LIT 218-01: Literature and Film - Brian T. Murphy



ENG251: Film and Literature, Summer I 2019 Brian T. MurphySection CA, CRN 80542Bradley Hall, Y-16Monday–Thursday,?10:05 am –12:00 noon, G-123516-572-7718Class web page: Eng251.htmbrian.murphy@ncc.eduDESCRIPTION:This course examines narrative conventions used in both literature and film as well as what is unique to each art. Students study concepts including characterization, narrative, genre, form, symbolism and convention in both media. Content, themes, and film production are studied in historical context. Writing is an integral component of the course. SUNY GEN ED-GHUM; NCC GEN ED-HUM, LITPrerequisites: ENG 102 or ENG 109.This course explores the complex interplay between film and literature. Selected literary works are analyzed in relation to film versions of the same works in order to gain an understanding of the possibilities—and problems—involved in the transposition to film. As this is a course in literature and film analysis, students do not need to have taken other film courses before taking this course. However, it is assumed that students have successfully completed the prerequisites for this course, ENG 101 and ENG 102 (or their equivalent). Therefore, students are expected to have the necessary background and experience in analyzing, discussing, and responding to literature, as well as the ability to conduct independent research and to write correctly documented research essays using MLA format. Students are cautioned that this course requires extensive reading and writing in addition to viewing films and taking part in class discussions. Students not prepared to read (up to 150+ pages/week), to write on a regular basis, and to take an active part in class discussions should not consider taking this course.COURSE GOALS AND OUTCOMES:Course GoalsLearning OutcomesWriting Literacy: to produce precise, clear, grammatically correct, well-developed, and well-organized writing appropriate ? to academic, social, and occupational fields Produce coherent texts within common college level formsRevise and improve such textsCritical Thinking: to develop critical thinking skillsIdentify, analyze, and evaluate arguments? as they occur in their own and others’ workDevelop well-reasoned argumentsInformational Literacy: to develop skills to locate, evaluate, and incorporate relevant source materials into the construction and ? expression of an informed point of viewAccess and utilize basic computer and ? internet functions, demonstrating appropriate and effective utilization of ? programs and functionsUse basic research techniques, demonstrating appropriate, effective research skillsLocate, evaluate, organize, and ? synthesize information from a variety of sources, demonstrating the ability ? to implement an effective search strategy to obtain reliable informationApply ethical and legal standards for use ? of source information, demonstrating the application of accepted ethical and ? legal restrictions on the use of published worksCultural Literacy: to develop exposure to literary texts ? that reflect the diversity of the human experience in a variety of historical ? and cultural frameworksDemonstrate understanding of the various ? influences that shape perspectives, values, and identitiesDemonstrate understanding of social ? divisions such as gender, ability, ethnicity, and racial formations in a ? pluralistic nation and worldRecognize the roles and responsibilities ? of citizens in a diverse worldAesthetic Literacy: to understand the role of literary art ? as a craft that allows for the expression, enhancement, and questioning of the human experienceIdentify creative techniques/craft ? elements that shape aesthetic responses/meanings and be able to communicate ? that information by using appropriate vocabularyInterpret creative work through a variety?of lenses such as knowledge of the creator’s work, the tradition the creator ? is working within, the culture and history the work is embedded in, and the creator’s aims and intentionsHumanities Competency:Students are able to analyze or interpret texts, ideas, discourse systems, and the human values they reflect.OBJECTIVES: Students will Enhance their ability to understand, appreciate, and discuss works of literature through extensive reading and discussion of short stories, novels and plays. Analyze works of fiction and drama for plot structure, setting, characterization, theme, and narrative point of view. Develop an understanding of critical analysis of film through careful examination of cinematic adaptations of literary texts, focusing on character development, dramatic structure, and performance. Learn and utilize the terminology of film analysis, both those terms shared with literary discussion (character, plot, theme, setting) and those specific to cinema (lighting, montage, special effects, etc.). Demonstrate an understanding of the possibilities and problems involved in the transposition of literature to film, applying terminology and critical skills acquired during the semester to analyze a cinematic adaptation of a text not discussed in class.REQUIRED TEXTS:Atwood, Margaret. The Handmaid's Tale. New York: Anchor, 1998. ISBN 978-0-385-49081-8 Bradbury, Ray. Fahrenheit 451. New York: Simon & Schuster, 2013. ISBN 978-1-4516-7331-9 Burgess, Anthony. A Clockwork Orange. New York: Norton, 1995. ISBN 978-0-393-31283-6 Orwell, George. 1984. New York: Signet Classic, 1950, 2009. ISBN 978-0-451-52493-5 Additional required readings will made available as photocopies or as links.Other materials:A thumb drive or other portable storage device.Pens (blue or black ink only) and a notebook and/or supply of 8? x 11" ruled paper, not spiral bound. Paper torn out of spiral-bound notebooks is not acceptable and will be returned unread and ungraded.CLASS POLICIES:Attendance: As per the Nassau Community College attendance regulation, “Students are expected to attend all classes. Absences due to illness or for other serious reasons may be excused at the discretion of the instructor. Students are advised that excessive absences may have a negative impact on their academic performance and/or outcome.” ?Students must not only attend every class but also arrive on time, be prepared, and take an active part in class (see Participation, below); students may be required to sign in each class session to verify their attendance. Excessive absences or latenesses will adversely affect your grade: Students may miss no more than three classes; further absences will result in a reduction of the final grade by one full letter grade for each additional absence. Students unable to attend class should contact the instructor regarding their absence; in addition, students are responsible for submitting all work on time regardless of absences. In addition, once students get to class, they are expected to stay in the classroom until the class is over. Leaving class early or getting up in the middle of class is considered disruptive behavior and should happen only in extreme emergencies.Classroom Behavior: Students are expected to be present, prepared, attentive, and active participants in the learning process. As such, any distracting or inappropriate behavior or unauthorized use of electronic devices* is strictly prohibited. Students who wish to use a laptop for note-taking may be allowed to do so at the instructor’s discretion, but will be required to sit in the front row and to submit a copy of their notes to the professor at the end of each class; failure to do so will result in being recorded as absent. Eating, sleeping, texting, or other inappropriate behavior may result in your being asked to leave the class and will adversely affect your final grade. According to the “Student Code of Conduct,” “The College is committed to providing an atmosphere in which students have freedom to learn and engage in the search for truth, knowledge, and reason in accordance with the standards set forth by the academic community. Conduct that adversely affects a student’s responsible membership in the academic community shall result in appropriate disciplinary action.” Appropriate disciplinary action may include but is not limited to probation, suspension, and expulsion from the college. See the Nassau Community College “Classroom Management Policy” and “Student Code of Conduct” in the college catalog.Plagiarism and Cheating: Plagiarism includes copying or paraphrasing another’s words, ideas, or facts without crediting the source; submitting a paper written by someone else, either in whole or in part, as one’s own work; or submitting work previously submitted for another course or instructor. Plagiarism, cheating, or other forms of academic dishonesty on any assignment will result in failure (a grade of zero) for that assignment and may result in further disciplinary action, including but not limited to failure for the course and expulsion from the college. See the Nassau Community College policy on “Academic Dishonesty & Plagiarism.”Homework/Essay Submission: All writing assignments must be received by the instructor on or before the due date, by the beginning of the class period, as indicated on the schedule, below. Students may also be required to submit an electronic copy of their work via ; details to be announced. Essays submitted by email will not be accepted, and late work if accepted will be penalized 10% for each day it is late; see below. All at-home work must be typed (in 12-point Times New Roman), double-spaced, with one-inch margins, and stapled when submitted. In-class work must be neatly printed in blue or black ink on loose-leaf composition paper or in bluebooks provided by the instructor and double-spaced. All essays must also include a proper heading (see Purdue Online Writing Lab’s Formatting and Style Guide), including Word Count; have an appropriate, original title; contain a clear, explicit, assertive, objectively worded thesis statement (thesis statements must be underlined); and (unless otherwise indicated) avoid use of I or you throughout. Finally, all work should be grammatically correct, free of errors in mechanics, grammar, usage, spelling, and documentation, and will be evaluated according to the Model for Evaluation of Student Writing. Make-up Exams/Late Work: All assignment deadlines and scheduled exam dates are provided at the beginning of the semester; therefore, no make-up opportunities will be offered or late work accepted, except under extraordinary circumstances with appropriate documentation, and late work will be penalized 10% for each day or portion thereof it is submitted after the due date. Note: As all work is due at the beginning of the class period, this includes work submitted after class has begun on the due date. Excuses such as “crashed computers,” “lost flash drives,” or “empty printer ink cartridges” will not be accepted. All essays or work should be saved both on your computer’s hard drive and again on removable storage device as well as uploaded to cloud storage. (OneDrive, et cetera) Students should also keep backup copies of all work submitted.Disabilities and Accommodations: If you have a physical, psychological, medical, or learning disability that may impact on your ability to carry out the assigned coursework, I urge you to contact the staff at the Center for Students with Disabilities (CSD), Building U (516 572-7241), TTY (516) 572-7617. The counselors at CSD will review your concerns and determine to what reasonable accommodations you are entitled as covered by the Americans with Disabilities Act and Section 504 of the Rehabilitation Act of 1973. All information and documentation pertaining to personal disabilities will be kept confidential.Additional Assistance: Students should avail themselves of the Writing Centers located in Bradley Hall (Bldg. Y), 572-7195, and on the second floor of the Library, room L 233, 572-3595. The Writing Center offers one-on-one tutoring as well as workshops. email: wcenter@ncc.eduASSIGNMENTS:Attendance and Participation (5 %):As this class will combine both lecture and discussion, students are expected both to attend every session and to take an active part in class—joining in discussions and raising questions. Discussion is one of the best ways to clarify your understandings and to test your conclusions. Open discussion always involves personal exposure, and thus the taking of risks: your ideas may not be the same as your fellow students’ or even the instructor’s. Yet as long as your points are honest and supportable, they need to be respected by all of us