films ate. where wartime romance Isa theme, i The English Patient by Michael Ondlaatie | * Read, analyse and understand two texts from a 20th-century novel, & Text H21 (p. H90) » Analyse the theme of love and danger. ao Text H22(p. H94) > Analyse the theme of ove actoss time and distance, j Out {p. 196) > Think and talk about the special bonds that exist between people who arein love. | : In preparation for Lesson 1 students could read Text 1121 from The English Patient i and do the Comprehension tasks. : Lesson 1 » Lead in, Discussion about novels or films about wartime romances, Students give reasons why mote people fall in love daring wars than in times of peace, 15 minutes » Read the text in class. » Do/Correct the Comprehension tasks, > Do the Analysis tasks. 35 minutes In preparation for Lesson 2 students could reed Text H22 from The English Patient : and do the Comprehension tasks. : Lesson 2 » Read the text in class. > DofCorrect the Comprehension tasks. > Do the Analysis tasks. 50 minutes Lesson 3 + Discuss how in The English Patient love: + helps Kip and Hana to overcome their fear of danger. + transcends the baniers created by time and distance. > Do the Out activity in which students discuss how special bonds exist between people who are in love. 30 minutes eModular Paths Tests Evaluation Evaluation should be intermediary (after single teaching units) and final (when the module is completed). It should assess both speaking and writing skills. ‘The Tests section In the Teacher's Book contains tests on specific Authors and texts, some of which may be used for intermediary evaluation. Lead in, Staging the Play and Out activities often involve the students in making presentations which can be evaluated as oral marks. The speaking activity, for example, in the Teaching Unit 2, lesson 4, in the sample module could be used for oral evaluation, ‘The final evaluation of the module should involve a written report and/or an oral presentation. In the case of the sample module the students sight be given the following titles and asked to develop one as an essay (300-350 words), or as an oral report: 1 Choose two Authors you have studied, and compare and contrast how they deal with the theme of fove (basic) 2 ‘Literature often associates the theme of love with suffering’, Discuss this statement with references to a least three texts you have studicd. (basic/advanced) 2 ‘Love is an ageless theme which has fascinated writers throughout the centuries.” Support this statement making references to the Authors you have studied, (advanced) 4 The language of love . an analysis of how three great writers use words to convey the power of love. (advanced) Cross-Curricular Links The theme of love can be used as the basis for crass-curricular work in collaboration, with teachers of other subjects A Sample Modular Syllabus C- CROHOMD~ LS The following syllabus would be suitable for a three-year course in which literature is the subject of two lessons per week, for a total of 192 hours. Period module Genre module Cross-curricular project, ‘The Renaissance (30 hours) ‘The development of drama - from Morality plays to the Theatre of the Absurd (20 hours) Beowull, Ulysses and Aenens, Heroes in classical [iterature (14 hours) Period module Critical analysis module Theme module Period module Theme Cross-curricular project “The Romantic Period (30 hours) Narrative technique — from Daniel Defoe's Robinson Crusoe to Salman Rushdie's Midnight's Children (20 hows) Nature andthe envionment n neers century and bretethcenury Marta 14 jours) Contemporary Literature (30 hours) The tragic hero ~ from Marlowre to Pinter (14 hours) The anti-hero (20 hours)Where to find material Ce EROS ‘The following is a quick reference section which contains the names and page references of Authors/texts that inay be included in Theme, Genre and Critical Anelysis modules, Themes Ageing/The Passing of Time Byron (Texts F12 and £13, p T34, E35), Keats (Text E19, p. E60}, Plath (Text 138, p. HLS) ‘Mienation TS. Eliot (Text G30, p. G124), Becketi (Texts 1140 ‘and Hil, p. H1S3, 11187), Pinter (Text H43, p. H170) ‘Ambition’ Marlowe (Text CL, p. C3), Shakespeare (Texts C8 ‘and C9, p. C34, C37), Shelley (Text E15, p. FAS), Fitzgerald (text Gib, p. G2), Miller (Text G38, p. G157) ‘art Keats (Text B8, p. £55), Woolf (Text G13, p. G58), Dylan ‘Thomas (Text G33, p. G139) Beauty Byron (Text E11, p. B32}, Keats (Text B18, p. BSS), Wilde (Text F13, p, P48), Plath (Text H38, p. H145) Children and Parents Shakespeare (Fent C7, p, C27), Dickens (Text E1, p, F2), Lawrence (Texts G8 and 69, p. 431, G35) Woolt (lext G12, p. C54), Miller (lext G29, p. C161), Greene (ext 83, p. HO), Carter (Text 37, p. H23), Doyle (Text HU, p. 43), Gordimer (lext H18, p. H79), Lessing {ext H20, p. H86}, Heaney (Text H32, p. 1429) Civilisation Arnold (Text F26, p. F100), Wells (Text G3, p. G9}, Conrad (Text G4, p. G15}, Orwell (Text G14, p. G62}, Golding (Texts H3 and 112, ». 512, Wo), Kerouac (Text 1114, px. 160) Colonialise Defoe (ext D11, p, D18), Conrad (Texts G4 and GS, p. G15, G19), Achebe (Texts [16 and H17, p. 169, H73), Soyinka (Text H45, p. H180} Combat/Fighting Reowuif (Texts B1 and 82, p. B3, BG) Fielding (Text D15, p. D70), Scott (Texts E24 and E26, p. £78, EM) Death Marlowe (Text C1, p. C3), Tennyson (fext F22 and F23, 1p. F87, 20), Dickinson (Text F29, p. F109}, Scott Fitzgerald (Clext G17, p. G75), Heminguay (Text G19, p. G84), Auden (Text G31, p. G132), Dylan Thomas (Text G34, p. G141}, Heaney (Fext #132, p. 129) Disability and Social Stigma Meaney (lext H31, p. #126) Faulkner (Tents G20 and G21, p. G90, G94}, Pinter (Text #43, p. 170) Education Dickens (Texts F1 and F3, p. 72, £9), Greene (ext 1B, p. HO), Spark (Test HS, p. HID) Evil Milion (Text D4, p. D14), Poe (Texts F29 and F30, p F96, 899), Stevenson (Text F12, p. F45), Golding (Texts H! and 2, p. H2, He), Lessing (Text H20, p. H86), McEwan (Lext 1810, p.T139) lirting Matvell (Text D3, p. D10), Richardson (Text D14, p. 65) Friendship Shakespeare (Texts C4 and CS, p. C19, €22), Austen (Text £21, p. E58), Twain (Text £30, p. £79), Fitzgerald (insincere friendship ~ Texts G16 and G17, p. G72, G75), Deane (Fext H12, p. H150), Kerouac (Text H13, p. 1156), Atwood (Text 123, p. 1199) Growing up Dickens (Text F, p. 22), Twain (Texts F20 and £21, p. 79, F82), Fores (Lets Gb and G7, p. G25, G28), joyce (Text G10, p. G41), Deane (Text H12, p. H50), Kerouac (Texts HI3 and F114, p, 436, HS0), Aesood (Text H23,p. 99) Heroes Baowaif Texts B1 and B2, p.B3, 86), Robin Hood (Text 313, p. BS), Milton (Teat D4, p. D4), £, Bronte (Fests FS and F6, p. FI7, P22), Whitman (Text F31, p. F114), Seott, Fitzgerald (Text G16, p. G72), Spender (Feat H27, p. HL) Love The Unguiet Grave (p. BB), Shakespeare (Texts C10 and IL. p. C40, C42), Donne (Text D2, 9, DS), Burns (Texts EL and £2, p. £2, Ej, Austen (ext E21, p, £68), F. Bronté (Texts FS and 6, p. PY7, #22), C. Bronté (Text F8, p. F25), Arnold (Text ¥26, p. POO), Joyce (fext G10, p. G4), Hemingway (Text GL9, p. G84), Yeats Text G25, p. GLD. TS. Eliot (Text G30, p. £24), Hughes (Text 130, p. 1123), Ondaatje (Texts H21 and H22, p. HOU, H94), Waleott (ext 136, p. 4139) Love and Death Shakespeare (Texts C2 and C3, p. C10, C13), Hemingway (Texts G18 and G19, p. G80, G84), Auden (Text G32, p. 6135) Marriage Chaucer (Text B6, p. B21), Congreve (Text D8, p. 1D33}, Dickens (Text 72, p. F6), Austen (Texts £20, E21 and £22, p, B64, £68, £70), E Bronte (Text FS, p. FI7),C. Bronte (Text FS, p. F29) Memory ‘Wordsworth (Text £7, p. E18), Joyce (leat 611, p. G48), Yeats (Text 626, p, G113), Ondaatje (Toxt H22, p 94) Nature Wordsworth (Texts 86, £7 and £8, p. E16, £18, 629), Shelley {Text E14, p. E40), Hopkins (Text F27, p. FLO4), Dickinson (Text F26, p. F107), Whitman (Text F30, p. 122), Yeats (Text G26, p. G1i3), RS. Thomas (Text H23, p. H117}, Hughes Clext B29, p. 11320}, Politics Milton (Text DS, p. D17), Swift (Test D12, p. DSS), Shelley (Text E15 anc E16, p. #45, #47), Urvell [lext G14, p. G62), Steinbeck (Text G22, p. G98), Gowlimer (Text H19, p. 1882) Poverty Gray (Text D7, p. D28), Swift (ext D12, p. DS5), Steinbeck (Text G23, p. G103), RS. Thomas (Text 1128, p. HI) Race Blake (Text 83, p. F6), Scart (Text £25, p. B81), Twain, (ent FAL, p, F82), Wolcott (Text 1137, p. 11141), Gordimer (Text H16, p. #79), Soyinka (Text 45, p. H180) Rebellion Milton (Text D4, p, DL4), C. Bronté (Text FZ, p, #26), Yeats (ext C24, p. C102}, Achebe (Feat H17, p. H73) Religion and Spirituality Everyman (Text BS, p. B23), Donne (Text DL, p. D2), Milton (Test DS, p. D17), Blake (£4 arid FS, - E9, E11), RS, Thomas (Text 128, p. E117), Achebe (Fext H16, p. H69) ence and Research Mary Shelley (Fexts £27 and £28, p. #89, E91), Stevenson (Texrs F11 and F12, p. Fl, FaS), Whitman (Text F30, p. P12) Social Repression/Ostracism Hardy (lest F15, p. P46), Hawthorne (lexts F17 and FI8, p. F6S, £68), Orwell (Texts Gl4 and GIS, p. G62, G65), Auden (Text G32, p. 135), Heaney (Text #31, p. H126) Vanity Chaacer (Texts B4 and B7, p. Bt, B23), Pope (leat D6, p. D23) War Hernlngway (Text G18, p. G80), Brooke (Text G27, p. G17}, Owen (Text G28, p. G118), Sassoon (Text G29, p. 120), Auden (Text G34, p. 132), Harrison (Iext 435, p. 11135) iModular Paths Women Chaucer (Texts Bd, BS and B6, p. B14, B17, B21), Shakespeate (ext C8, p. C34), F. Bronte (Text F5, p. F17), C Rronte (Text F7, p. F26), Hardy Text F15, p. E50), Browning, (ext 24, p. F93), Welle (F32, p. F115), Lawrence (Texts G8 and G9, p. G32, G35), Joyce (Text G1L, p. G48), Woolf (Texts G12 and G13, p. G54, G58}, Shaw (Text G37, p. GLS2), Spark (lext H45, 9. H19), Gordimer (Texts HIS and 1119, p.1179, 1182), Plath (Text H38, p. H145) Genre Fiction Aesthetic Novel Wilde (Tents F13 and FL4, p. P48, FS) Allegory Golding (Tents H1 and 2, p. 12, 116) Anti-Novel_ Sterne (Text D16, p. D77) Comic Novel Loge (Text 16, p. 124) Epistolary Novel Richardson (Text D4, p. D65) Ghost Story James (lexts GL and G2, p. G2, GS) Gothic Novel Mary Shelley (Texts £27 and £28, p. £89, E91) Historical Novel Scott (Texts 824, £25 anc £26, p. B78, 881, E86) Horror Story Stevenson (Texts FI! and F12, p. 141, P45) Magic Realism Carter (Texts H7 and H8, p. H29, H32), Rushdie (Text H24, p. 1103) Modernist Novel Joyce (Text G11, p. G48), Woolf (Texts G12 and G13, p. G54, G58) ‘Novel of Taitiation Dickens (Texts Fl and F2, p. F2, F6), € Bronté (Texts '7 and F8, p. F26, £29), Twain Clests P20 and F2L, p. F79, F82), Forster (Texts G6 and G7, p. GIS, G19), Deane (Text H12, p. H50), Atwood (Text H23, p. H99) Novel of Manners Austen (Tents P21, £22, £23 and £24, p. E6173) Picaresque Novel Fielding (Text D1S, p. B70), Kerouac (Texts THI and 1114, p. 156, H6O) Regional Novel Hacdy (Texts F1S and F1, p. F56, £58), Doyle ‘{Uext HLL, p. H43), Achebe (lexts H16 and 127, p, H69, 173) Romantic Novel E. Bront3 (Iexts FS and F6, p.F17, F22) Science Fiction H.G. Wells (Texi G3, p. G9) Short Story. Poe (Texts B29 ancl F30, p.F96, £99), Joyce (Text G10, p. G4) Utopian/Dystopian Novel Swift (Test D13, p. D59), Orwell (Texis G14 and G25, p. G62, G65) Poetry Ballad The Unguiet Grave (p, BS), Rebir Hea! an tee Bishep of Hereford {Text B3, p. B9}, Coleridge (Texts E9 and ELO, p. E24, £27) Dramatic Monologue Browning (Text 724, p. P93), Arnold (Text £26, p. F100), TS. Eliot (Text G30, p. G128) Flegy Gray (Text D7, p. D28), Tennyson (Texts F22 and F23, p. €87, F90) Epic Beowulf (Texts BI and B2, p. B3, 86), Milton (Text D4, p. Dig) Pree Verse Whitmnan (Text P30, p, F112), Heaney (Lest HL, p. H1129), Ginsberg (Iext H39, p. H149) Ode Shelley (Text £14, p. E40), Keats (Text E17 and E18, p. | 852, B55), Sonnet Shakespeare (Texts C10 and C11, p. C40, C42), Donne (Text D1, p. D2), Milton (Text D5, p. D1), Shelley (texts BAS and 116, p. B45, B47), Keats Clext E19, p. 660), Brooke | {text G27, p. G17), Heaney (Lox H32, p. 11129) Drama Comedy Shakespeare (Vexts C4 and C3, p. C19, C22}, Shaw (ext G37, p. G1S2), Bennett (Text H44, p. K175) Comedy of Manners Congreve (lent D8, p. D33), Gokdsanith (Text D9, p. D39), Wile Clext 132, p. £119) Tragedy Marlowe (lext Cl, p. C3), Stokespeare (Texts C2-and C3, C6-9, p. C10-C37), Milles (Texts G38 and G38, p. GI G161), Osbome (Text 142, p. H163) ‘Theatre of Ue Absurd. Beckett (Texts HAO and HI, p. H1S3, HiS7}, Hinter (lent 143, p16) Critical Analysis Allegory Lrerynan ip. B30), Golding (p. 18) Character Richardson (novel of incident and of character, p DBI), Dickens (revealing charactes, p. FL1), . Broné (Gialogue to reveal character, p.F31), Wilde tp. F128}, Wool (p. G57), Shaw (p. 6155} Conceit Donne (p. D4), TS. Blot (p 6129) Dialogue Congreve tp, 936), C, Brontt (p, F31), Lawrence (0, G38), Doyle (p- H48) ‘igures af Speech Shakespeare (p. C32; metaphor, p. C39; simile, p. C41), Donne (hyperbole, p. D12}, Gray Gynecdoche, p.D31), Bums (hyperbole, p. B3), Wordsworth (oxymoron, p. E21), Byron (pavelielism, p. £33), Shelicy (petsonttication, p. E44) Imagery Robin Houd and the Bishop of Hereford (stock i p.BI2) Metre Chaucer (amie peniameter p. B22), Marlowe (blank verse, p. C6), Shakespeave (blank verse — hero'e couplet, p. (21), Whitman tee verse, p, F113), Heaney (free verse p. 1128) Mock Teroic Chaucer (p. B24), Pope (p. D25) Irony Chaucer (p. 816}, Narrative Technique Defoe (p. D41), Swift (unreliable narrator, p. 62), Fielding (narrator, p. D74), Pov, Austen (omniscient nastator and free indizect speech, p. B66; showing and telling, p. E75), Mary Shelley (isst-person narrative, p. E91}, Loe (first-person narrator, p. £102), George Fliot (omniscient obtrusive narrator, p. #39), Twain {naive narrator, p, 84), James (limited point of view, p. G7), Joyce (stream of consciousness, p, G31), Fitzgerald (fist. person narrators, p. G78], Faulkner (interior marelogue, p. 694), Steinbeck (free indirect speech, p. Gi02), Green (imited omniscient nattator, p. H14), Spark (omniscter narrator, p. 1122), Deane (first-person narrators, p. H54), Ondaatje (omniscient third-person narrator, p. H96), Atwood (naive narror, p. H101) Parody Shakespeuce (p. C43) Plot E, Bronte (p. F24) Setting Shakespeare (p. C21), Mary Shelley (p. £94), Marcly (p P62), Forster (p. G30) Satire Swift (p. DS8) Sound Features Beowulf talliteration p. BS), Chaucer (ohyrae . B19}, Shakespeare (onomatopovia, p. C36}, Colericge Gnternal rhyme, 9, £27), Keats (assonance, p. P59), Larkin (truefimperiect rhyme, p. 10112), Harrison (Sound features, p-H137} Suspense Shakespeare ip. C32), McEwan (p. H88) Symbols Blake (p. E13), Melville (p. F77), Conrad (p. G18), Frost (p. G147), McEwan (p. Hil), Gordimer (p. H82), Waleoit(p. 1143) Tone Shakespeare (p. C36), Soyinka {p. H184) ages,Introduction ‘Cross-Cusricular links are structured activities which guide the students through short research projects that involve linking their studies of English literature with other literatures and/or other school subjects. ‘The projects are generally divided into wo distinct phases: > firstly some initial research is done on the works of two or more writers, scientists, philosophers or painters and the results are presented in written or coral forma; = 4n the second phase students are asked to compare and contrast specific aspects of the material they have reseaiched. Projects can be done at home or in school and can be as long or as short as time permits and interest demands, The following is an example of how the Cross- Curricular link from Module F, which involves comparing the works of Charles Dickens, Emile Zola and Henrik ibsen, might be done. Chosen texts: Hard Times by Chatles Dickens, Ghosts by Henrik Ibsen and Germinal by Emile Zola. 1. A brief summary of the plots Hard Times Thomas Gradgrind and Mr Bounderby are two leading members of the community in the nosthern English city of Coketown. Gtadgrind lives with his two children, Tom and Louise, and a young gil, Cissy Jupe, who he took in when she was abandoned by her father. Both Gradgrind children find it hard to bear the strict regime laid down by their father and a dispirited Lovisa fails to put up the slightest resistance when her father asks her to marry Bounderdy, a man thirty years her elder. Meanwhile Tom lives a lazy, feckless existence and in no way foltows in his father’s righteous footsteps. He is instrumental in arranging a meeting between james Harthouse, a young politician, and his very unhappily martied sister. Louisa however rejects Harthouse’s attempts to seduce her and goes back to her father who realises how wrong he has been to force her to marry Bounderby. Despite lasing his wife, Bounderby is still one of the most Powerful men in the town and gives an example of this when he fires one of his employees, Steghen Blackpool, for no justifiable reason, | Stephen’s misery is compounded when he is wrongly | accused of (aking part in a theft from the bank when, in fact, it was Torn who