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Module Code: FL.SAA.DI.1.2.12 Load: 1 c + 2 s / week Number of credits: 5 Evaluation type: Colloq Academic year: 2012-2013, 2nd semester
Module instructor: Ileana Chiru Jitaru, PhD Schedule: Thu, 4-8 p.m. / 68 p.m. Room: 132
Lecture
Topic
Film analysis
The French Lieutenants Woman, Dir. Karel Reisz, 1981. (124min)
Assigned reading
1.
Lecture 1: A Brief History of Anglo American Cinema Lecture 2: Basics of film adaptation theory (adaptation as dialogism).
Screening:
2.
1. adaptation as intertextual dialogism; 2. adaptation between intertextuality and hypertextuality; 3. types of adaptations.
Assigned reading+:
Mast, G et al.. Film Theory and Criticism,, 1992. [pp.403 -419; 420-429] Welsh, James and Peter Lev. The Literature-Film Reader. Issues of Adaptation . 2007. pp.334; pp. 51-60.
The French Lieutenants Joy Goud Boyum, The French
3.
analysis
4.
1. Narrative structures in novel and film. 2. Events: narrative functions in novel and film. 3. Character functions in novel and film
Lieutenants Woman Dual Perspectives in Double Exposure: Fiction into Film. Jakob Lothe. Narrative in Fiction and in Film. pp. 110154. James Naremore. Film Adaptation. pp. 28-37; 55-74.
Assigned reading+: Barthes, Roland. Image Music Text. ,,, 1977. [Introduction to the Structural Analysisof Narratives pp. 79-125. Bordwell, David and Kristin Thompson. Film Art - An Introduction.. [ Fillm narrative Ch.3. pp. 74 -111] Chatman, Seymour. Story and Discourse. Narrative Structure in Fiction and Film. (Chs.2-3, pp.43-145) Hunt, Robert et al. The Language of Film. [Narrative pp. 39-69 ] Kenan, Ramon. Narrative Fiction. [Ch.2-8 7 -121] Pramaggiore, Maria and Tom Wallis . Film art: A critical Introduction. [Ch.4 Narrative form 61-86] Stam, Robert et al.. New Vocabularies in Film Semiotics-Structuralism, Poststructuralism and Beyond. [Ch.III Narratology pp. 70-124]
5. analysis Adaptation as intersemiotic translation: a) selection of events; b) cinesemiotic translation; c) redistribution of the narrative elements and reconfiguration of the filmic narration The Godfather. Dir. Francis Ford Coppola. Paramount Pictures, 1972. Glen Man. Ideology and Genre in the Godfather Films.
6.
Assigned reading+: Barthes, Roland. S-Z. Semiotics - The Five Codes: XI pp. 18-20] Hunt, Robert et al. The Language of Film. [Semiotics pp.13-39] Metz, Christian. Film Language-A Semiotics of the Cinema. [Ch II - Problems of film semiotics pp.31-145] Monaco, James. How to Read a Film - Movies, Media and Beyond. [Ch. 3 -The Language of Films - Signs and Syntax] Stam, Robert et al.. New Vocabularies in Film Semiotics-Structuralism, Poststructuralism and Beyond. [Ch.II Cinesemiology pp.29-69]
Film and time to If possible, a film adaptation will
Watching a film at Cinema City (Maritimo Shopping Center) Poziia Copilului / Childs Pose
(Dir. Calin Peter Netzer, 2013)
be decided together 2 weeks in advance. http://cinemacity.r o/program.php? zi=28.02&cinemaId =1813 Suggestions for analysis: - the narrative structure of the film; - character functions; - narrative functions; ---
8.
Each student presents a 5-minute material with their own assessment/analysis/ deconstruction of the film watched together a week before.
--- -type of adaptation -a macrostructure comparison between source novel and film. [if applicable] [you may apply any theoretical concept discussed in class so far] William K. Ferrell. A Return to Matrarchy: The Color Purple by Alice Walker". In Literature and Film as Modern Mythology.
9.
analysis
10.
Work in progress
Roundtable: discussions of intended projects. Counseling. mise en scene, cinematography editing, sound, graphics
Students present their choices for the final essay. William H. Philips Film - an Introduction Chapter 1, pp. 9 68, Chapter 2 pp. 68-122.
Assigned reading+: Bordwell, David and Kristin Thompson. Film Art - An Introduction. [Film style - Chs.4-8 pp. 112-317 Monaco, James. How to Read a Film - Movies, Media and Beyond. [Ch. 3_The Language of Films - Signs and Syntax] Pramaggiore, Maria and Tom Wallis . Film art: A critical Introduction. [Mise en scene Sound = Ch 5-8 pp. 86 - 278]
analysis The Hours, Dir. Stephen Daldry, Paramount Pictures, 2002. brief presentation William H. Philips Film - an Introduction Chapter 3 pp. 122166, Chapter 4 pp. 166-197.
