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Dr. Karen Schneider ENG 365 Film & Literature www.wku.edu/~karen.schneider
745-3046 (office) 782-3037 (home)
Shakespeare and Film: Screening Shakespeare
Course Description
No author moves more freely between high art and popular culture than Shakespeare. Since cinema’s inception, Shakespearean drama has proved an inexhaustible source and inspiration for films of every ilk, including animation. In this course we will study the protean relationship between cinema and Shakespeare, whose work offers a special challenge to the process of adaptation. As we explore this relationship, we will consider many questions, beginning with the theory and practice of adaptation itself:
· What is the relationship between a cinematic adaptation and its literary source or inspiration? What challenges inform the adaptation process?
· In what way has the issue of “fidelity” shaped and limited adaptation studies?
· Why might Shakespeare’s work present a particular challenge to adaptation? What are (re)viewers’ assumptions about adaptations of Shakespeare?
· What factors influence interpretations of Shakespeare’s work?
· What is the role of Shakespeare in Western culture? Similarly, what is the role of film? How do these complement and/or inform one another?
· What constitutes a “Shakespeare film?”
These questions begin to raise some the issues that we may consider in the course of the semester. I expect you to come up with some of your own.
Required Texts
Bevington, David. The Necessary Shakespeare. 2nd ed. Longman, 2004.
Reader
Recommended: Gibaldi, Joseph. MLA Handbook for Writers of Research Papers, 6th ed.
Course Requirements and Procedures
--prompt and regular attendance
This includes the viewing lab (Wednesdays) and regular class meetings. If you have an irreconcilable conflict, you may see the film on your own time, but you should clear it with me first. Classroom discussion is at the heart of this course; absences result in irrevocable loss. Because class discussion and activities are essential to your success in this class, I encourage attendance by awarding or deducting points as follows:
0-2 absences: +20 pts
3-4 absences: no loss, no gain
5-6 absences: - 30 pts
7-8 absences: - 50 pts
More than 8: automatic failure
--on reading Shakespeare
Yes, the language is difficult, especially at first. You will find that you grow accustomed to it, though, and it will get easier. Some suggestions: Don’t insist on understanding every word, especially the first time through. The text provides glosses on some of the archaic language, and these can be very helpful, but re-read passages with such interruptions, for greater comprehension and fluidity. If you are reading a play for the first time and/or have little experience reading Shakespeare, you might find reading a plot summary beforehand helpful. Some synopses are quite detailed; you should read these one act (or even one scene) at a time. Useful websites:
http://www.cummingsstudyguides.net/xShakeSph.html
http://www.shakespeare-online.com/playanalysis/
--thought questions
To give your reading some direction, I have prepared discussion questions for each of the plays (see website). Read them over before reading the plays and think about what answers take shape as you read. We will begin our discussions by considering your findings. In this way, we should always have lively and informed conversation. You may also use these as a starting point for paper topics, though I encourage you to write about what interests you the most.
--reading quizzes (10 pts each)
On the days we discuss the assigned secondary readings, we will have a reading quiz. You will do well on these if you are familiar with the reading’s thesis and/or main points. The quiz questions will provide the starting point for our discussion of the reading. You should also be prepared to raise your own questions and/or opinions about the material in the readings. Be an interactive and critical reader!
--Viewing Responses (50 pts each)
The viewing responses are meant to promote thoughtful consideration of the individual films before we discuss them in class. Eight due dates are noted on the syllabus. You must choose to turn in responses seven of these times. Each completed entry should be about two typed pages. You may explore formal features (e.g., the mise en scène, editing, camera work, etc.) of the film as a whole or of a particular sequence; you may consider characterization or a thematic concern; you may compare the film to another version of the same play; or you may explore the film’s unique interpretation of the play. In short, you may discuss whatever interests you as long as your response is focused and analytical. If you choose, you may allude to relevant class reading and/or class discussion. You are free to disagree with others’ opinions (including mine) as long as you are respectful and provide carefully considered reasons and textual examples. Although these viewing responses are not as formal as your papers, I expect you always to do your best possible writing and thinking. You may use a thought question as the basis for your response, but you don’t have to.