was actually involved, The novel ends with a contrite Mr Gradgrind gratefully accepting Cissy’s help in finding safe passage for Torn to escape from shame and punishment. Ghosts Mrs Alving, a rich widow, has been joined for the winter by her son Oswald in their beautiful isolated house overlooking a fiord, Oswald isan artist and usualy lives in Paris, Parson Manders comes to pay a visit and openly berates Mrs Alving for allowing her son to live such a dissolute Iife in a foreign city. Regina is the Alvings’ housemaid and is under pressure from her good-for-nothing father, Engstrand, to leave the house and help him set up an inn. Regina however has no intention of giving up a decent jab with a good farnily for a life of slavery at the beck and call of drunken sailors. It soon emerges that that the quiet, bourgeois existence of the Alving household is a cover-up for a dark and damning past. Mr Alving, Oswald’d father had many mistresses and Regina is the fruit of one of his liaisons. Regina’s mother was a maid to the Alvings and was paid to leave the house when she got pregnant. To protect him from such a potentially damaging family situation, ‘Oswald was sent away when he was seven. In order to maintain the family’s high reputation in the community, Mrs Alving has financed the building of an orphanage which is to be named after her dead husband. However, before the opening ceremony can take place the ghosts of the past come back to haunt het. Oswald falls in iove with Regina and says he wants to take her back to Paris with him, His mother is distraught at the idea and lo stop him reveals that the girl is his half-sister. When it seems that things cannot get any worse, the orphanage burns down. In the final scene Oswald, who is suffering from syphilis, the disease that killed his father, asks his mother to give him a lethal dose of morphine, As the play ends the audience is left to wonder whether she will grant his wish or not. Germinal Etienne Lantier fs an idealistic young man who finds work in the Voreux, one of the hundreds of coal mines in northem France, He is helped to find a job by Maheu, an ‘experienced miner, who lives in a very small house with his wife, seven children and his father.26° Cross-Curricular Project There is a slump in the economy, the miners’ wages are reduced and the miners’ families find it increasingly difficult to feed themselves. The Maheu family is no exception even though four members of the family, including eleven-year-old Jeanlin, work down the imines. With the situation becoming increasingly desperate Etienne and some of his companions organise a strike. It drags on for three months but the Company refuses to make concessions. The suike then spreads as a mob led by Etienne goes from mine to mine forcing warkers to join the strike and destroy equipment, The mob has been whipped into a state of frenzy and takes revenge on the local shopkeeper who had refused to give crec He is lynched and mutifated in a savage attack. The authorities send the army to restore law and order but the strike continues, The company decides to take in miners from Belgium but when they arrive, protected by the army, they are met by an angry crowd of strikers. Tension starts to rise as stones are thrown at the soldiers and then suddenly, to everyone's disbelief, the soldiers open fire. A number of people including Maheu, are killed. This incident breaks the will of the strikers who return to work. The mine, however, has been sabotaged by Souvarine, a Russian anarchist, Etienne is trapped underground when the mine shaft collapses but manages to survive unlike two of Maheu's children, The novel ends with Etienne setting out from the town ‘on his wayy to Paris where he hopes to further the cause of international revotution. 2. A detailed description of the social setting including living and working conditions Hard Times Hord Times is set in Caketown, an industrial city in the North of England, during the boom years of the mid- nineteenth century. The industrial revolution is in full swing and there seems to be no reason why the sun should over set on the British Empire. Coketown is representative of hundreds of industrial towns that sprang up over northern England, It is a grim, dark place where factory chimneys spew spirals of sooty smoke into the fetid air, morning and night. All the buildings look alike and add to a pervading sense of monotony and sameness. Working conditions are extremely poor for the thousands who man the factories. They work long hours in unhealthy factories where the risk of illness and injury is very high. Living conditions at home are not much better than those at work though basic shelter and food are provided. Most people are so tired after work that their homes are little more than dormitories where they rest before going on the next shift. There are schools in the town but they are more like penitentiaries than academies of learning. Children are crammed into damp, draughty classraoms and have endless reams of facts drummed into their heads. There are ao churches in the town but the God that is worshipped on Sundays is replaced by the gods of work and money during the week. There is no room for abstract thinking or spiritual searching in Coketown. The two main characters in Hard Times, Mr Gradgrind and Mr Bounderby, represent that tiny minority in Coketown who reap the rewards of the non-stop production that drives the town. They enjoy the good things in life, safe in the knowledge that their Utitarian, pragmatic philosophy is the key to happiness in this workd and the next. Ghosts Iva play the description of the setting is far less detailed than in a novel. The ANings ate a welloff farwly who live in a big house near a fiord in Western Norway. Mrs Alving has enough money to live without working, ‘employ a fulitime servant and invest in the building of an orphanage. Oswald seems to live a comfortable existence in Paris. The only glimpse of a world beyond the protected enclosure of the Alving household is provided by Engstrand who desperately wants money to set up an inn, All the action of the play takes place in one room which looks cut onto a garden and a fiord beyond. ft is always rainy and misty. Germinal The novel is set in the coal mining districts of northern France at the end of the nineteenth century. The main action takes place in the housing settlement at the Voreux mine. The mine works twenty-four hours a day and miners often have to do twelve-hour shifts, They work over five hundred metres below ground in wel, humid and cold conditions and constantly run therisk of being caught in land spills. Children as young as ten and wornen of all ages work alongside the men. ‘The miners ive in housing settlements provided for then ty their employer. Living conditions ae cramped as large ‘families like the Maheus are forced to sleep together in tiny bedrooms. Because they are paid a pittance for their work, every family is in debt and must bag for credit from the focal shopkeeper, Maigrat. Soup is the staple food and whenever meat is availabe itis eaten by the father of the family and not by the children. As well as staving off hunger, families have to struggle to maintain adequate stendards of hygiene. In the Maheu household, the bath ig barrel which has been cut in two and bathing is a communal activity which leaves no room for prudery. When the miners are not working and have some money they go to the local inns. Holidays are an excuse for igetting crunk in an attempt to escape for a few short hours from the grinding mindlessness of work, Free time also means time to make love but any romantic connotations that are associated with love have been teroved. Girls as young as fourteen are taken to a derelict scrap yard and are deftowered in a setting which is the antithesis of romance. The poverty and degradation that characterise the lives of ‘the miners is in sharp contrast with the lifestyle of the Gregoire family. M. Gregoire has made his fortune by investing in the mine and much of his wealth is channelled into providing a future for his daughter, Cecile. They have a large comfortable house and are ‘waited upon by a small platoon of servants. The area around the coal mines is agricultural. When the sun shines, the fields of wheat and beetroot paint such a pretty picture that one can almost forget the human misery that infests the mining communities. The