PROPOSAL FOR NEW COURSE - DOC

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					COVER SHEET FOR PROPOSALS
To: From: Date: Subject: I. Curriculum Committee Celeste DeSario September 17, 2002 Course Proiposal: EG 58 Literature as Film

Nature of Proposal (check all that apply) A. Curriculum Proposals: 1. New Curriculum 2. Curriculum Revision(s) a. Course addition(s) b. Course deletion(s) c. Course substitution(s) d. Course rearrangement(s) e. Credit distribution changes f. Other changes (specify) B. Course Proposals: 1. New Course(s) a. Addition(s) b. Deletion(s) c. Substitution(s) (X) ( ) ( ) ( ) ) ) ) ) ( ) ( ( ( ( ( ) ) ) ) )

2. Course Revision(s) a. Change of description ( b. Change of title ( c. Change of catalog number ( d. Change of faculty contact hours ( e. Other changes (specify) II.

Votes and Recommendations (please attach or sign below) A. Dean of Faculty: (attach response to letter of intent) B. Vote of Department: Aye: 11 No: 0 Date: 9/17/02 C. Department Head:
(signature) (vote in numbers)

Joseph Inners

Date: 9/20/02

D. Other Departments/Campuses Affected: (attach notification(s) and responses) E. Class Size Committee: (attach notification and response)
Revised: 11/19/98

Suffolk County Community College College Curriculum Committee Letters of Intent Proposer___Celeste DeSario__________________ Campus: A_____ (name) Title___Professor of English__________ E_____ W__X__

Address____Western Campus S210____ Department/Area_ English____________

Telephone_____851-6542_______________

E-mail____desaric@sunysuffolk.edu___

Type of Curriculum Proposals (Brief descriptions should be attached) Courses New_____EG 58: Literature as Film__ Programs A.A.________________________________ A.S.________________________________ A.A.S.______________________________ Certificate___________________________ Changes to an existing course_____________ The proposal impacts: __X__one campus; Changes to an existing program__________ _____college

Adoption_____________________________

Recommendations: This proposal requires the following approval(s) Campus __X__ Approved: Yes__X__ No_____ College_____ Approved: Yes_____ No_____

____Theodore Hanley___________________________________________________________ Campus Dean of Faculty (signature) _____________________________________________________________________________ Vice President for Academic and Campus Affairs (signature)
copies to: Proposer Chairs of Campus Curriculum Committees Department/Area Administrators Deans of Faculty Chair of College Curriculum Committee Revised 2/8/99

PROPOSAL FOR NEW COURSE: ENG58 Literature as Film Campus: Western Proposed by: Celeste DeSario Professor of English Area: Liberal Arts Catalog Description: The course will examine some of the principal elements shared by literature and film (narration, character development and motivation, choice of setting , symbols and theme) to enable students to understand common factors between the two genres and to help them see that when literature is transformed into film it must undergo some fundamental changes which may ultimately alter the text‟s intent.

I. STATEMENT OF OBJECTIVES: After completing the course, Literature as Film, students will be able to recognize elements common to both literature and film and use these elements to analyze orally and in writing if a work of literature (short story, play, novella, novel) has been successfully adapted into a film. Students will use critical thinking skills such as comparing and contrasting, making inferences, evaluating intentions, and they will form critical judgments that go beyond the initial response and which send students back to the text for closer analysis. Students will compare similarities and pick out differences between the text and the screen adaptation focusing on narration, setting, character description, imagery, camera angles and distances, camera framing and composition, costumes, use of music and sound effects, and lighting. Comparing two genres, especially the powerful genre of film, helps students develop their critical thinking skills and refine both their oral and written analysis skills, and encourages them to explore their worlds beyond the boundaries of their backyards. After teaching Mass Media and Documentary Film for many years, I know students need a framework to view and analyze film which has tremendous influence over their lives. II. RELATIONSHIP TO STUDENTS A. Eligibility Students must complete EG11 as a prerequisite to take ENG58. Students should be familiar with essay writing which EG11 covers.