--Analytical Papers
Two formal papers are required; one must incorporate secondary readings obtained with research. General remarks: No one can write knowingly about a film s/he has seen only once. To facilitate multiple viewings, I will put each film on reserve in the library after we have finished with it in class. If you have little or no experience writing textual analyses, you should definitely talk with me about the first paper in advance. Before coming in, consult “Writing about Literature: Some Basic Advice” on my web site (also applicable to writing about film). If you refuse this opportunity, you will regret it; let me help you write the kind of paper required for you to succeed in this class. Finally, if you’ve never used MLA documentation form, you will need to learn it; I’ll be glad to help. You should consult either the MLA Handbook or the website (see links on my website).
Paper # 1 (no research)—4-5 pages [due October 8] (150 pts)
At this point in the semester, we will have studied only Henry V (two film versions) and Richard III, the two history plays. For this paper, you may focus on one film or compare two. You may analyze the film as a discrete work of art and/or in the broader contexts of adaptation practice and history/ideology. You must choose your own topic, but we will discuss possible topics as we go along. You may refer to our readings in your analysis where appropriate and helpful. If you do so, be sure to document appropriately (using MLA documentation style for in-text documentation and the Works Cited page).
Paper # 2 (with research)—6-8 pages [due November 12] (200 pst)
This paper must incorporate secondary material. A minimum of four sources is required; one of them may be from our reader. (You may use as many from the reader as you like, as long as you also use at least three sources you find in your own research.) You may obtain these additional sources on line, but be sure that for the most part they are legitimate academic sources. And don’t overlook the library as a possible source of material. Again, you will need in-text documentation and a WC page (MLA).
Paper Guidelines: All papers must be either computer-generated or typed (double-spaced, with the usual 1" margins, NON-justified on the right). Cover sheets are discouraged (see MLA form). All essays should have original titles (remember not to underline your own title). Please do not put papers in any kind of binder, but do make sure the pages are stapled or clipped together. I reserve to right to return, unread, papers that have not been adequately proofread or do not otherwise meet the requirements. Late papers are a problem for both you and me. Unless faced with an emergency, you should turn in all papers on time. I urge you to avoid falling behind. I will absolutely not accept any papers more than a week late.
--Final Exam: take-home essay (2) exam [100 pts]
Grading: Reading quizzes 80 pts
Viewing responses 350 pts
Paper # 1 150 pts
Paper # 2 200 pts
Final Exam: 120 pts
900 total points
Conferences
At any time during the semester, if you want help with anything connected to this class--the readings, film concepts, viewing responses, papers, the final exam--I will be glad to provide it. I am especially committed to helping you become better writers. We can work on any stage of the writing process: brainstorming, outlining, drafting, revision. (You will never do your best work if you wait until the night before something is due to write it. Leave time for revision!) You can drop by my office most any time, but an appointment is the best way to go. Do not be shy about asking.
A Note on Plagiarism
Plagiarism isn’t always fully intentional, I realize, but it is always wrong. Always give credit for another’s ideas, even if you are only summarizing or paraphrasing. Substituting a word here and there in a sentence does NOT constitute good enough paraphrase; recast the sentence altogether. Always use quotation marks when using someone else’s language, even if it’s only a short phrase (and, sometimes, a single word). Always use in-text parenthetical page number documentation to indicate source, and always include full bibliographic information for that source on a separate Works Cited page at the end. Any writing with plagiarism I deem “unintentional” (sloppy use of sources) will have to be totally redone, with a letter grade deduction. Any writing with intentional plagiarism will receive a zero; depending on the extent of the offense, intentional plagiarism could result in failure for the class.
In the Writing Center (CH 123) tutors are available to help you with specific micro problems (e. g, sentence fragments) and/or the writing process, such as thesis development, paragraph unity, organization, transitions, etc. Remember, though, this is not a proofreading service.