sun, however, is always slightly dimmed by the clouds of black coal dust that drift interminably across the sky. 3. An analysis of how the characters are influenced by and react to their environment Hard Times ‘Asttong work ethic and the pursuit of monetary gain are the cornerstones on which Coketown society is built. Citizens are expected to live according to a utilitarian, materialistic philosophy of life but some of the characters, in Hord Times stcuggle to comply with the dictates of society, Cross-Curricular Project Louise, Mr Gradarind’s daughter, does not rebel against the rigid codes of behaviour that govern her environment. Although she fee's teribly restricted by the claustrophobic society in which she lives, she accepts that a dutiful daughter should do as her father tells her. Only when she can no longer stand the psychological cruelty that her husband, Mr Bounderby, has inflicted on her does she find the willpower and courage to run away and tell her father how unhappy she has been, Tom is even more alieriated from his environment than Louisa, He rejects the unwritten rule that would have him work diligently at building up a career and a healthy bank balance, His behaviour is anti-social and culminates in him fleeing Coketown in disgrace having robbed from the local bank. Perhaps the character who is influenced most negatively by his environment is Stephen Blackpool. He is a hard- working, sensitive young man but he leads a life of thankless graft and misery. He represents the weaker members of society who cannot defend themselves against the abuses of power and privilege. He is made a scapegoat twice — first by Mr Bounderby who fires him on 2 spurious pretext and then by the community at large ‘who wrongfully suspect him of stealing from the bank. The one character who manages to keep her spirits up and not fall victim to the general air of oppression that pervades in Coketown is Cissy Jupe. Her optimistic ‘outlook on life is an inspiration to both Louisa and Tom in their hours of need. The two main characters in the novel, Mr Gredgrind and Mr Bounderby, react differently to their environment. Bounderby proves himself to be a perfect product of Utilitarian Vietorian England as he shows a complete inability to treat his young wife with love and kindness. Gradgrind, on the other hand, having witnessed how his over-strict attitude to his children's upbringing has scarred both of them, admits the error of his ways and begins to doubt some of the cast iron principles on which his own life and society ai large are based Ghosts It is the moral and social rather than the economic climate that influences the characters. A picture is painted of a society in moral decline where hypocrisy and falsity are to the fore. Norwegian society, as represented by Parson Manders, is made up of churchgoing, law abiding, hard working people who live up to the most stringent demands of moral propriety.uae e Cross-Curriculer Project Underneath the surface, however, this society is falling ' apart. Mrs Alving has paid a terrible price for conforming to social convention. Not only has she been forced to live a lie to cover up for her husband's infidelity but she has also seen her son waste his life. In order to maintain respectability, she sent her son away, paid off her mai and built an orphanage, All her efforts have come to nothing. Oswald is also a victim of the crumbling moral microcosm that is his family. Forced to feave home at an early age, he settled in Paris and embarked on a bohemian lifestyle. Now sick and despondent he has come home with a death wish, The grey, rain sodden skies outside the window ate in perfect keeping with his dejected desperation. Regina is probably the character who has lost most because of the false respectability that the Alving family has tried to maintain. She never knew who her mother oF father were, she was adopted by a drunken stepfather and she cannot have anything to do with Oswald. She is the most innocent and defenceless victim of a society on the brink of moral collapse a loveless affair in which she puts up with constant physical and psychological mistreatment. When Etienne kills her orutal lover and claims her for himself itis too late because she dies in the collapsed mine shaft. Catherine's brother, who despite being only twenty-one has already fathered two children, is also killed in the same mining accident. Two members of the Maheu family rebel against their awful lives in surprising and shocking ways. When Cecile visits grandfather Maheu to offer some charitable help the old man strangles her on impulse. By killing her he is killing the world and social class she represents, that class which has made his life and his family life a misery for generations, Eleven-year-old feanlin Maheu Is a bit of a rascal and is welleknown around the settlement because he likes playing practical jokes on people. His joking goes too far when he oversteps the boundary that separates play from reality and kills a soldier. When a shocked Etienne asks him wiy he did it he says he was only playing The mob becomes a character in the novel when it takes direct action against the company’s mines, Previously passive individuals are transformed into brutal aggressors a5 pent up anger and frustration is directed against their |, employers. The descent into brutality culminates in the Germinal Although the characters in Germinai do try to react against the inhuman conditions under which they are forced to live and work, most of them end up being victims. This is particularly true of the Maheu family. M. Maheu reluctantly becomes a strike leader but is killed by a soldier's bullet His daughter Catherine, a bright and lively fifteen-year- old, does what all the other gids of her age do. She starts | murder and mutilation of Maigrat Etienne reacts to what he sees and lives through by trying to understand how society can be changed. He is instrumental in organising a strike and getting workers to join the socialst international. He is alarmed when the situation gets out of cantrol and loses public support when soldiers open fire on the miners. As the novel ends he is dreaming of a political and social revolution in the next century. i i { abcess2 Introduction OHH E SD jelds of Vision includes many stills from famous films based on literary works (for example Beowulf, Sense and Sensibility, Moll Flanders) for several reasons: = to create interest; +0 provide a stimulus to read the text featured; to show the ever-present link between literary works and a different form of prtistie expression, the cinema, ‘To-give teachers the opportunity to develop the link between hterature and cine- ma, Fields of Vision provides an extensive filmography, useful internet links to “access apdated information, and finks to sites which contain useful information and suggestions on how to exploit films in the classroom or where to find the ‘il scripts. ‘There are eight lists of films, one for each Module of elds of Vision, from A to H. ‘Comprehensive information has been provided for film(s) based on the texts in the _ Module, and a list of titles and year of release has been presented for other works not included in the course book but by the same Author, since students may not ‘have the time and/or ability to zead ail the works by an Author, but they might “enjoy seeing films inspired by that Author, “Jn some cases more than one production based on the same literary work has been ificluded. This could be the basis for students’ projects in which the various productions can be compared and contrasted to reveal how the sare material has ‘been treated differently, depending on the director or the time when It was made. Some titles are available on DVD which contains soundtracks in more than one language, allowing teachers to use the original in English or switch to Italian if ‘comprehension is ton difficult. This feature opens up quite a few new applications for teaching purposes. Sources: Microsoft Cinemania 97 CD-ROM Variety Movie Guide 96, Hamlyn 1995 For updates: http://wwwimdb.com ~_ itp://www.imdb.com: the Intemational Movie Database, Can be searched under , Varlous headings (titles, people, biographies, plots, ctc.). You can find information _ about the production, cast, gentes, rating and also @ summary, comments, availability on video os DVD, and more, _ httpi//teachwithmovies org: website that contains