in the classroom. Questions, discussion, disagreement, and laughter are all encouraged in this class. (However, ridicule or scoffing is never tolerated.)Quizzes (7.5 %):With the exception of the first day, class may begin with a short (five- to ten-minute) quiz or response paper on the reading(s) for the day, at the instructor’s discretion. Quizzes cannot be made up; if you miss a quiz due to absence or lateness, that grade will be regarded as a 0. At the end of the semester, the lowest quiz grade will be dropped. Total number of quizzes during the semester determines the point value of each; that is, the more quizzes during the semester, the less each individual quiz is worth.Response Papers/In-Class Essays (5 @ 10 %):Students will complete at least five short essays during the semester, on topics to be assigned. Response papers must be at least 2-3 pages long (500-750 words), typed, double-spaced, grammatically correct, and submitted on or before the due date indicated on the schedule, below. In-class essays must be neatly printed in blue or black ink on loose-leaf composition paper or in bluebooks provided by the instructor and double-spaced. Essays will be evaluated according to the Model for Evaluation of Student Writing.Research Paper (27.5 % Total)Students will also complete an argumentative (persuasive) Research Essay of at least seven to twelve pages (a minimum of 1500-2500 words), using a minimum of five to seven primary or secondary sources (secondary sources must be reliable: scholarly criticism or analysis, not summaries, reviews, or “analysis” from sites such as e-Notes, SparkNotes, Wikipedia, 123HelpMe, or ), correctly documented utilizing MLA format, with a cover page and Works Cited page (cover page and Works Cited do not count toward the seven-page requirement). Topics should be selected from a list of suggestions provided (see below), or developed in consultation with the instructor. The research essay will be completed in stages during the semester; points will accrue as follows:Topic Selection (2.5 %):Before beginning the research essay assignment, students will develop and submit a clear, well-written, one-page explanation of the topic chosen from the list provided and the reason for selection. This proposal should include a preliminary idea of the plan of the paper, its intention or research question, and a preliminary thesis.Annotated Bibliography (5 %):Students will develop and submit an annotated bibliography for the research essay assignment, with a minimum of five to seven sources, correctly documented according to MLA format.Research Paper: Final Draft (20 %):The final draft of the research paper must be submitted in a folder, including copies of all sources used and all of the above assignments associated with the research paper. Final Exam (10%):Students will complete a final exam during the official final exam period, evaluating students’ recognition and comprehension of material studied during the previous weeks. This exam will cover specific texts and films, as well as the principles of cinematic adaptation and critical analysis, and will combine objective questions and short essay answers. Students may be allowed to use notes or textbooks for the essay portion of the exams only.Extra Credit (possibly various opportunities, at 1–2 points each):Students may be notified of opportunities for extra credit during the semester, including attendance at various cultural events related to the class (“Recommended Fieldtrips”). If students attend one or more of these events, and provide evidence of attendance (ticket stub, program, unretouched digital image, et cetera) along with a typed one- to two-page personal response (review, analysis, reflection, critique, et cetera), they can receive additional points: a single event and written response is worth 2 points extra credit; attendance at additional events will earn one additional point each. Note: you may not attend the same workshops two or more times for additional extra credit! Note: As a general rule, extra credit only helps if you have already completed all of the assigned work, and will not make up for missing an essay (or two, or three). Extra credit opportunities for Fall 2013 will be announced in class, and they will also be posted here as well as on the class Announcements page, so do not ask at the end of the semester for “extra credit” to bring your average up.GRADING:Final average will be calculated as follows:Attendance and Class Participation 5.0 %Quizzes 7.5 %Responses/Short Essays: 5 @ 10 %50.0 %Research Paper:27.5 %Topic Selection (2.5 %) Annotated Bibliography (5 %) Final Draft (20 %) Final Exam10.0 %Total100 %Extra Credit will be added to the final total.Final average will determine the grade received for the course, as follows:Final PercentageFinal Grade90–100+A85–89 B+80–84B75–79 C+70–74C65–69D+60–64D0–59FNote: Percentages ending in .5 or greater are rounded up. Therefore, 79.5 rounds to 80, a B, but 79.4 rounds to 79, a C+.SCHEDULE AND PROJECTED OUTLINE:Important Dates: SUMMER I 2019Monday, 27 MayMemorial Day – COLLEGE HOLIDAY – offices closedTuesday, 28 MaySummer I classes beginWednesday, 29 MaySummer I classes last day drop/add Friday, 31 MaySummer I classes meet on a Monday scheduleMonday, 3 JuneSummer I last day drop without a W gradeFriday, 7 JuneSummer I classes do not meet; College offices closedThursday, 13 JuneSummer I last day automatic WFriday, 14 JuneSummer I classes do not meet; College offices closedFriday, 21 JuneSummer I classes do not meet; College offices closedThursday, 27 JuneSummer I endsNote: All dates subject to change; See Academic Calendar: Summer 2019Projected Schedule of Readings and AssignmentsAll readings below are required, and must be completed by the day indicated; the only exceptions are those indicated with an asterisk (*), which are recommended additional readings or resources. Note: This schedule is subject to revision according to the instructor’s discretion, the Academic Calendar for the semester, school closings due to inclement weather or other reasons, and the progress of the class. Additions or changes will be announced in class, and they will also be posted online.NOTE: ONLY TWENTY SESSIONS!Monday, 27 MayMemorial Day – COLLEGE HOLIDAY – offices closedTuesday, 28 MaySummer I classes beginIntroduction: Syllabus, texts, policies, assignmentsViewing: Utopian Dreams and Dystopian Nightmares (Episode 5 of?How Great Science Fiction Works, The Great Courses, 2016: 33:00)Wednesday, 29 MaySummer I classes last day drop/addUtopia and Dystopia Readings: Le Guin, Ursula K. “The Ones Who Walk Away from Omelas.” (from The Wind's Twelve Quarters: Short Stories by Ursula Le Guin.) . 2017. , Jill. “A Golden Age for Dystopian Fiction.” The New Yorker 5, 12 June 2017.?? Locke, Charley. “The Real Reason Dystopian Fiction Is Roaring Back.” . 22 Feb. 2017.? Viewing: George Orwell's 1984 (Documentary, 1980)Response Paper 1 dueThursday, 30 MayReading: Orwell’s 1984. Read at least through Part 1 (1–104)Viewing: George Orwell's 1984?(Westinghouse Studio One, 1953) Response Paper 2 due*See also:Phillips, Brian. “In the Temple of Gum: How Pop-Culture Dystopias Can Help Us Understand Our Current Moment.” Dystopia Now! MTV News. 27 March 2017.Smith, Ethan Indigo. “The Matrix of 1984 and the Allegory of the Cave.” The Minds [Jan.?] 2016.Friday, 31 MaySummer I classes meet on a Monday scheduleResearch Topic DueReading: Orwell’s 1984 continued. Read at least through Part 2 (105–224)Viewing: Radford’s Nineteen Eighty-Four, a.k.a. 1984 (1984)Response Paper 3 dueMonday, 3 JuneSummer I last day drop without a W gradeReading: Orwell’s 1984 continued. Read through Part 3, Appendix: “The Principles of Newspeak,” and Afterword (225–326)Viewing: Radford’s Nineteen Eighty-Four, a.k.a. 1984 (1984)Tuesday, 4 JuneReading: Orwell’s 1984 continued.Viewing: Radford’s Nineteen Eighty-Four, a.k.a. 1984 (1984)Wednesday, 5 JuneReading: Burgess’ A Clockwork Orange. Read at least through Introduction and Part 1 (ix–xv, 1–81)Viewing: Kubrick’s A Clockwork Orange (1971)Response Paper 4 due*See also:Kakutani, Michiko. “Inside the World of Big Data: 'The Circle,' Dave Eggers's New Novel.” New York Times 3 Oct. 2013. Web.Albeck-Ripka, Livia. “Apocalyptic Fiction, Too Close for Comfort.” New York Times 10 Oct. 2017: D7. (published online as “Is Climate-Themed Fiction All Too Real? We Asked the Experts.” 26 Sep. 2017).Thursday, 6 JuneReading: Burgess’ A Clockwork Orange continued. Read at least through Part 2 (83–143)Viewing: Kubrick’s A Clockwork Orange (1971)Response Paper 5 due*See also, from The Simpsons:Santa's Little Helper Experiences Ludovico's Technique from “Dog of Death.”; “A Clockwork Yellow” from “Treehouse of Terror XXV.”Friday, 7 JuneSummer I classes do not meet; College offices closedMonday, 10 JuneReading: Burgess’ A Clockwork Orange continued. Read through Part 3 (145–212), including Chapter 21. (Part III, Chapter 7); Burgess, Anthony. “A Clockwork Orange Resucked.” (Burgess’ introduction to the 1986 American edition.)Viewing: Kubrick’s A Clockwork Orange (1971)Response Paper 6 due; Response Paper 7 due*See also:McDowell, Edwin. “Clockwork Orange Regains Chapter 21.” New York Times 31 Dec. 1986.Melis, Matt. “The Real Cure: A Clockwork Orange's Missing Ending.” Consequence of Sound.? Feb. 2015. Web.Tuesday, 11 JuneReading: Burgess’ A Clockwork Orange continued. Viewing: Kubrick’s A Clockwork Orange (1971)Wednesday, 12 JuneReading: Bradbury’s Fahrenheit 451 continued. Read at least through Introduction and Part 1 (xi–xvi, 1–65)Viewing: Truffaut’s Fahrenheit 451 (1966): Available on Amazon, iTunes, and Microsoft Movies & TVResponse Paper 8 due *See also:Bradbury, Ray. A Pleasure to Burn: Fahrenheit 451 Stories. New York: Harper Perennial, 2010. Thursday, 13 JuneSummer I last day automatic WAnnotated Bibliography DueReading: Bradbury’s Fahrenheit 451 continued. Read at least through Part 2 (67–106)Viewing: Truffaut’s Fahrenheit 451 (1966)Response Paper 9 dueFriday, 14 JuneSummer I classes do not meet; College offices closedMonday, 17 JuneReading: Bradbury’s Fahrenheit 451 continued. Read at least through Part 3 (107–158)Viewing: Truffaut’s Fahrenheit 451 (1966)Response Paper 10 dueTuesday, 18 JuneReading: Bradbury’s Fahrenheit 451 continued. Read at least through Part 3 (107–158)Viewing: Truffaut’s Fahrenheit 451 (1966)Wednesday, 19 JuneReading: Atwood’s The Handmaid's Tale. Read at least Introduction and Parts I–V (xiii–xix, 1–75)Viewing: Schl?ndorff’s The Handmaid's Tale (1990)Response Paper 11 due *See also:Alderman, Naomi. “Dystopian Dreams: How Feminist Science Fiction Predicted the Future.” The Guardian 25 Mar. 2017. ? Mead, Rebecca. “Margaret Atwood: The Prophet of Dystopia.” The New Yorker 17 Apr. 2017.?? Mujib Mashal, “Their Identities Denied, Afghan Women Ask, ‘Where Is My Name?’.” New York Times 31 July 2017. Web.Thursday, 20 JuneResearch Paper Due: Typed, finished draft for comments and suggestionsReading: Atwood’s The Handmaid's Tale continued. Read at least through Part X (77–188)Viewing: Schl?ndorff’s The Handmaid's Tale (1990)Response Paper 12 due; Response Paper 13 dueFriday, 21 JuneSummer I classes do not meet; College offices closedMonday, 24 JuneReading: Atwood’s The Handmaid's Tale continued. Read through Part XV and “Historical Notes” (189–311)Viewing: ?Schl?ndorff’s The Handmaid's Tale (1990)Response Paper 14 due*See also:Truong, Peggy. “19 Major Differences between The Handmaid's Tale Book vs. Show.” Cosmopolitan 14 June 2017. Tuesday, 25 JuneReading: Atwood’s The Handmaid's Tale continued. Viewing: ?Schl?ndorff’s The Handmaid's Tale (1990)Research Paper returnedWednesday, 26 JuneFinal Exam; Research Paper Revisions Due (Final research project, in folder with all ancillary materials)Thursday, 27 JuneSummer I endsFinal Conferences: Y-16WRITING ASSIGNMENTS:Response Paper Topics: For most classes, a question or topic will be provided. You may complete any five response papers, but? your response must be on the assigned topic for the class it is submitted, and must be submitted on or before the due date, by the beginning of the class period, or it will receive a zero (0). Late work will not be accepted. Students may complete more than five response papers for extra credit: only the best five scores will be utilized in determining final grades. Instructions: Respond to each question or topic in a brief, well-developed, coherent, and thoughtful essay of at least two to three pages (500-750 words). Your essay should include independent analysis and demonstrate careful thought, but no research