Disabilities Statement
"Students with disabilities who require accommodations (academic adjustments and/or auxiliary aids or services) for this course must contact the Office for Student Disability Services, Room 445, Potter Hall. The OFSDS telephone number is (270) 745-5004 V/TDD. Please DO NOT request accommodations directly from the professor or instructor without a letter of accommodation from the Office for Student Disability Services."
Cell phone policy
Having your phone ring during class is disruptive and rude. Please turn off your cell phone before class without fail.
Ideal Opportunity
This year the Popular Culture Association is holding its annual conference in San Francisco, March 19-22. One of the area categories is Shakespeare on Film and Television. I plan to submit a paper proposal in any case, but what I’d really like to do is put together a complete panel or two (several papers on the same general subject) of the best papers from this class. Potter College, the English Department and, if appropriate, Honors have some funds available for student conference travel and would be able to defray a significant portion of the cost. Check out the conference at http://www.popularculture.org/ and keep this in mind as you write your papers.
SYLLABUS
M 8/27 Introduction to Class
W 8/29 Introductions, cont.
Stam, “Introduction: The Theory and Practice of Adaptation”
M 9/3 Labor Day Holiday
W 9/5 Buchanan, “Introduction” (from Shakespeare and Film)
Jackson, “Shakespeare, film, and the marketplace”
Screening: Shakespeare in Love (Madden, 1998, 122”)
M 9/10 Hatchuel, “Shakespeare from Stage to Screen: a historical and aesthetic approach”
W 9/12 Henry V
Screening: Henry V (Olivier, 1945, 137”)
M 9/17 Henry V, cont.
Viewing Response Due
W 9/19 Henry V, cont.
Discuss Research Methods
Screening: Henry V (Branagh, 1989, 137”)
M 9/24 Henry V, cont.
Cartmell, “Shakespeare, Film, and Nationalism: Henry V”
Viewing Response Due
W 9/26 Richard III
Screening: Richard III (Loncraine, 1995, 104”)
M 9/24 Richard III, cont.
Viewing Response Due
W 9/26 Loehlin, “Top of the World, Ma”: Richard III and cinematic convention” Discuss Documentation
M 10/1 Lanier, “Unpopularizing Shakespeare: A Short History”
W 10/3 Paper Conferences
FALL BREAK
M 10/8 Othello PAPERS DUE
W 10/10 Othello, cont.
Screening: Othello (Parker, 1995, 125”)
M 10/15 Othello, cont.
Viewing Response Due
W 10/17 Macbeth
Screening: Throne of Blood (Kurosawa, 1957, 108”)
M 10/22 Buchanan, “Cross-cultural Narrative Rhymes: The Shakespeare Films of Akira Kurosawa” (excerpt)
Holderness, excerpt from Visual Shakespeare
Viewing Response Due
W 10/24 Macbeth/Throne, cont.
Screening: Hamlet (Branagh, 1996, 242”) [first 120” only]
M 10/29 Hamlet
W 10/31 Hamlet, cont.
Screening: Hamlet (Branagh, second half)
M 11/5 Hamlet, cont.
Viewing Response Due
W 11/7 Paper Conferences
M 11/12 Papers Due
W 11/14 Much Ado about Nothing
Screening: Much Ado about Nothing (Branagh, 1993, 111”)
M 11/19 Much Ado, cont.
Viewing Response Due
W 11/21 Thanksgiving Break:
Watch Love’s Labour’s Lost (Branagh, 2000, 95”)
M 11/26 Crowl, “Flamboyant realist: Kenneth Branagh”
Viewing Response Due
W 11/28 Boose and Burt, “Totally Clueless?: Shakespeare goes Hollywood in the 1990s”
Screening: Complete Shakespeare Abridged or other film of your choice
M 12/3 Hand out and Discuss Final Exam (due no later than Thurs., 12/13)
W 12/5 Class Dinner
Finals Week: 12/10-12/14