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English 460: Fiction Into Film

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English 460: Fiction Into Film ENGLISH 460: FICTION INTO FILM Established Goals: The course is designed to develop in the students the habits of analysis, criticism, understanding, and appreciation of film in a disciplined and creative manner. The students will watch film in a new way — actively and critically — and develop a cinematic literacy and working knowledge of American film. Toward that end, the students will screen classic American films, dissect the films, and engage in interactive discussion of what has been read and viewed as well as write on topics that stem from their filmic experience. Understandings: Students will understand that • film is a form of literature and one of our culture’s most influential forms of storytelling; • film reflects and shapes the changing nature of our heroes, values, and beliefs — our American identity; • some of the most popular American film genres express our social and cultural tensions; • cinema technology relates to film art. Essential Questions: • How does film communicate in a way different from the written word, other media, and art forms? • How do we judge films in personal, aesthetic, historical, and ideological terms? • How do we increase our ability to watch films actively and critically instead of as passive spectators? Core Units: 1) Words and Pictures: The Invention of Hugo Cabret 2) The Three-Act Structure: Sunset Boulevard (d. Billy Wilder) 3) The Character Arc: Film Noir and Double Indemnity (d. Billy Wilder) 4) Mise en Scène: The Graduate (d. Mike Nichols) 5) Suspense: Rear Window (d. Alfred Hitchcock) 6) Romance and Nobility: Casablanca (d. Michael Curtiz) 7) Putting the Pieces Together: Citizen Kane (d. Orson Welles) Since the core categories of the three-act structure, character arc, and mise en scène are basic film components, other films may also effectively illustrate the particular unit concepts. Core Reading: The Invention of Hugo Cabret (Brian Selznick) Bank Films: The Apartment (d. Billy Wilder) The Artist (d. Michel Hazanavicius) It Happened One Night (d. Frank Capra) It’s a Wonderful Life (d. Frank Capra) Mr. Smith Goes to Washington (d. Frank Capra) On the Waterfront (d. Elia Kazan) The Purple Rose of Cairo (d. Woody Allen) The Searchers (d. John Ford) Singin’ in the Rain (d. Stanley Donen and Gene Kelly) Some Like It Hot (d. Billy Wilder) ENGLISH 460: FICTION INTO FILM WORDS AND PICTURES: THE INVENTION OF HUGO CABRET Stage 1 — Desired Results Established Goals: The students will explore the art of adaptation by studying how the picture sequences in Brian Selznick’s novel (in words and pictures) were turned into screenplay text (by John Logan), and then turned back into visual storytelling upon the screen by director Martin Scorsese. Toward that end, the students will read The Invention of Hugo Cabret, examine scenes from the novel’s adapted screenplay, and view the corresponding scenes from Hugo before trying their own hand at the creative-adaptive process. Understandings: Students will understand that • movies are made to satisfy our need for dreaming; • being faithful to a book isn’t the same as repeating every word. Essential Questions: • Have you ever “wondered where your dreams come from when you go to sleep at night”? • How does a work of cinema emerge from a work of literature? Outcomes / Objectives: Students will know • how the novel’s illustrations work in concert with the words to move the story forward; • about a bygone era of moviemaking; • the contributions of George Méliès to the early cinema. Students will be able to • turn a picture sequence into text that reads visually; • craft dialogue from narration; • write a screenplay segment that uses proper, contemporary, and professional form. Stage 2 — Assessment Evidence Performance Task: • Writing Assignment: In two pages (or so), take a picture sequence from The Invention of Hugo Cabret and turn it into text that works in concert with Selznick’s narration to craft your own bit of a screenplay adaptation that moves the action forward and includes dialogue. Other Evidence: • novel reading test; • inter-active discussion during the examination of novel, screenplay, and film segments; Stage 3 — Learning Plan • reading of The Invention of Hugo Cabret; • examination of the creative-adaptive process with looks at the novel (in words and pictures), the screenplay, and the film Hugo: The Invention of Hugo Cabret ⇒ pp 4 – 50 (pictures and words) Hugo (the screenplay) ⇒ pp 1 – 3 Hugo (d. Martin Scorsese, 2011) ⇒ [DVD // 0:45 – 5:13] The Invention of Hugo Cabret ⇒ pp 346 – 354 (pictures and words) Hugo (the screenplay) ⇒ pp 67 – 69 Hugo ⇒ [DVD // 1:08:29 – 1:11:15] • A Trip to the Moon (d. George Méliès, 1902) ⇒ [DVD Option 1: orchestral score + Méliès narration] • screenplay adaptation writing assignment ENGLISH 460: FICTION INTO FILM THE THREE-ACT STRUCTURE: SUNSET BOULEVARD Stage 1 — Desired Results Established Goals: The students will study how a screenplay lays out the structure for a finished film. Toward that end, the students will view