Facultade de Filoloxía e Traducción: Programas docentes 2010-2011 Código: OBRADOIRO DE EXPRESIÓN LITERARIA INGLESA 301512051

Titulación: Libre Elección FFT Curso ou ciclo: LE Cuadrimestre: 2º Créditos: 6 Carácter: Libre Elección Lingua na que se imparte: Inglés Área de coñecemento: Filoloxía Inglesa (345) Departamento: Filoloxía Inglesa, Francesa e Alemana (H04) Profesorado: Jorge Luis Bueno Alonso Despacho(s): B41 Teléfono(s): 986813958 Correo(s)-e : [email protected] Obxectivos This course offers a theoretical-practical workshop on 20th and 21st Century literary genres in English language through Film. As such, this course has a hybrid nature that combines literary analysis and film criticism to examine how the differences between written fiction and cinematic narrative allow the director of each adaptation to transfer the original story into a visual medium. The course considers a corpus of written and cinematic examples whose inclusion in it is based on the following assumptions: a) the literary texts are all important and representative pieces in the genres they belong to (novel, short story, theatre, graphic novel, screenplay); b) the cinematic texts are all important and relevant films from the point of view of filmmaking; c) the films are all intriguing narratives whose value is not dependant exclusively upon their “fidelity” to their literary sources. In some cases they stand apart from the fiction they transfer even as they descend from it. The transition from page to screen requires inevitable changes that make each adaptation a unique work of art. To deal with this complex connection and its thematic intricacies is the main aim of this course. As far as the specific competences to be acquired by the student as a result of the subject’s learning outcomes, the student, thus, will be able to: a) understand the fundamental concepts of film analysis and film adaptation of literary material; b) offer critical explanations of filmic texts using the concepts of filmic language; c) compare from a critical point of view a given filmic text with its main literary source(s). TEMARIO 0. INITIAL SESSION : GOALS AND COURSE STRUCTURE 1. 20 TH & 21 ST CENTURY NARRATIVES IN ENGLISH : A LITERARY & FILMIC INTRODUCTION 1.1. “A movie moves, and a book talks, and that’s the difference, you see”: Adapting Literary Texts to Film 1.2. The Language of Film: Film Terms and Topics for Film Analysis and Writing. 2. FILMING (L ONG ) SHORT STORIES : TRANSITIONAL TEXTS 2.1. A masterpiece example: Francis Ford Coppola’s Apocalypse Now (1979) from Joseph Conrad’s Heart of Darkness (1902) 3. FILMING NOVELS : THREE CASE STUDIES 3.1. Canonical Text: Michael Radford’s Nineteen Eighty-Four (1984) from George Orwell’s 1984 (1949) 3.2. Best-Seller: Francis Ford Coppola’s The Godfather (1972)from Mario Puzo’s The Godfather (1969) 3.3. Modern Classic: Anthony Minghella’s The English Patient (1996) from Michael Ondaatje’s The English Patient (1992) 4. FILMING THEATRE : TWO THEATRICAL /F ILMIC STANDARDS 4.1. Joseph L. Mankiewicz’s Sleuth (1972) from Anthony Shaffer’s Sleuth (1970) 4.2. James Foley’s Glengarry Glen Ross (1992) from David Mamet’s Glengarry Glen Ross (1984) 5. FILMING GRAPHIC NOVELS : THE TWO -WAY TEXTUAL ROAD 5.1. Literary-Driven Graphic Novel: Frank Miller & Robert Rodriguez’s Sin City (2005) from Frank Miller’s Sin City serial from the 90’s. 5.2. Visually-Driven Graphic Film: Richard Linklater’s A Scanner Darkly (2006) from Philip K. Dick’s A Scanner Darkly (1977). 6. FILMING SCREENPLAYS : WRITING LITERATURE FOR THE SCREEN 6.1. Written & Directed: Woody Allen’s Hannah and Her Sisters (1986) 6.2. Written to be directed: Wayne Wang & Paul Auster’s Smoke (1995) 7. FILMING SHORT STORIES : PAST AND PRESENT 7.1. Expanding the World: Ang Lee’s Brokeback Mountain (2005) from Annie Proulx’s “Brokeback Mountain”. The New Yorker (1997) 7.2. Encapsulating the World: John Huston’s The Dead (1987) from James Joyce’s “The Dead”. Dubliners (1914). 8. LAST PICTURE SHOW: A FINAL SUMMARY SESSION Concluding remarks through Martin Scorsese ‘s & Michael Henry Wilson’s A Personal Journey with Martin Scorsese through American Movies (1995)

Horario docente Horario de titorias Monday 16h-18h Tuesday 16h-18h Monday 13h-15h, Tuesday 11h-13h Wednesday 12h -14 h Bibliografía indispensable A PHOTOCOPY SET with all the compulsory theory material will be available at the faculty’s copy shop. It will contain all the required readings for the course. An expanded bibliographical list is placed on the syllabus available at http://webs.uvigo.es/jlbueno/teachingstuff.htm Metodoloxía (forma na que se desenvolve a docencia) Sinatura do profesorado responsable The lectures will combine theoretical presentations with practical analysis of the texts proposed

Procedementos de avaliación The subject will be assessed as follows: a) Final exam in May/June 2011. It will have a short theoretical test –in which the student will have to show his/her knowledge of the topics exposed throughout the course– and a practical part –in which two clips from the films discussed in the course will be analysed and commented–. [50% of the final mark] b) Active involvement in the in-class practical sessions and commentaries [10 % of the final mark] c) A written term paper (10-12 pp) will have to be composed. It will compare any of the written fictions analyzed in the course with its cinematic narrative. The student is free to select the approach and the topic. Although guidance will be given at all times, students are strongly advised to talk with the lecturer for personal assessment. [40% of the final mark]