suggestions for films that can be ‘Used in class along with teaching notes and useful links. Films can be selected by subject (See the ‘Cultural Heritage Index’) or from the general database. ‘httpu/emazon.com: online book, music and video store. ‘Lip: L/script-o-rama,com: film scripts and transcripts are available from this site Which is updated weekly. It is best viewed at 1024x768 but has a lower resolution ‘Option for viewing by all browsers. I Filmiograpliy Rationale Lists of films Internet linksFilmography met Been or Module A Cheam (otnae ne ayer yl eceratt G.B, Shaw My fairlady Cotour Musical version which has a USA (1964); Musical/Comedy 170 min diferent ending to the Pygmation Cost. Auckoy Hepbum, Rex Harrison, original play Stanley Holloway, Wild Hyce-White He | Oscar Wilde The Importance of Being Eomnest Colour Film which remains very UK (1952): Comedy $5 min close to the stage version. The importance of |_| Directed by Anthony Asquith Being Famest Cost: Michae! Redgrave, Michael Denison, Edith Evans, Joan Greenwood lat CU eR gt) setae ath Beowuit | Be Colour A science fiction version of (vd ony) 95 min the poem set ina non: UsA (1999) Horrov/Action/Sci-Fi specific future or past Directed by Graham Baker Cast: Graham Baker, Christopher Lambert, Rhona Mitra, Oliver Cotton, Gotz Otto Robin Hood and the | Robin Hood: Price of Thieves Colour Story which opens quite Bishop of Hereford USA (1997): Historical/Adventure/Action. ) 138 min Violently with Robin Directed by Kevin Reynolds fighting in the Crusades Cast: Kevin Costner, Morgan Freeman, and being captured by the Mary Elizabeth Mastrantonio, Chistian Turks before returning to Shaier England, where the more familiar story begins. Historical and Social | Broveheart Colour The film tell the story of Background USA (1995): Romance/Historial/Action | 177 min the Scottish warrior Witlam (1066-1485) Directed by Mel Gibson Wallace and the Battle of Cost: Mel Gibson, Sophie Marceau, | Bannockbuny, although not Patrick MeGaohan, Catherine strictly historically accurate. McCormack Geottay of Excativur Colour The legend of King Arthur Monmauth’s Historia | UK (1981): Fantasy/Action 140 min ani the sword which Regurn Britanniae Directed by John Boorman entited him to become Cost: Nigel Tetry, Nicol Wiliamson, king of England. Nicholas Clay, Helen Mivceri |Petes) craven Modu Black & White/ Ree UC MeL Fibnography Description william Shakespeare Romeo ond Juiet Romeo and jut USA (1996); Action/Drama/Romance Directed by Baz Luhrmann Cast: Edwina Moore, Leonardo DiCaprio, Claire Danes, Zak Orth Colour 120 min ‘Modem version of the story, set in Verona Beach in the USA, using the original language alongside 28 pop music soundirack Romeo and Juitet Italy-UK (1968): RomanceyHistorical Directed by Franco Zeffeli Cast: Ova Hussey, Leonard Whiting, Milo O'Shea, Murray Head West Side Story USA (1961): Musieal/Dance Direcied by Robert Wise and Jerome Robbins Cast: Natale Wood, Richard Beymer, Russ Tamblyn, Rite Moreno Romeo is played by a.17- year-old and Juliet by 2 15- ‘year-old in this version ‘which uses the original Shakespearean language. Musical story of the love between members of two rivai gangs. Set in 1950s New York, based on the story of Romeo and juliet. William Shakespeare 4 Miasurnmer Night's Drearn ‘William Shakespeare Hamdet A Mecsurnrner Night’ Drearn italy/UK (1999) Directed by Michael Hoffman Cast: Kevin Kline, Michelle Prefer, Rupert Everett, Stanley Tucci Hamlet USA (1990): Drama Directed by Franco Zefiral Cast: Mel Gibson, Glenn Close, Alan Bates, Paul Scofield Colour 116 min Colour 135 min Trsissetin the 1890: and | ‘has a number of stars in ‘minor roles. Filmed in Scotiand, Hamiet UK (1948): Drama Directed by Laurence Olivier Cast: Laurence Olives, Eileen Herlie, Basil Sydney, Jean Sirimons Black & White 153 min Considered to be ane of the best film versions of the play, However it cuts many Of the minor characters, including Rosencrantz and 7 Guildenstern, rom the story. Homiet (Only available on DVD) USA (2000): Drama Directed by Michael Almereyda Cost: Ethan Hawke, Kyle WzcLachlan, Sam Shepard, Diane Venora Colour 112 min Set in New York, the film uses the original Shakespearean language in a modem-day corporate business setting. William Shakespeare ‘Macbeth Macbeth UK (1971): Drama Directed by Roman Polanski Cast: fon Finch, Francesca Annis, Martin Shaw, Nicholas Selby Colour 140 min Realistic and extremely violent firn version (made two years after the director's pregnant vite was brutally murdered)Filmography > Module C Bent) onan William Shakespeare The Tempest Prospero’s Books Netherlands-UK (1991): Fantasy/Drama Directed by Peter Greenaway ‘Cast: john Cie'gua, Wichael Cierk, Michel Blanc, Erland Josephson 0 t gad cag Re eel Colour 129 min Description Fim which takes as its central theme the books which Prospero takes to the island. The storys told through dance and words; all the dialogue is sooken by Sir John, All reviews ‘mention substantial nuit. William Shakespeare Writers’ Gallery Shakespeare in Love UK/USA (1998): Romance/ Comedy Directed by John Madden ‘Gast: Guryneth Paltrow, Ceottrey Rush, ‘Tom Wilkinson, Joseph Fiennes Colour 122 min A fictional account of the story behind the writing of Romeo and julet. Historical and Social Background (Britain 1485-1625) Henry vit Historical and Social Background (Britain 1485-1625) Clieabeth | Perce) Literary Works ‘A.Man for Nt Seasons UK (1966): Drama Directed by Fred Zinnemann Cast: Paul Scofield, Wendy Hiller, Leo Mickern, Robert Shaw Shzabeth | UK (1998): Drama Directed by Shelchar Kapur Cost: Cate Blanchett, Geoffrey Rush, Joseph Fiennes, Christopher Eccleston Colour 120 min Colour 124 min Film based on the play by Robert Bot about Sir Thomas More's personal conflict when King Henry Vil asks for his support in breaking with the Vatican and forming the Church of England. Fim about the early years of the reign of Elizabeth | een ice COM La Pere no Daniel Defoe ‘Mol! Flanders Color ‘The film is inspired by the (OVD only, not curently avalable in| 169 min book and therefore nat a Moll landers Europe) faithful adaptation of the USWireland (1996): Drama entire story. Directed by Pen Densham Cost: Robin Wright, Morgan Freeman, Stockard Channing, John Lynch Jonathan Swift Guilvers Travels Colour This version was made for UKJUSA (1996): Fantasy/Adventure | 187 min TV and thanks to its length Gulliver’ Trovels Directed by Charis Sturridge is able to represent the Cast: Ted Danson, Mary Steenburgen, bool fairfy accurately. James Fox, Ned Beatty | Historical and Social | Crome Colour Not historically accurate, Background Uk (1970): rama 145 min the lm however ives an Directed by Ken Hughes idea of the turmoil of the | Oliver Comet Cast Richard Haris, Alec Guinness, time, Robert Morey, Dorothy TutinModule E Filmography peter! Black & White/ See PO aea) Reoucluard eectiptielt ‘BB. Shelley The Madness of King George Colour ‘faithful adaptation of the UR-USA (1994): 107 min play with Nigel Hawthorne, England in 1819 Historical/Drama/Biography who piayed the part in the Directed by Nicholas Hytner original stage verson, Cast: Nigel Hawthorne, Helen Mirren, the rle of the king Amanda Donohoe, Rupert Everett Jane Austen Emma Emma is played by the UK (1996): Romance 121 min American Gwyneth Paltrow, Fnma Directed by Douglas McGrath but her English accent is, Cast: Gviyneth Paltrow, james Cosmo, accurate and the rest of the Greta Scacchi, Alan Cumming cast is British. jane Austen Pride ond Prejuclce Colour This adaptation is fairly (made for TV) 300 min accurate as it was made as Pride ond Prejudice UK (1995): Romance a TY series and therefore Directed by Simon Langton did not have the usual ‘Cast: Colin Firth, Jennifer Ehle, problems of limited time. David Bomber, Crispin Bonham-Carter Jane Austen Sense and Sensibility Colour The screenplay was written USA (1995): Drama 135 min by the actress Emma Sense and Sensibiliiy ) Directed by Ang Lee Thempson, who plays Cost: Emma Thompson, Alan Rickman, Elinor in the film. Kate Winslet, Hugh Grant Sir Walter Scott Ivanhoe Colour Originally made as a TY UK (1997); Adventure 301 min series and therefore fairly Worihce Directed by Stuart Orme true to the book as it Cast: Roger Ashton Griffith, Chris Barnes, doesn't suffer from time David Barass, Niven Boyd restrictions. ‘Sir Walter Scott Rob Roy Colour This is considered to be (Whiters’ Gallery) Scotland-USA (1995): Drama/Action 139 min very well acted but there Directed by Michael Caton-jones ate some scenes of quite Rob Roy Cast: Lam Neeson, Jessica Lange, ‘graphic violence. John Hurt, Tim Roth ‘Mary Shelley Mary Shelley's Frankenstein Unlice other versions of the USA (1994): Horror/Drama 128 min film this is true to the book Frankenstein Directed by Kenneth Branagh and includes the character Cost: Robert De Niro, Kenneth Branagh, ‘of Captain Walton who. ‘Tom Hulce, Helena Bonham Carter introduces and closes the story. Mary Shelley Frankenstein Black & White Classic horror version of the: USA (1931): Horror 70 min story. Frankenstein Directed by James Whale Cast: Colin Clive, Mae Clatke, John Boles, Boris KarlofT234 Uitmography > Module E et Anca Cte a ic Pee a at rate iF Description Edgar Allan Poe (Witters’ Gallery) the Black Cat Historical and Social Background (North America from the beginnings to. 1823) Eee Ue Pcripa nce: The Black Cat USA (1934): Horror Directed by Fdgar G. Ulmer Cast: Bors Karlof, Bele Lugosi, David Manners, Julie Bishop The Pattiot (OVD only) Gemary/US(2000) Action/Drama/War Dicected by Roland Emmerich Cast: Mel Gibson, Heath Ledger, Joely Richardson, Jason Isaacs Black & White 85 min Module F Uilroeg ace he tec Story about ahoneymoon couple who, with a fellow | traveller, seek refuge in the home of a famed architect after an accident. They then discover the fink between their travelling companion and the architect. Fictional account of one inan’s experience of the ‘American War of Jncepencience. Charles Dickens David Copper Charles Dickens Hard Times David Coopertla UK/USA (1999); Drama Direcied by Simon Curtis Cost: Bob Hoskins, Maggie Smith, lan Mekellen, Di Hard Times UK (1994): Drama Directed by Peter Barnes Cast: Harriet Walter, Bill Paterson, Alex Jennings, Alan Bates Colour 185 min Colour 100 min —___| st Made for TV version, featuring hight respected cast, BBC production origin made for schools but wit ‘major cast. Link to the world of music (Charies Dickens) Hard Times Pink Floyd The Walt UK (1982): Musical Directed by Alan Parker Cost: Bob Geldof, Christine Hargreaves, James Laurenson, Eleanor David Movie about a rock star’s mental breakdown ‘Animated sequences by politcal cartoonist Gerald Scarfe. Emily Bronte Wuthering Heights Wuthering Heights UK/USA (1992): Drama/Romance Directed by Peter Kosminsty Cast: Juliette Binoche, Ralph Fiennes, Colour 105 min | Complete version of the book, unfke the 1939 version which stops at chapter 17.Filmogrophy > Module F PM axe aE se eae Sn erp aiae ae ocr Otc t ee toast aus Charlotte Bronté | fone fre Colour Considered to be closer to USA (1996): Drama/Romance 113 min | the book than the 1944 jone Fire Directed! by Franco Zeffreli version, Cast: Wiliam Hurt, Cherlaue Gainsbourg, Joan Plowright, ‘Anna Paquin Charlotte Bromté | Jone Lye Black & White , Although not entirely USA (1944): Romance 96 min faithful to the book, this ‘ne éyre Direcied by Robert Stevenson version s considered to | Cast: Orson Welles, Joan Fontaine, have the best Margaret O'Brien, Peggy Ann Garner performances. George Eliot Silas Mamer Colour | Made for TV version | UK (198 92 min featuring 2 hichly ‘Silos Mamer Directed by Giles Foster respected cast. Cast: Ben Kingsley, Jenny Agutter, Patiick Ryecart, Jonathan Coy George Eliot The Mil on the Floss Colour Made for American TV but (Witers Gallery) USA (1997): Drama 90 min featuring a Brtsh cast. Directed by Graham Theakston The Milton the floss | Cast: Emily Watson, fan Meredith, S James Fran, Beard Hill George Eliot Middlemarch | Colour Made for TV version shown (Witers' Gallery) UK (1994): Drama | 357 min over several weels. Directed by Anthony Page ‘Middlemarch Cs: Juliet Aubrey, Simon Chanaler, lan Drives, Pam Ferris Robert Louis Mary Rely Colour ‘The story of Dr. [ety and Stevenson | Usa (1996): Horror/Drama 108 min Mr Hyde as seen from the | Directed by Stepen Frears point of view of a The Strange Case of Dr | Cas: Julia Roberts, John Malkovich, housemaid working in his Kelylland MrHyde | Glenn Close, George Cole home. Oscar Wilde The Importance of Reing Earnest Colour Film which remains very UK (1952): Comedy 95min lose to the stage version. The Importance of Directed by Anthony Asquith Being Earnest Cast: Michael Redgrave, Micha! Denison, Edith Evans, joan Greenwood Oscar Wilde ‘Aa idea! Husbond Golour j Film which remains very (Weters’ Gallery) UKJUSA (1999): Comedy 97 min close to the stage version. Directed by Oliver Parker ‘An tdeal Husband Cost Cate Blanchett, Minnie Driver, Rupert Evert, Julianne Moore Oscar wide wide - Baced onthe highly ‘(Whiters’ Gallery) UK/Germany/Japan (1997): Drama 118 min respected biography by Richard Elman Directed by Brian Gilbert Cast: Stephen Fy, Jude Lavy, Vanessa Redgrave, Jennifer Ehle36. Filmography > Module F Authors and | ay Black & White/ pecon era saa eee) peas Thomas Hardy Tess Colour Made when Nastassja France/UK (1979): Drama 170 min Kinski was only seventeen, Tess of the Directed by Roman Polanski this is considered to be one #Ucbervites Cast: Nastassja Kinski, Leigh Lawson, of Polanski best fis. Peter Firt, Joti Collin Thomas Hardy Far From the Modding Crowd Colour Adapted forthe sereen by (iriters’ Gallery) UK (1967): Drama 169 min the novelist Frederic i Directed by John Schlesinger Raphael. Far From the Madding | Cast: julie Christie, Terence Stamp, Crowd Peter Finch, Alan Bates Thomas Hardy Jude Colour For the most part an (Writers Gallery) UK (1996): Drama 123 min accurate version but Directed by Michael Winterbottom overiooking the novel's Jude The Obscure Cast: Christopher Eccleston, Kate final pages. Winslet, iam Cunningham, Rachel Griffiths Nathaniel The Scart Letter Colour ‘Avery ioose adaptation Hawthorne USA (1995): Romance/Historical/Orama_| 135 min ‘which, according to most Directed by Roland Joffé ctitcs fails to do justice to The Scarlet ietter Cast: Demi Moore, Gary Oldman, the book, Robert Duvall, Lisa |oliff-Andoh Helman Melville Moby Dick Colour The novel was adapted for USA (1956): Adventure 116 min the screen by the Moby Dick Directed by John Huston | Bradbury. Cost: Gregory Peck, Richard Basehar, Leo Genn, Harry Andrews ‘Mark Twain the Adventures of Huckleberty Hinn Colour Recent version of iim made USA (1993): Drama/Adventure 408 min for Disney which shows The Adventuresof | Directed by Stephen Sommers Huck’s adventures, although Huckleberry Fire Cast: Elijah Wood, Courtney 8. Vance, omitting some parts of the Robbie Coltrane, jason Robards book including the character Tom Saveyer. Mark Twain, Driving Miss Daisy Colour | Film showing the relationship (Out) USA (1989); Drama/Comedy 99 min | betveen a black chaufeur Directed by Bruce Beresford and his white employer in The Adventures of Cast: jessica Tandy, Morgan Freeman, the American South between Huckleberry Fian Dan Aykroyd, Patti LuPone 1948 and 1973. Fim st in a private school ‘Walt Whitman Dead Poets Society Colour in the USA in 1959 where USA (1989): Drama 128 min the teacher encourages his O Coptoin! My Directel by Peter Weir students fo see the relevance Captain! Cast: Robin Willems, Robert Sean of poeiy, and address him Leonard, Ethan Hawke, Josh Charles as “captain, my capiain’. Historical and Social | Mrs Brown Colour Film which describes the Background Ireland/UK/USA (1997): Drama/romance | 103 min lite of Queen Victoria after (The Victorian Age | Directed by john Madden the death of her husband, 1837-1901) Cast: Judi Dench, Billy Connotiy, Prince Albert, Queen victoria Geoftray Palmer, Antony Sher> Module F ia. Fer Aico ‘Historical and Social Background {The Victorian Age 1837-1901) Fomine in keland i The Hanging Gale Ireland (1995) Directed by Diarmuid Lavrrence Cast: Joe McGann, Mark McGann, Paul McGann, Stephen McGann Bide a Lug Perm tay ae Filmography Deed Set in eland, itis about four brothers who ty to save their farm dung the potato famine in 1846. Historical and Social Background (North American History 1823-1900) Gettysburg USA (1993): War/Historical/Orama Directed by Ronald F Maxwell Cost: Tom Berenger, Jett Daniels, Martin Sheen, Kevin Conway Colour 248 min Fim about the Batle of Gettysburg in the summer of 1863. It concentrates on the planning and preparation for battle, and then the battle itselt. Link to Russian Uterature Crlstoy) War ond Peace War and Peace Italy USA (1956): War/Historical/Orama Directed by King Vidor Cast: audrey Hepburn, Henry Fonda, Mel Ferrer, Vittorio Gessman Colour 208 min Since the fim lasts over three hours, itis able to ‘encompass all the major events in the book, Perec Pea macasat Module G Dittes ais pe OO cd) Henry James The Portra‘t of a Lady Colour Considered by some cries (Wites’ Gallery) UK/USA (1996); Drema 142 min to bea feminist Directed by Jane Campion interpretation of the novel The Portrait ofa Lady | Cast: Nicole Kiciman, john Malkovich, mainly due to the fact that Barbara Hershey, Mary-Louise Parker it is directed by a woman, Henry James The Wings ofthe Dove Colour The setting of the flm is (Weters' Gallery) USA/UK (1997): Drama/Romance 101 min slightly updated from 1902 Directed by lain Sofiley (01910, The Wings ofthe Dove | Cast: Helena Bonham Carter, Linus Roache, Charlotte Rampling, Alex / Jennings HG. Wells Wor of he Words Colour Not a faithtul adaptation of USA (1953): Science Fiction 85 min the book buta typical |The War ofthe Workis | Directed by Byron Haskin example of a 1950s science | Cast: Gene Barry, Ann Robinson, fiction fim, Les Tremayne, Levis Martin Joseph Conrad Apocalypse Now ‘Colour The film uses the book as USA (1979): War 150 min the basis for the story of a Heart of Darkness Directed by Francis Ford Coppola group of American solciers Cast: Marlon Brando, Robert Duvall, during the Vietnam war. Martin Sheen, Frederic Forrest EN Forster ‘A.Room with a View Colour faithful adaptation of the UK (1985): Drama/Comedy 115 min book, the first half of which ‘ARoom with a View — | Directed by James lary is set and filmed in Tuscany. Cast: Maggie Smith, Helena Bonham Carver, Dero Eliott, julian Sands438 Filmography + Module G rit! Pte eacinos ee pao eo eA Nianto esceon. E.M. Forster Maurice Colour A faithful version of the Writers’ Gallery) ‘UK (1987): Drama 140 min book with Hugh Grant in Directed by James Ivory his first significant film role. Maurice Cast: james Wilby, Hugh Grant, Rupert Graves, Denholm Eliott | EM. Forster Hoveards End ‘Colour by the tearm who (Wrters’ Caley) Uk (1992): Drama 140 min nade Room with o View and Directed by James Ivory Mource. Howards tre Cast: Sir Anthony Hopkins, Vanessa Redgrave, Helena Bonham Carter, Joseph Bennett EM. Forster ‘A Passage to Inca Colour A faithful adeptzton of the (ititers’ Calley) UK (1984); Drama 163 min book by a direcior famed Directed by David Lean for his skill in depicting APossage toinda | Cast judy Davi, Victor Banerjee, nati landscapes anch Peggy Ashcrofl, James Fox cultures. D.H, Lawrence Women in Love Colour The fiim was made at the UK (1969): Drama 129 min davn ofthe women's Women in Love Directed by Ken Russell movement, when many James Joyce Araby Virginia Woolf (Witers’ Galley) Orlando Case: Alan Bates, Oliver Reed, } Glenda Jackson, Jennie Linder The Dead USA (1987): Drema Direcled by John Huston Cost: Anjelica Huston, Donal McCann, Rachael Dowling, Cathleen Delany ‘women were driven to examine their own assumptions about relationships, Colour Film version of another of 83 min the short stots from the collection Dubner Orlando France/ltaly/Netheriands/UK (1993): Historical/Drama Colour The film manages to 93 min convey the changes in time and gender in the book, (ititers' Gallery) Drama/Romance Directed by Sally Potter which were thought } Cast, Tilda Swinton, Billy Zane, unfilmable. Lothaire Bluteau, John Wood Virginia Woolf ‘Mrs Dalloway Colour ‘The double casting of the Netherlands/UK/USA (1997); 97 min central characters is realistic ‘and makes the flashback rs Dalloway Directed by Marleen Gorrs scanes easy t6 follow. Cast: Vanessa Redgrave, Natascha Mctlhone, Rupert Graves, Michae! Kitchen George Orwell Animal Farrn Colour The film is true to the (Writers' Galery) UK (1955): Animated 75min cor ginal story, apart rom Directed by john Halas and Joy | the ending which 's more Avimal Farm Batchelor positive F Scott Atzgerald | The Great Getsty Colour The screenplay was weten USA (1974): Drama 144 min by the well-known director The Great Gatsby Directed by Jack Clayton Cost: Robert Redford, Mia Farrow, Bruce Dem, Karen Black Francis Ford Coppoia.ae Filmography 39. 9 Module G er rea Le pea ia) Connneern nite fa Description mest Hemingway | A Forel to Ars Black & White “This isthe only version USA (1932): War/Romance 78 min available on video, although ‘Aforewel to Aas | Directed by Frank Barzage itis ess well-known than the Cast: Helen Hayes, Gary Cooper, 1957 version, Adolphe Menjou, Mary Philips Fpmest Hemingway — | for Whom the Bet Tols Colour Thefim concentateson the | Witers’ Gallery) USA (1943): WarfAdventure 130 min romance between the Cast: Gary Cooper, Ingrid Bergman, characters annd minimises the yor Whom tie Bell Tolls | Akin ‘Tamiolf, Arturo de Cordova political aspects ofthe book. | [John Stelnbeck The Gropes of Wrath Black & White The film, which won Oscars USA (1940): Drama 129 min for best director and best ‘The Grapes of Wrath | Directed by John Fard actress, ends ditferently to the Cast: Henry Fonda, Jane Darwell, book as the origina ending John Carradine, Charley Grapewin ‘was considered too shocking for cinerns audiences. ‘William Butler Yeats | Michael Collins Colour The film tells the story of ‘QWriters’ Gallery) Ireland/UK/USA (1996): Drama 133 min Michael Collins and his role in Directed by Neil jordan the Easter 1916 rising, whilst Cost: an Har, Julia Roberts, aiving an overview of the Irish Richard ingram, Liam Neeson situation at the tine, from a priipally Ish perspective, | the war Pocts Regeneration Colour Featuring the poatty of (Witers’ Gallery) Canada/UK (1997): Drama/War 105 min Witred Oven and Siegfried Directed by Gilies MacKinnon ‘Sassoon, the fri set in a Jonathan Pryce, james Wilby, tmiltary hospital in Scotland Jonny Lee Mille, Stuast Bunce ‘where Siegfried Sassoon was sent for medical examination | aftor drafting a statement of his cisilusionment with the Conduct of the war. The fim focuses on the effects of the war on the soldiess. GB. Shaw My Foir Lady Colour Musical version wich has a USA(1964): Musical/Comedy 770 min cliferent ending to the Pygmation Directed by George Cukor onginal py. Cost: Audrey Hepburn, Rex Harrison, Stanley Holloway, Willi Hyde-White Arthur Miller The Crucible Colour ‘Adapted by Mfr from his ters’ Gallecy) USA (1996): Drama 124 min own play and therefore Directed by Nicholas Hytner faithful fo the text, and | The Crucible Cost: Daniel Day-Lewis, Winona Ryder, directed by Nicholas Hytner } Paul Scofield, Joan Allen who also directed the film | vvorsion of The Madness of King George The Literary A Sieetcar Named Desire Black & White The film was adapted by Background (North | USA (1951): Drama 122 min Williams from his own play ‘American Literature) | Directed by Elia Kazan but given a different ending é Cast Vivien Leigh, Marlon Brando, to meet the demands of the Tansee Wiliams im Hunter, Karl Malden film censors of the tine. A Streetcar Named DesireFilmography Aira Literary Works Module H Film/s ree ALLY bee eR ts Description William Golding Lord ofthe Fes Black & White ‘This version is better known UK (1963): Drama 90 rin than the 1990 version, Lord of the Fes Directed by Peter Brook \which is mentioned inthe Cast: Jemes Aubrey, Torn Chapin, bbook but not available on Hugh Edwards, Roger Elwin video. Roddy Doyle The Snapper Colour though the fim is based UK (1993), Drama/Comedy 50 min | on the book the family’s The Snapper Directed by Stephen rears | names have been changed. Cast: Tina Kellegher, Colm Meaney, Ruth McCabe, Colm O"Byme | Roddy Doyle The Commitments Colour | First part of the Barrytown (Wiiters" Gallery) USA (1991): Musical/Drama 17min nilogy to be fimed, and Directed by Alan Parker featuring the originally | The Commitments Cast: Robert Arkns, Michael Aierne, | ‘named characters from the Angaline Balj MVatia Doyle book. Roddy Doyle The Vor Colour ‘Thite part of the Barrytown (Wiites” Gallary) Uk (1996): Drema/Comedy 100 min trilogy. Directed by Stephen Frears | The Van Cast: Colm Meanes, Donal O’kly, Ger Ryen, Cerotine Rothwell, Nadine Gordimer} ry Freedom Colour Fim aout the irendship UK (1887): Biography 157 min between Steve Biko, the None fo Accompary | Directed by Richard Attenborough south African ectvist and Me Cast: Denzel Washington, Kevin Kline, the newspaper editor Penelope Wilton, Kate Hardie Donald Woods; based on books by Woods Michael Ondaatje |The éngish Patient Colour The film concentrates on USA (1996): Drama/Romence 160 min the love story between the | The English Patient | Directed by Anthony Minghella Engish patient and Cost: Ralph Fiennes, Juliette Binoche, Katharine; told in ‘Wiler Dafoe, Kristin Scott Thomas fashbacks Allen Ginsberg The Life ond Times of Alen Ginsberg Colour Documentary about the Writers’ Galery) USA (1993): Documentary 82min poets life and work, Directed by Jerry Aronson Including readings of works such as How, Features | interviews with several of the beat poets incuding Kerouac and Willer S Burroughs. } Harold Pinter The Birthday Party Colour Considered a very good (iiters’ Gallery) UK (1968): Drama 127 rin adaptation of the ply, in Directed by Wiliam Friedkin Which the director gives a Cast: Robert Shaw, Patrick Magee, claustrachaboic climax that Dandy Nichols, Sydney Tatler reinforces the impact of the entire film, | Harold Pinter The French Lieutenant's Woman Colour Adapted by Pinter from the UK (1981); Romance 123 min novel by John Fowles. Whiter’ Gallery) Casi: Meryl Streep, Jeremy Irons, Hilton McRae» Module H pir iterary Works Bai Ay BCom Uy tog Ree ec Filmography i Deer ‘Aan Bennett The Madness of King George Colour A ait version ofthe ie UK/USA (1984); Historica /Drema/ 107 min original stage play. ‘The Mociess of Biography eget Directed by Nicholas Hytner : Cast: Nigel Hawehore, Helen Miren, Amends Donohoe, Rupert Everett ‘Aan Bennett 4 Pavte Function Colour ‘Comedy set in wartime punter’ cally) — | UK (1985): Comedy 93 min England Directed by Malcolm Mowray | Cost Michael Palin, Maggie Smith, 5 Denholm Ett, Richard Grfths Historical and Social | Brassed O17 Colour Sel in 1992 in anarthern Background UK/USA (1996): Comedy 4108 min ring town, the fm alls | Gein 1950-The Directed by Mark Herman the story of the towns Fresent) Cast: Pete Postlethwaite, Tara Fitzgerald, bess band during the : Ewan McGregor, Stephen Tomphinson struggle to keep the lal Mines strike coliery open. | Wistoricel and Social | Forest Gump Colour The main character lives Background USA (1994): DramalComedy Taz min | through American history (ienetice History | Directed by Robert Zemeckis from the 1950s to the 1950-The Present) Cast: Tom Hanks, Cary Sinise, | 1980s and witnesses most Dan Taylor, Rabin Wright, Saly Field of the significant histerc events of the peied at fist endl The Literary The Night of the luana Black & White Based on Termessee Background USA (1964): Drama 118 min Wiliams’ play; the story of (North America) Directed by john Huston an akcchofe former priest, Cast icharé Burton, Ave Gardner, now a bustour guidein Tenméssee Willams | Deborah Ker, Sue Lyon Mexico and his involvement wit three be | ‘women : The Literary Who's Afraid of Virginia Wool? Tack & White Bxremely faithful Background USA (1966): Dram 123 min adaptation of the play (North america) | Directed by Wike Nichols about two college Cast Elzabeth Tylor, Richard Burton, profesor and thelr wives Edward Albee George Sega, Sandy Dennis ‘who passa drunken and Co together ‘emotionally draining night£42 Fitmography Visual links eel ieree aida Der uite Peers Aas CeO CGA cats) | Visual Link G21 Gone With the Wind Colour The story of the American USA (1939): Historical/rama 222 min vl war asic aftects a Directed by Vietor Flerning Southtem landowning Cast: Clark Gable, Vivien Leigh, ‘amily Lesle Howard, Ollvia de Haviland Visual Link HS Blackboard junale Black & White iim based on. Evan USA (1955): Drema 101 min | Huniers novel about a | Directed by Richard Brooks | teacher's struggie to win Cast: Gienn Ford, Ace Francis, respect in a tougn New Louis Cahein, Maggie Hayes York school where students have no respect for authority. Rebel Without a Couse Colour Story of an allenated youth | USA (1955): Drama Tima yearing for ef-esteem, Directed by Nichotss Ray but unable to communicate Cast: James Dean, Natale Wood, with is parents, who finds Sal Mineo, im Backus comfort in friendship, Visual Link H6 This lard Earth Colour Besed on Raymond F. Jones’ USA (1954): Science Fiction 86 min novel about scientsts Directed by Joseph Newman tricked into helping aliens Cost: |eff Morrow, Faith Domergue, defend their planet, Rex Reason, Russell johnson Visual Link H13 Piatoon Colour Based on Oliver Stone’s USA (1986): War | 120.min win experience as a soldier Directed by Oliver Stone in the Vietnam wer Cast: Tom Berenger, Willer Dafoe, ‘Charlie Sheen, Forest Whitaker | Visual Link H13 Born on the Fourth of uly Colour Adapted from the USA (1989): War! Drama/Biography 144 min autobiography of Ron Directed by Olver Stone Cast: Tom Cruise, Beyan Larkin, Raymond J. Barry, Caroline Kava Kovic, who after being paralysed while serving as a marine in the Vietnam, war, Secame an anti-war activist | sfFilmography Filmography Worksheet You can use the headings, suggestions and questions below as a general outline to prepare a report on any film you see. Cast & Credits IT Director: Year: Main actors: Wiite a summary of the story in approximately 120 words. Focus on the main plot and avoid complicated subplots, details etc. Is the story told in chronological order? Does it begin in ‘medias res’? ‘Ate there any flashback or flashforvrard sequences? Is the plot complicated or simple to follow? Identify the time setting in which the film takes place cpast, present, future?) Does the action take olace ina specific time ttarne? Can you Identity the year, decade, cencury? What time period does the action cover (a day, a month, several centures..)? Where does the action take place (country, city, village, rural setting, align seiting..)? Does most ofthe action take place ~ indoors or outdoors? = at day or at night? What are the preclarinant weather conditions in the film? COT IC CAC gaem) Who is the protagonist of the film? 1s there a character who can be identified as an antagonist? Is the cast of characters numerous or limited in number? Character Choose one of the characters in the film and analyse his/her role using the following questions as Guidelines: How old is he/she? What does he/she look like? Role in the plot ¢protagonist, main character, minor character?) Is he/she a round/lat character? 's he/she a dynamic or static character? How do the spectators respond to the character and why? BODO ix cae What type of music is used in the sound track? Is the sound track a strong feature of the film? 's any specific music strongly associated with a character, a setting ote Be TEC Does the director use any special devices (camera angles, colours, lighting..}? te Does the fm contain any spectacular special effects?” ab Ta What is the theme of the film? General What was your own parsonal response tothe film? peo tai gLongman Schools Literature Literary Resources on the Net The Literature Web Guide Literature Online Literature Fan Club The British Library The English Faculty library Yahoo Literature About.com Blue Web’N General websites Background information for students studying literary texts. Helpful resources for teachers. Web activities which cam be done on line as pencil and paper activities. Advice and support for teachers teaching literature, a range of time saving tips for busy teachers: ® hitpifwwwiteachingtips.co.uky A starting point for searching for literary resources by era. Contacts, discussion groups and information on literary events. Divided by category, from Medieval through to 20th-century Literature: cB hitp://andromeda mutgers.eduy~flynch/Lit/ Internet resources related to books for children and young adults. Authors and stories online, links to literature organisations, resources for teachers, parents and storytellers, literature discussion groups: cS hutpyAwwrw.acs.ucalgacy.ca/~dkbrownl A fully searchable library of more than 290,000 works of English and American. poetry, drama and prose, plus biographies, bibliographies and key secondary sources: <& http://lion.chadwyck.com/html/about.htm Most students understand the ides of a fan club, where a rock star or athlete or actor is appreciated for his or her talents. Why not apply that same concept to authors? Students work in groups to research their favorite authors and create and market a fan club for that author: Ai hitp://mww.itde shes k12.ca.us/curriculum/literaryfanclub-hem| It provides reading room, bibliographic, document supply and information services, a5 well a5 information on exhibitions, publications and events:

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