Cinematographic Doors to Nineteenth-Century Literature 03-AP-CDN
The course introduces some most important masterpieces of the nineteenth-century literature through their film adaptations. Selected topics will present an interesting panorama of romantic, realistic and modernist literature of the time and inspire a reflection on possible methods of translating certain plots into the language of moving pictures. A little bit of theory, a selection of excerpts from the greatest literary classics and a thrilling trip into memorable moments of cinema history are all part of this seminar which alongside to studying should bring an honest portion of intelligent entertainment.
Week 1: On theory of film adaptation – introductory discussion.
Week 2: On theory of film adaptation, part 2 – exemplary study cases.
Week 3: Hunchbacks of their times: Victor Hugo’s Notre Dame de Paris and its adaptations from Wallace Worsley to Disney.
Week 4: Romanticism and melodrama. The film genre for the literary epoch? Jean Dellanoy’s Version of Notre Dame de Paris.
Week 5: Realms of the Incredible, part 1: Edgar Allan Poe’s stories…
Week 6: Realms of the Incredible, part 2: …and their film adaptations.
Week 7: Dickens at the movies: an overview.
Week 8: David Lean’s 1946 version of Charles Dickens’ Great Expectations.
Week 9: Contemporary Mode: Great Expectations as adapted by Alfonso Cuarón.
Week 10: Social rules of conduct: Henrik Ibsen’s Enemy of the People and George Shaffer’s adaptation of the play.
Week 11: Enemy of the People and world cinema.
Week 12: Lewis Carroll’s Alice’s Adventures in Wonderland as a challenge to cinematography.
Week 13: Struggling for Alice: Jan Svankmayer vs. Tim Burton.
Week 14: The Darkest place on Earth: Joseph Conrad’s Heart of Darkness.
Week 15: The End: F. F. Coppola’s Apocalypse Now.
Cele kształcenia
Informacja o tym, gdzie można zapoznać się z materiałami do zajęć
Nakład pracy studenta (punkty ECTS)
Rodzaj przedmiotu
Wymagania wstępne w zakresie wiedzy, umiejętności oraz kompetencji
Koordynatorzy przedmiotu
Kryteria oceniania
Students are expected to be present during lectures, participate in discussions and prepare a written analysis of a chosen film adaptation of a nineteenth-century literary work which is not covered during the course. The teacher is free to arrange a final examination at the end of the course.
Literatura
Theory:
1. A. S. Anderson, ?Transforming Great Expectations: Dickens, Cuarón and the Bildungsroman?, in: Beyond Adaptation: Essays on Radical Transformations of Original Works, ed. P. Frus, Ch. Williams, McFarland&Co 2010, pp. 69-82.
2. S. Chatman, ?2? film versions of Heart of Darkness?, in: Conrad on Film, ed. G. N. Moore, Cambridge University Press 1997, pp. 207-223.
3. L. Hutcheon, A Theory of Adaptation, Routlege Chapman&Hall 2006.
4. D. G. Smith, The Poe Cinema: a critical filmography of theatrical releases based on works of Edgar Allan Poe, McFarland&Co 1999 [fragments].
Fiction.
1. L. Carroll, Alice?s Adventures in the Wonderland & Through the Looking Glass [fragments].
2. J. Conrad, Heart of Darkness [any edition].
3. Ch. Dickens, Great Expectations [fragments].
4. V. Hugo, Notre-Dame de Paris, translated by and with an introduction by James Sturrock, Penguin Classics 1982 [fragments].
5. E. A. Poe, Tales of Mystery and Imagination, [any edition].
Więcej informacji
Dodatkowe informacje (np. o kalendarzu rejestracji, prowadzących zajęcia, lokalizacji i terminach zajęć) mogą być dostępne w serwisie USOSweb: