LENG-319: FICTION AND FILM (FALL 2015)

Instructor: Peter GardnerOffice Phone: (617)747-8186PhoneMail: (617)747-8186E-Mail: pgardner@berklee.edu

Office: 302, 7 HavilandOffice Hours: Tuesdays and Fridays 12-12:50and by appointment

Mailbox: 264

COURSE DESCRIPTION

This course focuses on film adaptations of novels and short stories, paying special attention to similarities and differences in narrative technique. Students view various types of film adaptations and consider reasons for changes from the works of fiction. The course emphasizes the challenges in adapting a work of literature to the screen, the limits and possibilities of both art forms, and the techniques writers and filmmakers use to express their ideas. In addition to discussing works of fiction, film adaptations, and the roles of film director, screenwriter, and film scorer, students will have the opportunity to work on their own cinematic adaptation of a short story, including writing original music for the screen. Such authors as George Orwell, Ayn Rand, Toni Morrison, Kurt Vonnegut, Cormack McCarthy, and Vladimir Nabokov will be considered, as well as such film directors as Stanley Kubrick, Francis Ford Coppola, David Fincher, Christopher Nolan, Claire Denis, Franois Truffaut, and Akira Kurosawa. After reading the literary works and viewing the films, we will analyze such narrative elements and processes as plot, setting, dialogue, characterization, point of view, tone, style, imagery theme, myth, allegory, and symbolism. We will consider different types of film adaptations (literal, loose, intermediate) and reasons for changes from the original (e.g., media, aesthetic, commercial, political). We will also discuss such basic film techniques as shots, framing, transitions, and pacing. Following are some of the major questions we will attempt to answer during the semester:

What do literature and film have in common as narrative media and artistic expressions? How are they unique? What are the general problems in adapting a work of literature to the screen? What choices does a film director make in adapting a literary work, and what are the consequences of these choices? What is meant by an adaptation being faithful to the sprit of the original, and how can it violate the intent of the literary work? To what extent is it possible to translate verbal styles into visual images? What is the figurative (metaphorical) potential of literature and film? What is the potential of the written word vs. visual/aural image to evoke thoughts, feelings and sensations, reveal states of consciousness (such as dreams, memories, and imagination), and communicate abstract ideas? In what ways can a film create structural, stylistic, and thematic analogies to the original? How do literature and film function as mirrors of cultural, social, and political change?

COURSE OBJECTIVES (LEARNING OUTCOMES)

Upon satisfactory completion of this course, students should be able to:

Read works of literature and view films with greater understanding and appreciation. Evaluate literary works and films according to stated criteria. Analyze the creative, structural, and aesthetic elements and processes of literature and film as narrative art forms. Understand the ways in which literature and film can be used to recreate experience and illuminate ideas and social issues. Write with greater effectiveness (explore ways to generate, select, and arrange ideas; find modes for expressing them; and evaluate and revise what has been written).

COURSE MATERIALS: (1) Slaughterhouse-Five by Kurt Vonnegut, (2) Brokeback Mountain: Story to Screenplay by Annie Proulx, Larry McMurtry, and Diana Ossana, and (3) Two other novels to be determined. All of the books are available at the Berklee Bookstore.

COURSEWORK AND OUT-OF-CLASS PREPARATION: Students are expected to come to class having read the required materials and to take an active part in class discussions. In order to maintain satisfactory standing in this course, approximately 6 hours per week of out-of-class preparation are recommended. (All course assignments will be posted on ol.berklee.edu.)

ATTENDANCE POLICY: You are expected to attend class faithfully and on time (classes start on the hour and finish at ten before the hour). Late attendance will be considered an absence. You will not receive credit for the course if you have more than 4 hours of absences. Missing a Tuesday (when we meet from 10:00-11:50) counts as two hours of absence. If your fifth hour of absence occurs before the "W" deadline (Friday, November 8th), the instructor may recommend that you withdraw from the course. If your sixth absence occurs after this deadline, a course grade of "F" will result. Please talk to me if you anticipate any problems with attendance.

LATE ASSIGNMENTS: Assignments are due on the designated dates. Late assignments will be lowered one full grade for each day late.