is necessary, nor should any secondary sources be used. This is not a research essay; the only sources utilized or quoted should be the texts themselves. Use of secondary sources, whether credited or not, will be considered grounds for failure. Although these are personal responses, and therefore there is no “correct” answer, remember that they are still formal essays: in your analyses, formulate a clear, explicit, assertive (persuasive), objectively-worded thesis statement, and avoid use of “I” or “you” throughout. Do not attempt to address all aspects of the text, but carefully focus your topic, and avoid merely paraphrasing or summarizing the work. Be sure to support your answers with specific references to the work. Essays must be typed, double-spaced, and grammatically correct; essays will be evaluated according to the Model for Evaluation of Student Writing.1) Choose from one of the following:Numerous writers, including Jill Lepore, Charley Locke, and Brian Phillips, have observed that since the election of 2016, there has been a significant rise of interest in dystopian literature. Sales of works such as 1984 and It Can't Happen Here have skyrocketed, seemingly propelled up the sales charts by current events. However, why this sudden interest? Clearly phrases such as “alternative facts” led to a resurgence of interest in 1984, but why read dystopian literature? What is its value, be it in our current socio-political milieu, or ever?Sasha Geffen asks, “What would it take to build utopia—a universally humane, livable earth—without walls?” It seems that utopian and dystopian literature often stem from the same impulse, a desire to show how the world could be, either as a model to strive toward or as a cautionary tale. She also suggests that one person's utopia could be another's dystopia, that?paradise for “us” often seems to involve somehow keeping “them” out,?however we define “us” and “them,” excluding or even persecuting “the other.” Is it possible, as she asks, to have a true utopia, or must utopia always be simultaneously utopian and dystopian?2) Choose from one of the following:One of the criteria common to dystopian literature is the separation of humanity from nature, the abolition of so-called “natural” impulses and desires. Consider the relationship between Smith and Julia and the very idea of “sexcrime.” Is sex a revolutionary action in 1984? Why, or why not?What is Orwell’s 1984 really about? That is, if it can be said to have a theme, what is that theme? Is it concerned with truth, with politics, with war, with language, with man’s place in the cosmos???What is Orwell saying—not about Smith, or even Oceania, but about modern life, society, or the human condition?3) The Westinghouse Studio One Production of George Orwell's 1984 (1953) presents a purposed retelling of the novel. Consider the socio-cultural and/or political milieu that generated both the novel (1949) and this version; in terms of story elements (plot, character, theme...) and film elements (cinematography, framing, use of light and shadow, music...) how is this adaptation successful or unsuccessful? That is, how well does it achieve its purpose?4) Despite his penchant for violence and criminality, Alex appreciates classical music, both symphonic and operatic, stating that “Music always sort of sharpened me up...and made me feel like old Bog himself, ready to make with the old donner and blitzen and have vecks and ptitsas creeching away in my ha ha power.” (I.3) Why does Burgess choose to give us a narrator who appreciates Mozart, Beethoven, and others, and what does this suggest about the connection between cultural education, aesthetic sensibility, and civilized behavior, if anything?5) After Alex has been “cured” of his impulse to violence, Dr. Brodsky says, “Our subject is...impelled towards the good by, paradoxically, being impelled towards evil. The intention to act violently is accompanied by strong feelings of physical distress. To counter these the subject has to switch to a diametrically opposed attitude.” However, the Chaplain objects, arguing that Alex “has no real choice.... Self-interest, the fear of physical pain drove him to that grotesque act of self-abasement. Its insincerity was clearly to be seen. He ceases to be a wrongdoer. He ceases also to be a creature capable of moral choice.” Ludovico’s Technique works, that is, it achieves its goal, but is Alex “good” now? Can one be good absent the ability to choose evil?6) Why “A Clockwork Orange”? That is, what is the real significance of the title, beyond F. Alexander’s apparent belief that “all lewdies nowadays were being turned into machines and that they were really—you and me and him and kiss-my-sharries—more like a natural growth like a fruit”? What does Burgess seem to be saying here—not about Alex, or even Ludovico’s Technique, but about society or the human condition?7) The original American edition of A Clockwork Orange included only twenty chapters, not twenty-one, and even though he made the film in England, Stanley Kubrick chose to follow the American version. What does the lack of Chapter 21 mean, to the text and the film? 8) When Captain Beatty visits Montag at home in Fahrenheit 451, he delivers an impassioned albeit limited explanation of the firemen's purpose and history, stating at one point, “We must all be alike. Not everyone born free and equal, as the Constitution says, but everyone made equal. Each man the image of every other; then all are happy, for there are no mountains to make them cower, to judge themselves against” (55-6). Kurt Vonnegut explores a similar theme in his short story, “Harrison Bergeron,” in which all citizens are made “equal,” as does Aldous Huxley in A Brave New World, and others. Is democracy somehow suspect? That is, why is literal equality, whether natural or imposed, seen as threatening or dangerous?9) After Montag reads from Matthew Arnold’s “Dover Beach,” Mrs. Bowles exclaims, “I've always said, poetry and tears, poetry and suicide and awful feelings, poetry and sickness; all that mush!...Why do people want to hurt people? Not enough hurt in the world, you got to tease people with stuff like that!” (97). Later in the same section, as the firemen rush to the site of yet another burning, Beatty shouts, “Here