A print of their slides [6 slides per A4 sheet] will be attached to the final essay.
12.
13.
Lecture 6: 10 ppt
Students prepare a
of their work.
14.
A. Overall involvement in in-class activities and home assignments - 33% B. Final written assignment - 66% A. Overall involvement in in-class activities and home assignments - 33%
If a student has been assigned a topic for a seminar and she / he fails to attend it, the assignment will be sent to the tutor by mail.
Students who do not have at least 50% class attendance [at least 7 of 14] must cover 4 of the suggested topics for discussion in order to make up for not being part of class discussions. Each topic should belong to one of the four main section of the module: 1) Adaptation as dialogism; 2) The narrative of fiction & film; 3) Film semiotics; 4) Film syntax
(choose one from each section).
B. Final written assignment - 66% The students must choose one topic from the list of suggested discussion topics advanced during lectures and seminars and develop it in a personal and original critical essay [1500-2000 words]. This choice might refer to one of the novels-films already discussed or from a film adaptation of their own choice. The novel and film works should belong to the Anglo-American fictional/filmic canon. However, a different choice will not imply disqualification or lower grading.
The final essay [1500-2000 words] should be delivered to the course instructor in Week 14 on the last meeting of the semester [venue: Rom 132]. a) In print form [Arial 11, spacing 1,5 lines] AND b) In electronic form sent by email at <ileanajitaru@ymail.com>. The deadline for submission of essay: week 14. If the film choice for your final analysis includes a title other than those discussed in class, the essay must be accompanied by a copy of the film. Plagiarism and cheating implies disqualification of the paper and exam failure.
SECONDARY SOURCES
5
Naremore, James. Film Adaptation. New Brunswick, NJ: Rutgers University Press, 2000. pp. 5574. Philips, William H. Film - an Introduction. London: Macmillan, 1998. pp. 9 19 Stam, Robert. The Dialogics of Adaptation. Film Adaptation. Ed. James Naremore New Brunswick, NJ: Rutgers University Press, 2000, 54-76. EBooks: Aragay, Mireia. Books in Motion: Adaptation Intertextuality Authorship , New York: Rodopi, 2005. [case studies] Barthes, Roland. Image Music Text. London: Fontana Press, 1977. [Introduction to the Structural Analysis of Narratives pp. 79-125.] Barthes, Roland. S-Z., Oxford: Blackwell Publishing, 1973. [Semiotics - The Five Codes: XI pp. 18-20] Bordwell, David and Kristin Thompson. Film Art - An Introduction, Boston: McGraw-Hill, 2008. [Fillm narrative Ch.3. pp. 74 -111; Film style - Chs.4-8 pp. 112-317 Bordwell, David. Narration-in-the-Fiction-Film, Wisconsin: Univ. of Wisconsin Press, 1984. Buckland, Warren. The Cognitive Semiotics of Film, Cambridge: Cambridge Univ. Press, 2004 . Chatman, Seymour. Story and Discourse. Narrative Structure in Fiction and Film, Ithaca & London: Cornell Univ. Press, 1980. (Chs.2-3, pp.43-145) Hunt, Robert et al. The Language of Film, Lausanne: AVA Publishing, 2010. [Semiotics pp.1339; Narrative pp. 39-69 ] Hutcheon, Linda. A Theory of Adaptation. New York and London: Routledge, 2006. pp. 25-32. Kenan, Ramon. Narrative Fiction, New York and London: Routledge, 2002. [Ch.2-8 7 -121] Mast, G et al.. Film Theory and Criticism, New York: Oxford Univ. Press, 1992. [pp.403 -419; 420-429] Metz, Christian. Film Language-A Semiotics of the Cinema, Chicago: Univ. of Chicago Press, 1974. [Ch II. Problems of film semiotics pp.31-145] Monaco, James. How to Read a Film - Movies, Media and Beyond, London & New York: Oxford Univ. Press, 2009. [Ch. 3_The Language of Films - Signs and Syntax] Noth, Winfried. Handbook of Semiotics, Bloomington and Indianapolis: Indiana University Press, 1990. Pramaggiore, Maria and Tom Wallis . Film art: A critical Introduction. Boston, Pearson, 2008 [Ch.4 Narrative form 61-86 ; Mise en scene Sound = Ch 5-8 pp. 86 - 278] Stam, Robert Alessandra Raengo. A Companion to Literature and Film, London & New York: Blackwell Publishers, 2006. [case studies] Stam, Robert et al.. New Vocabularies in Film Semiotics-Structuralism, Poststructuralism and Beyond. New York and London: Routledge, 1992. [Ch.II Cinesemiology pp.29-69; Ch.III Narratology pp. 70-124]
Welsh, James and Peter Lev. The Literature-Film Reader. Issues of Adaptation . Lanham, Maryland: The Scarecrow Press, 2007. [pp.3-34; pp. 51-60]