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|Part 1: 1 x 2,000-word essay (cf. take-home exam essay), due by 12 noon on Thursday Week 23 /Term III (30%) analysing a text and a film from the course. Students will set their own questions cf. the 201 project, but may only address course materials.|
Part 1: multiple choice exam, Term III, date and time TBA, testing coverage (recall and understanding) of readings, lectures, and screenings (25%)
1 lecture, 1 film screening, and 1 seminar per week excluding weeks 6 and 16 (independent study weeks)
On successful completion of the module, students should have a firm grasp of the literature and film debate and of the basic history, theory, and genres of literary film adaptation, be able to address both formal and cultural aspects of adaptation, and understand how literary film adaptations function as critical and interpretative works. Students will develop skills in interdisciplinary analysis and in writing across disciplines. In the practical component, they will grapple with issues in the practice as well as the analysis of interdisciplinary arts.
Jane Austen, Pride and Prejudice
Lewis Carroll, Alice’s Adventures in Wonderland
Philip K. Dick, ‘Minority Report’ (LUVLE)
Paul Farley, The Ice Age
Graham Greene, The End of the Affair
Jack Schaefer, Shane
Frank Miller, Sin City: The Hard Goodbye
William Shakespeare, Romeo and Juliet
Robert Louis Stevenson, The Strange Case of Dr Jekyll and Mr Hyde
Cornell Woolrich, ‘Rear Window’ (course reader)
Course reader containing additional required readings on film history, production, screenwriting, theories of adaptation, and criticism of set texts and films (Purchase from English department office.)
Highly recommended texts: Louis Giannetti, Understanding Movies (12th edition best; earlier editions fine); copies on short loan
Bram Stoker, Dracula
Bram Stoker’s Dracula, 1992
Bride and Prejudice, 2004
Dr Jekyll and Mr Hyde, 1920 and 1931 versions
The End of the Affair, 1999
London Orbital, 2002
A Matter of Life and Death, 1946
Minority Report, 2002
Pride and Prejudice, 1944
Rear Window, 1954
Romeo and Juliet, 1968
Shakespeare in Love, 1998
Sin City, 2005
The Godfather, 1972
William Shakespeare’s Romeo + Juliet, 1996
Note: We strongly recommend that you purchase or rent the films on which you write. There are numerous, affordable sources for these films on VHS and DVD.
For further reading, see the course LUVLE site.
Lecturers: BB = Dr Brian Baker; KLE = Dr Kamilla Elliott; PJF = Prof Paul Farley; GG = Dr George Green; LSH = Dr Lee Horsley; LCM = Dr Lindsey Moore; CLS = Dr Catherine Spooner; JS = Dr Jayne Steel; AWT = Dr Andrew Tate
ENGL 307: LITERATURE AND FILM
Lecture Time and Venue (Term 1): Tuesday 3pm – 4pm, Faraday Lecture Theatre
Lecture Time and Venue (Terms 2 and 3): Tuesday 4pm – 5pm, Cavndish Lecture Theatre
Film Screening Time and Venue: Monday from 6pm, Frankland Lecture Theatre
Course Convenors: Dr Brian Baker
Lecture / Seminar Programme
CREW 303: CREATIVE WRITING WORKSHOP
Course Aims and Objectives:
Students will develop key skills introduced at Part I level and in the first year of Part II with an emphasis upon writing as process, exploring creative voice, identifying point of view, the implied author and authorial guises and considering the creative and interactive nature of reading. A proactive workshop environment will enable the development of specific aesthetic and technical skills through lively participation in constructive criticism relating to fellow students’ work-in-progress. You will gain a deeper understanding of many important concepts such as structure, linguistic texture and resonance, point-of-view, form, pace, characterization, the mediation of tone and reader awareness. While the learning environment will often be in the form of workshops, certain weeks will be designated for focused and practical set tasks. You will be expected to read widely from modern and contemporary creative works and to explore the work of ‘writers on writing’. The aim of this course is to develop a portfolio of closely edited creative work and peer critique work that displays your own forms of expression alongside skills and insights developed through the course.
Students can expect to make fortnightly submissions on LUVLE and to receive oral feedback from their tutor and their peers. Students must attend seminars with copies of each week’s LUVLE submissions and be prepared to contribute orally to the discussion.
1 x 8,000-word (maximum) portfolio of your own creative work; plus 3 critiques of your peers’ work-in-progress, plus a reflective self-critique, each no more than 1,000 words. The majority of work submitted must have been previously discussed at workshops
Submission Deadline: Portfolio = by 12 noon on Friday Week 2/Term 3
1 x 120 minute workshop per week.
By the end of this course you should have
a wide knowledge of a range of genres and conventions and how to put that knowledge into creative and critical practice
a strong appreciation of structure, reader awareness and how readers interpret and construct texts
the ability to demonstrate and effectively express an appreciation of the power of the imagination within literary creativity.
a well-developed technique for providing annotations and verbal critique of peer work and a knowledge of the critical criteria which underlie successful evaluations
the ability to develop well structured peer critiques in written form with reference to wider reading and technical awareness
increased confidence in exploring a range of literary forms and in analysing narrative and poetic effects
a developing empathy towards the pivotal role of language in the manifestation of meaning together with sensitivity towards the conscious and subconscious energy of language
a sensitivity and awareness of the subtleties of authorial viewpoints and their implications
a developing awareness of the structure, demands and interactions of the publishing industry
Relevant authors and literary texts will be recommended by your tutor throughout the year. You will also be expected to read widely and discuss current reading in the workshops. There are no set texts for this course but the following will be suggested in terms of practical guides:
Linda Anderson, Creative Writing Coursebook, A Handbook With Readings
Paul Mills, The Routledge Creative Writing Coursebook.
J. Bell, ed, The Creative Writing Course Book: Forty Authors Share Advice and Exercises for Fiction and Poetry, an excellent many-voiced source of inspiration for aspiring writers.
J. Newman, E. Cusick and A. La Tourette, eds, The Writer’s Workbook, a sound practical guide
Damon Knight, Creating Short Fiction: The Classic Guide to Writing Short Fiction
George Green and Lizzy Kremer, Writing a Novel and Getting Published for Dummies
Clare Brown & Don Paterson, Don’t Ask me What I Mean, Poets in their own Words
Barry Turner, The Writers Handbook
Creative Writing students should note that the weekly lecture strand E.CW 300, ‘Beyond Undergraduate English’ has been designed for all students majoring in the Department. You are expected to attend this lecture as part of your English with Creative Writing, or English, Creative Writing and Practice programme.
«Journal of symbolic logic» 1934г., VI part 4, XXVI part 1-2? 1960 г., V part 4-5, 1980г