we go to keep the world happy, Montag!” (106). Is poetry, reading, or knowledge a source of misery? Is it better to be uneducated, unaware, but happy?10) In Atomic Narratives and American Youth: Coming of Age with the Atom, 1945–1955, Michael Scheibach writes,[Bradbury], like Orwell, also portrayed a world?where individuality was threatened by social control and authoritarian power, obvious allusions to the threat of communism. Although Bradbury offered a post-holocaust ending, he reflected Orwell's overall negativity toward the massification of society. To both authors media had become the primary means of monitoring the populace and placating it at the same time. These books are clearly atomic narratives because they contain themes of atomic destruction, loss of individuality, lack of control, fear of conformity, and alienation from society.Both authors were writing in the mid-twentieth century, however, decades before the personal computers and cell phones, the Internet, and social?media. Drawing upon evidence from these two and potentially other texts, explore this idea: Is media—in these texts, and in our society—a means of both monitoring and placating society? 11) A dystopia is, virtually by definition, a possible world, one that logically and at least semi-plausibly arises from our current world. (Or from the time period in which the work was written.) Furthermore, dystopian works generally focus on society and its impact on the individual. As such, certain works of science fiction or fantasy, while interesting, are not dystopian. Consider the society depicted in The Handmaid's Tale: Is the development of the Republic of Gilead possible? Plausible? Why, or why not?12) ?In “Their Identities Denied, Afghan Women Ask, ‘Where Is My Name?,’” Mujib Mashal writes,The denial of women’s basic identity in public is emblematic of how deep misogyny runs in this society, when even male schoolchildren often get into fights to defend their honor, which they are taught is besmirched if someone mentions their mother’s or sister’s name. Hassan Rizayee, an Afghan sociologist, said the custom was rooted in tribal ways of life:“According to tribal logic, the important thing is the ownership of a woman’s body,” Mr. Rizayee said. “The body of a woman belongs to a man, and other people should not even use her body indirectly, such as looking at her. Based on this logic, the body, face and name of the woman belong to the man.”Similarly, in The Handmaid's Tale, women’s identities are subsumed by the use of names such as Offred and their bodies concealed; however, this clearly does not stem from “honor” or “tribal ways of life,” as Gilead is a near-future theocracy/theonomy in the United States. Why and how does the subjugation—or ownership—of women in the Republic of Gilead differ from that described by Mashal as extant in Afghan culture?13) The children born to handmaids are, if healthy, adopted into and raised by the families the handmaids serve. However, this creates a thorny question, one not addressed in the novel nor in the movie: Once the first generation of fertile women drafted as handmaids has been...depleted, let’s say, where do more handmaids come from?14) “Historical Notes,” the last section of The Handmaid's Tale, seems to suggest that the Republic of Gilead is short-lived, at best. Furthermore, the names, cultural origins, and relative positions of the conference presenters and attendees also seem to suggest not just the overthrow or dissolution of Gilead, but a radical shift from contemporary world politics, as well. How do the “Historical Notes” function as a coda and as a suggestion of a better society, even a Utopia?Research Paper: Due in stages (see below): Compose a clear, well-written, properly documented (MLA format) argumentative essay of at least seven to twelve pages (1500-2500 words minimum), with a cover page and Works Cited page (cover page and Works Cited do not count toward the seven-page requirement). The paper must be argumentative (persuasive), with a clear, explicit, and assertive thesis statement, and must use a minimum of five to seven sources, including three to five secondary sources; secondary sources must be scholarly criticism or analysis, not summaries, reviews, or “analysis” from sites such as e-Notes, SparkNotes, Wikipedia*, 123HelpMe, or . You must include at least one short quotation, one long—block—quotation, and one paraphrase, and these sources must be properly documented (utilizing MLA format), and integrated into your writing smoothly and correctly. * On use of Wikipedia in college-level research, see Wikipedia founder Jimmy Wales on PBS NewsHour, here: “I don't think at a university level it makes sense to cite any encyclopedia in an academic paper. That's just not what an encyclopedia's role is in the research process. Maybe if you're in junior high, you know? If some kid out there is twelve years old and they wrote something and they put in a footnote, we should be thrilled, right? That's his first start on the idea of crediting other people with ideas and things like that, but at the university level? No, it's a bit junior high to cite an encyclopedia.” Topic Selection and Preliminary Thesis: Due Friday, 31 May: You must establish a plan and a clear thesis before you can begin to put together a focused, well-organized, and purposeful research essay. Therefore, as your first step in the research essay assignment, you must develop and submit a clear, well-written, one-page explanation of the topic you have chosen, your reason for the selection, your focus and opinion, and a clear, well-written, explicit, and assertive preliminary thesis. This proposal may also include a preliminary idea of the plan of the paper, its intention or research question. Note: Choose your topic carefully. You will not be allowed to change your topic once you have made your selection, although you may change your position on the particular issue and will, presumably, modify your thesis during the process of research and writing. *Note: Students must obtain prior approval for independent topics; speak to me before or after class or email me to set up an appointment during my office hours.Your work should take the following form:Topic: the topic selected from the list provided or one you have