To read good literature is to examine the essence of what it is to be
human. Effective writers successfully sculpt ideas into words to produce
good literature, which when read carefully, will invariably evoke a response
from us. Because this class is composed of different students with varied
backgrounds and experiences, each student's response to literature will be
unique. It is this unique response that is the entry point to
understanding, analyzing, synthesizing and appreciating both good literature
and your own life.
Until the turn of the last century, literacy primarily meant being able to
read and interpret literature. However, modern forms of communication are
themselves texts in their own right with their own grammars and codes
requiring a new form of literacy to be comprehended. Mass media such as
television, newspapers, radio and cinema bombard us daily with messages and
information more frequently and more powerfully than does traditional
literature. How can one become an active and critical “reader” of both
types of texts? What are the dangers inherent in being a passive consumer
of the media? These are some of the questions this course will answer.
To this end, From Books to Films will require much of your ability to decode
and analyze (break into parts) the elements of film as well as traditional
literature. The media literacy you develop in this course is intended to
remain with you for the rest of your life. If you take an active interest
in developing the skills offered in From Books to Films, you will soon find
you will be looking at books, television, advertising and, of course, cinema
very differently.
Some “lenses” of analysis through which you will learn to examine
literature, film and life will include some of the following depending on
the class’ needs:
• Binary opposition analysis
• Questioning heuristics
• Archetypal analysis
• Historical/ biographical analysis
• Close connotative reading
Practice with these analytical methods throughout this course should serve
you well in college as they will equip you with the ability to interpret
literature, film and life independently.
As readers of texts, we will also write, for there exists no better way to
learn than to force ourselves to put into words the sometimes disconnected,
unintelligible and curious ruminations churning inside our minds. As the
noted author E.M. Forster once said, "How do I know what I think until I see
what I say?" In this class, expect to see much of what you think!
From Books to Films is designed for students who have previously
demonstrated above average competency in Language Arts. You will be
required to demonstrate your understanding of the differences between the
literary structure of the novel and the cinematic structure of film.
Students will demonstrate their knowledge of the following skills: correct
structure and usage in writing critiques, comparative analysis and essays;
logical and analytical reasoning in discussing the literary works and their
film adaptations; and effective public speaking skills in presenting oral
reports. You are also accepting the responsibility of designing and
completing independent projects.
From Books to Films is designed to enhance and integrate your skills in
listening, note-taking, critical viewing, speaking, vocabulary acquisition,
active reading, researching, studying, writing and critical thinking. As
this is an honors course, students are responsible for all vocabulary in the
readings whether the words formally assigned or not. Avoid beginning a
novel "cold"-- independent research before and during reading is expected
(if the teacher is learning something from YOU during discussion, you are
meeting the expectations). While some creative writing and formal essay
assignments will be expected, your performance on analytical projects,
formalized objective tests and during class discussion will comprise the
bulk of your grade. One of the most important goals of this honors-level
course is to prepare you for college studies.
In addition to your ongoing assignments, you are expected to read four
works, one novel every two to three weeks. The following list does not, of
course, include sources you will consult independently and regularly to feed
your natural curiosity.
• Class-selected works (pending teacher approval)
• Heart of Darkness by Joseph Conrad
• Washington Square by Henry James
• Wuthering Heights by Emily Brontë
• The Phantom of the Opera by Gaston Leroux
• From Remembering America: A Voice from the Sixties by R. Goodwin
• The Color Purple by Alice Walker
• Photocopied supplemental handouts
Your individual evaluation consists of five categories per quarter, each
with different percentage weights §. The break-down is as follows:
1. Papers, Projects, Tests 65 %
2. Homework 5 %
3. Class participation 20 %
4. Roundtables and Quizzes 10 %
§ Percentages are subject to change based on the number and nature of the
assignments.
Papers include critical analyses and a screenplay. Revisions, if
applicable, must be turned in no later than two days from the day your
composition is returned. Grades for late compositions will diminish by one
letter grade for each day they are late. Think ahead. If you believe you
are going to miss class for a legitimate reason, have someone take your work
to school for you. Plan ahead. Have a spare printer cartridge at the ready
at all times, and save your work to a disk in case of a computer crash.
Your having technical difficulties is not a legitimate excuse, so please do
not ask for additional time without penalty to complete a paper. Finally,
plan to finish your papers at least a day ahead of time to account for any
potential mishaps.
Projects which demonstrate collaborative problem-solving, solid teamwork,
ingenuity and analysis will be required. You will be provided with a list
of project suggestions, but it is up to your group to decide which format
will best serve as an instructional tool for the class. Grades for late
projects late by one day will diminish by one letter grade. Because it
would be unfair to hinder the class’ progression on the course’s timeline,
projects more than one day late will receive a zero.
Tests are designed to evaluate your ability to measure your independent
understanding of the novels. Tests demand recall of details from the
literature, so please read carefully and try to visualize the details as you
read. Avoid the temptation to use online study guides or those “bumblebee
books” as they cannot provide you with the same experience as reading the
literature nor can they prepare you sufficiently for the tests. Don’t cheat
yourself!