Sunset Boulevard and apply strategies (written and spoken) to communicate information using the visual language of the cinema. Understandings: Students will understand that • screenplays are structure; • most American screenplays tend to conform to the classical paradigm, the three-act structure. Essential Questions: • How does the screenwriter organize ideas about how to tell a story? • How is the story stitched and woven together to mask the scene divisions? • What is a “Hollywood story”? Outcomes / Objectives: Students will know • all screenplays contain a basic linear structure: a beginning (Act I), a middle (Act II), and an end (Act III); • Act I is the unit of dramatic action that continues to the plot point at the end of Act I and is held together by a dramatic context known as the “Setup”; • Act II is the unit of dramatic structure that goes from the plot point at the end of Act I to the plot point at the end of Act II and is held together by the dramatic context known as the “Confrontation”; • Act III is the unit of dramatic structure that goes from the plot point at the end of Act II to the end of the script and is held together by the dramatic context known as the “Resolution”; • a plot point is an incident, episode, or event that hooks into the action and spins the story into another direction, “direction” being a line of development; • a film’s midpoint breaks Act II into two units of dramatic action, bridges the action of Act II so that it continues moving forward with a specific line of development at the same time that it helps recall earlier information of the story; • a prologue and epilogue serve as a frame for the main storyline; • the fade-to-black can serve as a “curtain” that identifies the pivotal changes in the story; • the storyline of Sunset Boulevard; • not all “Hollywood stories” have a happy ending. Students will be able to • summarize the main events of the Setup, Confrontation, and Resolution; • identify the scenes or events that “spin” the story in new directions; • identify the scene or event that “bridges” the action of Act II; • note the emotional shifts that come with the pivotal changes in the story; • discover how to deconstruct film as an art form; • utilize film language in discussion and writing. Stage 2 — Assessment Evidence Performance Task: • Trace the narrative of Sunset Boulevard along the lines of the paradigm of dramatic structure. First introduce the film’s storyline and structure. Next summarize the main action of the Prologue, Acts I, II, and III, and the Epilogue, also identifying the film’s plot points and midpoint. Conclude by explaining the irony of the film’s ending. Other Evidence: • inter-active discussion during the viewing of the film; • outline viewing log; • film summary assignment (log-line, questions, captions, and tag-line). Stage 3 — Learning Plan • introduction of the three-act structure; • “Hooray for Hollywood” introduction to Sunset Boulevard’s story setting; • viewing of Sunset Boulevard with commentary and inter-active discussion with emphasis on the narrative form; • presentation of the alternate opening of Sunset Boulevard, followed by discussion that includes reference to The Great Gatsby; • tracking the action and turning points of Sunset Boulevard during the viewing; • an homage to Sunset Boulevard from Mrs. Doubtfire; • Sunset Boulevard dramatic structure assignment. ENGLISH 460: FICTION INTO FILM THE CHARACTER ARC: FILM NOIR AND DOUBLE INDEMNITY Stage 1 — Desired Results Established Goals: The students will study Double Indemnity as representative of the film noir genre and as an example of film’s linkage to the mythology of the hero’s journey. Toward those ends, the students will apply strategies (written and spoken) to comprehend, interpret, evaluate, and appreciate the visual language of cinema. Understandings: Students will understand that • film noir is a style defined primarily in terms of light — or the lack of it; • its milieu is almost exclusively urban; • its tone is fatalistic and paranoid; • its themes characteristically revolve around violence, lust, greed, betrayal, and depravity; • motifs of entrapment abound; • film embraces myth, both for story lines and for a deeper influence in structure, motifs, and style; • the audience vicariously experiences forbidden and deadly sins on the hero’s darkest journey and has its own moral boundaries tested. Essential Questions: • “Pretty, isn’t it (killing for money — and a woman — and not getting the money or the woman)?” • “How could [he] have known that murder can sometimes smell like honeysuckle?” • Is it (pulling out of the crime) “because of what Keyes can do?” • How are these characters and this plot representative of America’s social climate in the 1930s and 1940s? Outcomes / Objectives: Students will know • the conventions of film noir; • key terms of the genre (e.g., hard boiled, femme fatale, voice-over, flashback); • the storyline of Double Indemnity; • the impact of World War II on the genre and on this film; • the twelve stages of the hero’s journey and the hero’s character arc in association with those stages.
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