COURSE WITHDRAWAL POLICY:

You may withdraw from this class by completing a Student-Initiated Withdrawal from a Class form at the Office of the Registrar. The withdrawal form must be submitted to the Office of the Registrar by Friday, November 6th. If you submit the withdrawal form by the deadline, you will receive a grade of W for the class. Withdrawing from a class cannot be done after the deadline. The instructor will not withdraw you from the class for any reason (including absence) or submit the form for you. It is your responsibility to withdraw from the course. If you withdraw from this class, you continue to be nancially responsible for the class and are not eligible for a tuition refund or replacement course. Please be aware that withdrawing from a class may affect scholarship, nancial aid, and/or international student visa status. If you receive nancial aid or veterans benets, your eligibility for aid may be reduced by withdrawing. If you are an international student, you may jeopardize your F-1 visa status. In case of doubt about your status and options, ask the instructor, department chair and/or the Counseling & Advising Center.

POLICY ON TEXTING AND LAPTOP USE IN CLASS

Use of smartphones, laptops, and texting is not allowed in class. Texting, checking e-mail, using Facebook, etc., while others are talking is, of course, disrespectful and distracting. Please keep these electronic devices out of the classroom.

FINAL GRADE DETERMINATION: Your final grade will be determined by considering the following components at the indicated weights:

Attendance and class participation/attitude: 25% Project #1 (personal film adaptation of short story): 25% Response Journal (Minimum 2 typed pages per week): 25% Final Essay and Oral Presentation (8-10 page analysis of a novel and film adaptation of your own choice): 25%

GENERAL GRADING CRITERIA:

A Exceptional work; far beyond what is simply "required;" demonstrates superior control of course material; participates enthusiastically in classroom discussions.B Good; demonstrates a solid grasp of the material and participates consistently in classroom discussions.C Average; demonstrates adequate comprehension of course material and participates sporadically in classroom discussions; work that is enough to "get by."D Below average; understanding of material and participation in class are poor, but "passable."F Not passing; careless approach to course requirements and deadlines; little or no effort applied to essays and class discussions; poor attendance.

ACADEMIC HONESTY

Berklee College of Music insists on academic honesty. Unless the assignment explicitly is a group project, all of the work in this class must be your own. The source of all information in any written assignment must be cited properly, whether it is a quotation, paraphrase, summary, idea, concept, statistic, picture, or anything else you get from any source other than your own immediate knowledgeincluding the Internet. Writers give credit through accepted documentation styles, including parenthetical citation, footnotes, or endnotes; a simple listing of books and articles at the end of an essay is not sufficient. Plagiarismnot giving proper credit to a source and thereby passing off someone elses material or idea as your ownis a type of intellectual theft and deceit and cannot be tolerated in an academic setting. Plagiarism will result in a failing grade for the assignment or course and possibly dismissal from the College. It is your responsibility to be aware of and abide by the rules governing plagiarism, fraud, and cheating found in the Policy Handbook for Students (see below). If you have any questions about what plagiarism is and how to avoid it, please speak with me or a reference librarian. Websites thatdiscuss types of plagiarism and how it can be avoided through evaluation and proper documentationof sources include:

http://owl.english.purdue.edu/handouts/research/index.htmlwww.wisc.edu/writing/Handbook/Documentation.htmlhttp://lib.nmsu.edu/instruction/evalcrit.html

Policy Handbook for Students 2015-2016:

Honesty in Academic Work and in Scholarly and Professional Practice

Berklee College of Music values integrity within the classroom, across all areas of scholarly and professional practice, and in the use of information technology resources. Consequently, members of the Berklee community are expected to maintain high standards of honesty and practice throughout the many aspects of their life and study at the college.

Students who have evidenced academic dishonesty may be made subject to disciplinary procedures including but not limited to: receiving a warning; receiving a lowered or failing grade for the project, exam, or other class or homework; receiving a lowered or failing grade for the course; dismissal from the major; suspension or permanent dismissal from the college.

PLAGIARISM AND HONOR CODE

An honor code (pledge) will be handed out in class for you to sign. This will ensure that you understand different forms of plagiarism, how to avoid it, and the serious consequences if you commit this offense.

SUPPORT SERVICES

(1) English Language Tutoring Program: This program provides assistance to native and nonnative English-speaking students with all aspects of the language: writing, reading, speaking, listening, grammar, and vocabulary development. The tutors are trained Berklee students, and they meet with students needing additional help with their English and coursework one hour per week for the whole semester. Peter Gardner is the coordinator of the program (pgardner@berklee.edu), and he can be contacted with any questions.

(2) Center for Writing and English as a Second Language: The Center (located in room 110 at 7 Haviland Street) provides writing assistance to all Berklee students, staff, and faculty, on an as-needed basis. The tutors are English professors and graduate students who offer help with all academic and creative writing, including essays and written assignments for all classes, ESL-related writing, creative assignments, resums and applications for internships, graduate school, grants, and scholarship programs. Beth Platow is Acting Coordinator of the Writing Center (bplatow@berklee.edu), and he can be contacted with any questions. To sign up online for a session with a writing tutor, go to berklee.net/wc.

DISCLOSURE OF DISABILITY

If you need course adaptations or accommodations because of a disability, if you have emergency medical information to share with me, or if you need special arrangements in case the building must be evacuated, please notify me within the first two weeks of the semester.

PRIVACY

In compliance with the Family Educational Rights and Privacy Act of 1974, students must authorize contact between faculty members and their parents/guardians. You will be notified via e-mail and asked to reply in that format or in writing to grant this authorization if your parent/guardian contacts me.

MISCELLANEOUS: Journal entries and other projects should be typed (doublespaced and 12-point font)). You will be given a large number of handouts throughout the semester. Please date each one and keep them ordered in a binder since we will frequently be referring to them.

Students are expected to check their Berklee e-mail and ol.berklee.edu account frequently throughout the semester for course assignments, announcements, and other information.

Students can access the list of materials on reserve for this course via the Class Reserves website on the library webpage athttps://learningresources.berklee.edu/reserves or by general keyword searching LENG-319 via Stan Getz Library's online catalog at http://catalog.berklee.edu/ipac20/ipac.jsp?term=&index=.GW&profile=main.

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COURSE OUTLINE

1. Week of September 7

1. Introduction.2. Read articles on ol.berklee.edu (Journal entry)

2. Week of September 14 (Read Slaughterhouse-Five)

1. Read the story An Occurrence at Owl Creek Bridge by Ambrose Bierce (on ol.berklee.edu) (Film in class: An Occurrence at Owl Creek Bridge, director: Robert Enrico, 1962). (Journal entry)2. Discussion of An Occurrence at Owl Creek Bridge (story and film). 3. Week of September 21 (Start working on Project #1)

1. Discussion of novel Slaughterhouse-Five by Kurt Vonnegut. (Journal entry)2. (Journal entry) 4. Week of September 28

1. Discussion of the film Slaughterhouse-Five (director: George Roy Hill, 1972). (Journal entry)2. Discussion of novel and film. (Journal entry)

5. Week of October 5

1. Work on project #1. 2. PROJECT #1 DUE (personal film adaptation of short story).

6. Week of October 12 (Read second novel to be announced)

1. Columbus Day: NO CLASS (Tuesday follows a Monday schedule).2. Classroom Activity.

7. Week of October 19

1. Discussion of second novel (Journal entry)2. (Journal entry)

8. Week of October 26 (MIDTERM EXAM WEEK)

1. Discussion of film adaptation of second novel. (Journal entry)2. (Journal entry)

9. Week of November 2 (Read Brokeback Mountain: Story to Screenplay; also start reading novel for final project)

1. Discussion of story Brokeback Mountain (Journal entry) 2. Discussion of screenplay and essays in book (Journal entry) (Last day to request a Withdrawal)

10. Week of November 9 (Read Novel #3)

1. Discussion of film Brokeback Mountain (director: Ang Lee, 2005). (Journal entry) 2. (Journal entry)11. Week of November 16 1. Discussion of novel #3 (Journal entry)2. Discussion of novel #3 (Journal entry)

12. Week of November 23

1. Discussion of film adaptation novel #3 (Journal entry)2. NO CLASS (Thanksgiving)

13. Week of November 30

1. Discussion of film adaptation of novel #3.2. FINAL PROJECT PRESENTATIONS.

14. Week of December 7

1. FINAL PROJECT PRESENTATIONS.2. (TURN IN FINAL JOURNAL).

15. Week of December 14 (FINAL EXAM WEEK)

1. FINAL PROJECT PRESENTATIONS (TURN IN FINAL PROJECT)2. NO CLASS