Homework primarily consists of keeping up with the reading, conducting
independent project research and collaborating with partners on all ongoing
projects. Specific overnight homework is sometimes assigned as well to
provide an opportunity for you to practice skills independently or to serve
as a springboard for class discussion. Specifically assigned homework will
be examined for overall thoroughness although it may not always be collected
or commented upon. You are encouraged to meet with the teacher regarding
any feedback you desire on your assignments. Homework must be fully
completed on time to receive credit—late homework is unacceptable. Taking
light, independent reading notes while reading is always expected.
Reading Notes will often also serve as a springboard for class discussion,
so keep track of areas of confusion and specific questions. If you purchase
your own copy of the novel, you should write in the margins; should you
choose to use the school’s copy, secure a medium-sized three-ring binder and
loose-leaf paper for your reading notes (“sticky” notes are also
acceptable).
Participation includes primarily taking an active and sincere part in class
discussions and lectures. You are expected to be critical and question
others’ assertions but to do so respectfully and in the interest of academic
growth. Working effectively and efficiently in groups; listening well;
taking notes; allowing and encouraging others to speak freely; supporting
peers; and refraining from talking when a peer or I am speaking are also
valued heavily in determining your class participation grade. Having more
than one absence will begin detracting from your class participation grade.
Unexcused absences will not be tolerated and will devastate your class
participation grade. Be sure to communicate with me ahead of time when you
know you will not be in class.
Literature Roundtables are student-run discussions lasting approximately 20-
30 minutes. You are graded on the quality and quantity of your
contributions during these discussions. Think of Literature Roundtable
grades as the equivalent of a quiz grade.
Final Exam (worth 20 percent of final grade) In addition to your ongoing
course work, you are expected to be working on a performance-based
assessment which will be assigned approximately two to three weeks into the
course.
Your final exam group will write and videotape an adaptation of a
professionally published short story of your choice (it may be a short story
you have read previously). This fifteen-to- twenty-minute feature (quality
is more important than quantity) will require you to apply your knowledge of
cinematography and literature-to-film adaptation techniques.
Your film must also be polished and professional. You are responsible for
identifying camera and editing resources—these will not be provided to you.
Your group’s film debut is scheduled for 7:00 p.m. Friday, January 14,
2005. All students in this class are expected to arrive one hour ahead of
time for set-up. Twenty percent of your final exam grade will be based on
how well you promote your film. Invitations, a brochure and a movie poster
will be due before the premiere. Bringing creative snacks and food
pertaining to your film’s theme are also an expectation (popcorn doesn’t cut
it!). Finally, your group will be field questions from the audience and
discuss the cinematic choices you made (i.e. why you chose the shots you
chose, why you used the editing techniques you did, etc.). A reminder:
E.G.H.S attendance policy forbids you from attending after-school events on
any day you are absent. You are expected to be in school on the day
specified above or risk failing the final exam.
Extremely. Out of courtesy to your peers and deference to me, please arrive
to class before the bell rings. I understand that extenuating circumstances
sometimes arise; however, if you are leaving your previous class and are
unsure whether you will be able to arrive to my class on time, obtain a pass
from your teacher just to be safe. I am happy to provide you with a pass to
your next period should you need one.
You have two days to make up any missed test; failure to do so will result
in a zero for the missed test. It is your responsibility to consult the
class website for the night’s homework and handouts. Upon returning, see
the teacher to schedule a make-up test as soon as possible. If you are
absent on the day your group is scheduled to present a project, you will NOT
receive credit and will likely devastate your average. For your own sake,
be sure to note project presentation days carefully. Of course, extenuating
circumstances such as funerals and catastrophic illness will be handled on a
case-by-case basis. Please do not make any assumptions about timelines for
make-up work. The key is communication. If you are absent for any period
of time for a legitimate reason, contact a classmate immediately to obtain
the notes and assignment. If you are absent legitimately for a long period
of time, please contact me immediately so we can make alternative
arrangements.
You are expected to conduct routine research to feed your natural curiosity;
however, you must agree to refrain from consulting online
studyguides, “bumblebee books,” SparkNotes and the like. It is acceptable and
encouraged to adopt and/or challenge literary critics’ and classmates’ ideas
when formulating your own beliefs about the novels, but you are responsible
for giving credit to others in discussions, written assignments and projects.
This should go without saying, but cheating and plagiarism in any form will
be dealt with harshly. If you do cheat or plagiarize material in this course,
I reserve the right to inform all teachers and guidance
counselors who are writing college recommendations for you of your
transgression.
Please feel free to drop by my office unannounced or to arrange a meeting
for extra help. Please note that I teach during E and F and am therefore
unavailable to meet during these periods. Visit this website's homepage for
a detailed schedule matrix.
If you are unclear about the course description, philosophy or expectations
or are having trouble with the reading, do not hesitate to schedule some
time with me immediately so we can work through it. Be sure not to wait
until the last minute, however.
I am always happy to meet with students who would like extra direction or
help. I consider seeking assistance the mark of a serious student, not a
weak one.
Please ask questions if you do not understand a concept. Chances are if you
have a question, others do as well.
I am truly excited to work with you. Please know that if you invest in this
course, you will gain both media and literary literacy, two extremely
valuable tools for the 21st Century. You also will have also created an
enduring work of art of which you can be proud.