developed in consultation with the instructor. Rationale: why you have chosen to research and write about this particular topic.Focus: a narrowed form of the subject, and the issue or debate involved. Opinion: your subjective opinion on the debate or issue.Thesis: your opinion, worded objectively.For example: Topic: War and Dystopia in Harlan Ellison’s “Soldier Out of Time,” The Terminator, and Terminator 2: Judgment Day (Note: this is not a real topic choice!)Rationale: I selected this topic because I saw all of the Terminator films and I just heard the newest one will feature Linda Hamilton again. I am curious about how the film versions differ and why, and what relation they all have to the short story. Focus: How do these works differ in terms of realism and audience appreciation? Is each a true dystopia, or merely an end-of-the-world scenario, and how do we distinguish between the two?Opinion: I think that while all three are okay,?the Terminator films are more interesting for contemporary audiences.Thesis: While “Soldier Out of Time” is at least innovative and interesting for its time, the movie series captures and expands upon the central conceit of the story? in an entertaining, realistic, and commercially successful manner, despite presenting less of a critique of contemporary society and thus diverging from traditional notions of ic Choices:1) A number of works of dystopian literature, in addition to those discussed in class, have been adapted to film (cinema or television), sometimes more than once. Choose one such text, other than those on the syllabus, and analyze a cinematic adaptation or, even better, two or more different film versions (see Sample Introduction). How does each version adapt, revise, or alter the story? What is changed or left out, and why? How do all of these individual changes contribute to a different interpretation of the text; that is, what is the significant difference between the versions? And, finally, how does the socio-cultural milieu of each film inform these differences? Some suggested works (see me if you have others in mind): Jerome Bixby, “It's a Good Life” (as “It's a Good Life” on The Twilight Zone, 1961; as the third story, directed by Joe Dante, in Twilight Zone: The Movie, 1983; as well as the segment? “The Bart Zone,” from The Simpsons episode 8F02, “Treehouse of Horror II”) Pierre Boulle, Planet of the Apes (or, La Planète des Singes) (as the original Planet of the Apes, 1968, the Tim Burton remake, Planet of the Apes, 2001, and less directly, Rise of the Planet of the Apes, 2011, and possibly its sequels) Richard Matheson, I Am Legend (as The Last Man on Earth with Vincent Price, 1964, The Omega Man with Charlton Heston, 1971, and I Am Legend with Will Smith, 2007, and—I am not making this up—as the low-budget I Am Omega, 2007, as well as the segment? “The Homega Man,” from The Simpsons episode 5F02, “Treehouse of Horror VIII”) and more to come, as I think of them...2) Many familiar tropes, ideas, or themes appear over and over again in dystopian works either in literature, in film, or both. For example, numerous texts and films assume our world becomes unimaginably horrible due to one or more of the following:? “After the Bomb”: Nuclear Apocalypse and Its Aftermath? “Did You Raise the Dead?”: Vampires and Ghouls and Zombies (oh, my); ? “If This Goes On...”: Political or Religious Oppression? “It Came from Outer Space”: Alien Invaders? “No Blade of Grass”: Environmental/Ecological Collapse, natural or man-made? “Rise of the Machines”: Computer, Robot, or Cyborg Domination? “When Animals Attack”: (a sub-category of Environmental/Ecological Collapse, above)? and more to come...Select a recurrent trope such as one of these, and analyze how it features in at least three texts and/or films, ideally from at least three different decades, not including those on the syllabus. For example, “When Animals Attack” could in theory include such diverse works as Daphne du Maurier’s “The Birds” (filmed by Alfred Hitchcock in 1963) to Night of the Lepus (1972) to James Patterson’s Zoo, and countless others. As above, your discussion should focus on the significant difference between the interpretations, and how (and why) the socio-cultural milieu of each film creates and reveals these differences.*Note: A dystopia is, virtually by definition, a possible world, one that logically and at least semi-plausibly arises from our current world. (Or from the time period in which the author was living, as in the case of Jack London’s The Iron Heel, 1908, and E.M. Forster’s The Machine Stops, 1909.) Furthermore, dystopian works generally focus on society and its impact on the individual. As such, certain works of science fiction or fantasy, while interesting, are not dystopian. I Am Legend? Dystopian. (Maybe.) Dracula? Not dystopian.Annotated Preliminary Bibliography: Due Thursday, 13 JuneYou must submit an?annotated preliminary bibliography with a minimum of five to seven sources, correctly cited according to MLA style. This may include up to three primary sources and a minimum of three to five secondary sources; secondary sources must be scholarly criticism or analysis, not summaries, reviews, or “analysis” from sites such as e-Notes, SparkNotes, Wikipedia*, 123HelpMe, or ; instead, use the library resources, including the available electronic databases such as Academic Search Complete, InfoTrac General OneFile, Lexis-Nexis Academic, Opposing Viewpoints in Context, Points of View Reference Center, and CQ Researcher, to locate appropriate sources. To access the databases from home, click on the individual database link. Then, when prompted, enter your username (N #) and password (PIN). You may also utilize , The Movie Review Query Engine, but be sure to select only professional, reliable reviews: New York Times? Probably okay. JoBlo's Movie Emporium? Not so much.In addition to a correct citation for each source, you must include a description or summary of the source, at least one paragraph long, and an explanation of how you foresee incorporating it into your essay. For additional information on Annotated Bibliographies, see the Purdue University Online Writing Lab (OWL)’s Annotated Bibliographies.Preliminary Draft: Due Thursday, 20 JuneA finished, typed draft of the completed research essay must be submitted for review, evaluation, and comments. This should be a complete draft of your research essay, using a minimum of three to five secondary sources, five to seven pages, and including both a cover page and Works Cited page. This draft is worth 5% of your final grade; failure to bring the required essay will result in a zero for the assignment.Note: You do not need to submit the folder containing copies of your sources at this time.Research Paper: Due Wednesday, 26 JuneThe final research essay must be submitted, in its folder with all supporting materials: photocopies or printouts of all sources, Topic Selection and Preliminary Thesis, Annotated Preliminary Bibliography, Preliminary Draft, outline–if you have completed one–and any other related materials. Failure to submit the complete folder on the due date will result in a zero for the assignment.Final Exam: Wednesday, 26 June: Students will complete a final exam during the official final exam period, evaluating students’ recognition and comprehension of material studied during the previous weeks. This exam will cover specific texts and films, as well as the principles of cinematic adaptation and critical analysis, and may combine objective questions and short essay answers. Students may be allowed to use notes or textbooks for the essay portion of the exams only.ENG251.docxLast revised: 23 May 2019MODEL FOR EVALUATION OF STUDENT WRITINGUNSATISFACTORYSATISFACTORYABOVE AVERAGEEXCELLENTA. CONTENT:Includes thesis statement and both quantity and quality of supporting detailsThesis is lacking or incorrect, and not supported with appropriate detail. Writing is thin, including generalizations with few or no concrete examples or illustrations.Thesis is apparent but general or common-place. Support may be sketchy or occasionally irrelevant. Generalizations are supported with examples, but content may be thin.Thesis is explicit, appropriate, and well supported. Content is both adequate and appropriate, providing examples and illustrations to support all generalizations.Thesis is explicit and significant, assertive, objectively worded, and supported with substantial and relevant information. The essay includes a wealth of relevant details, examples, or imagery.B. ORGANIZATION:Includes paragraph development and arrangement of body paragraphs, as well as coherence (introduction, body, conclusion)The plan and purpose of the essay are not apparent. It is not developed or is developed with some irrelevancy or redundancy. Paragraphs are incoherent or undeveloped. Transitions are lacking.The plan of development is apparent but not consistently followed. The writing lacks clarity or is repetitious. The paragraphs are generally effective, but transitions may be weak or mechanical.The plan of development is clear and consistently followed. The writing is concise and clear, with a minimum of repetition. Paragraphs are generally well-developed and effective, with appropriate transitions.It is planned logically and progresses in clearly ordered and necessary steps, and developed with originality and attention to proportion and emphasis. Paragraphs are logically and effectively developed with effective transitions.C. DICTION AND MECHANICS:Includes conventions of grammar, usage, and punctuation, as well as appropriate dictionOften, sentences are not grammatically correct. Vocabulary is elementary, not college level. Words are used incorrectly. Persistent usage, spelling, or punctuation errors exist.Sentences are generally correct but may lack distinction, creativity, or style. Vocabulary is generally used correctly. Occasional lapses in grammar, punctuation, or spelling exist.Sentences are correctly constructed and demonstrate variety. The vocabulary is effective and appropriate. Errors in grammar, punctuation, or spelling are rare.The sentences are skillfully constructed, effective, and varied. Words used are vivid, accurate, and original. The writing is without flaws in grammar or mechanics. A personal style is evident.D. RESEARCH AND DOCUMENTATION:Includes documentation and incorporation of appropriate college-level sourcesSources are lacking or inappropriate. Information from sources is not adequately incorporated into the body of the essay. Documentation is missing, inadequate, or incorrect.Sources are adequate, but may be too general. Information is occasionally weakly incorporated or is unconnected to the content of the essay. Documentation is generally correct, but may contain some minor errors.Sources are generally relevant, authoritative, and appropriate. Information is relevant and is usually incorporated correctly. In-text citations and References or Works Cited page are generally correct.Sources used are relevant, substantial, and authoritative, demonstrating creativity and scholarly research. Information is introduced and incorporated smoothly and appropriately. Documentation is clear and free of errors.English 251: Film and LiteratureSummer I 2019Section CA, CRN 80542Brian T. MurphyI, _____________________________________ (print your name), hereby acknowledge that I have received a copy of the syllabus for the above course. Furthermore, I agree to read and follow the syllabus and to abide by class policies and procedures. I understand that attending class meetings regularly, completing all assigned work, and abiding by class policies is necessary in order to pass the class, and that failure to do so will adversely affect my grade and may result in failure for the course.Signed: _____________________________________ Date: ___/___/_____(To be signed, dated, and returned by the student.)Please see other side to complete personal information survey.English 251: Film and LiteratureSummer I 2019Section CA, CRN 80542Brian T. Murphy1. Your preferred name: ________________________________________________(If you go by your middle name, prefer Chris to Christopher, etc.)2. Previous college-level English courses completed, at NCC or elsewhere.(Please include semester, instructor, and grade, if possible.)3. What do you hope to get out of this class?4. What do you perceive as your strengths/weaknesses as a writer?5. Do you have any additional questions, concerns, or issues? ................
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