B. Credit Hours Students who complete ENG58 will earn 3 credit hours. C. Required/Elective The course is an English elective which requires a prerequisite of ENG11

D. Transferability My research on Literature as Film courses confirmed Jonathan Lovell’s theory in a report he wrote for the NCTE (National Council Teachers of English) Committee on Film Study in English Language Arts in 1987 where he stated, “...’the introduction to film course’ had become a staple in most American universities.” (Lovell, 1987) Below is a sampling of schools that offer literature and film courses: University of Mass: ENGL 339: Film and Lit: Problems raised in literary aesthetics as a result of film. Enrollment of School: 18,000 undergraduates; 5,000 graduates. Vassar: 175b: Intro to the Art of Film: explores the relationship of film and lit. Enrollment of School: 2,350 students. Univ of Michigan: FIV 230: Intro to Moving Image and Comparative Lit 241: uses texts and film. Enrollment of School: 51,600 students. SUNY New Paltz: 41443: Fiction into Film Marist College:ENG 339: Film and Lit Nassau Community College: ENG 251: Film and Lit Dutchess County Comm College: ENG 227: Film and Lit SUNY Farmingdale: EGL242: Fiction into Film

E. Proposed Cycle for offering The course will be cycled yearly and will only be offered in the Spring . F. Estimate of Student Enrollment The enrollment will be 35 students for the course. I plan to offer two sections: day and evening. G. Prerequisites ENG11 will be required.

III. Relationship to Faculty All members of the English Department are qualified to teach ENG 58. B. Number of other staff positions required No new staff positions are required for ENG58. C. Discipline(s) required and/or minimum preparation to teach the course Faculty should have experience teaching literature and film. IV. RELATIONSHIP TO LIBRARY A. In general, I supply all my own films for my film courses. I buy my films though the internet through Amazon.com or Buy.com, so this course will not cost the college money for films. B. The Audio Visual Department owns the equipment I need for the course: a DVD and VHS set-up and a video projector. V. RELATIONSHIP TO EXISTING CURRICULUM AND/OR COURSES A. & B. This is a new course, not an adoption. The course is different from the Documentary Film course because this course uses literature and feature films as its texts, not documentary films. C. The course will enrich the curriculum offerings of the College and will enable students to analyze a media which is pervasive in their lives. D. The course will require written analysis for every piece of literature and film used. The course is a perfect example of writing across the curriculum and integrated knowledge as two different genres will be linked and analyzed for differences and similarities. VI. RELATIONSHIP TO SUNY GENERAL EDUCATION REQUIREMENTS A. The course satisfies the areas of Humanities and the Arts under the SUNY General Education course categories. See I and V: D for further details, VII. RELATIONSHIP TO OTHER COLLEGES AND/OR CAREER GOALS This has already been discussed. See: II: C.

SUFFOLK COUNTY COMMUNITY COLLEGE Western Campus

COURSE OUTLINE ENG 58: Literature as Film Professor Celeste DeSario Required text: DeSario, Celeste. When Literature Becomes Film. New York: Longman Publishers, 2003. Required Literature: Films:

Bovell, Andrew. Speaking in Tongues Lantana Conrad, Joseph. Heart of Darkness Apocalypse Now Cather, Willa. Paul’s Case. Paul‟s Case Chopin, Kate. The Story of an Hour The Story of an Hour Clowes, Daniel. Ghost World Ghost World Clarke, Arthur. The Sentinel 2001: A Space Odyssey Dubus, Andre. Killings In The Bedroom James, Henry. Turn of the Screw The Innocents Norman, Marsha. ‘Night Mother „Night Mother Shakespeare, William. The Tragedy of Othello: The Moor of Venice (Parker 1995;Davies 2002)

COURSE OBJECTIVES: 1. Using literature and film as the primary texts, students will analyze the literature and the films using literary elements such as point of view, narrative, character, setting, symbols, and theme. 2. Using the DeSario text and class lectures, students will apply film terminology such as pov, camera angles and distances, camera framing and composition, costumes, use of music and sound effects, and lighting to analyze the films in journals and in-class discussions. 3. Students will read film reviews and critical essays which discuss the films and which will give them an overview of the public’s reception of the film at the time of release. This will help them compare their reactions and criticisms of the films to professional analyses. 4. Students will compare and contrast the films and literature, analyzing both similarities and differences between the two genres, using both the literary elements and the film terminology.

PROCEDURES TO ACCOMPLISH OBJECTIVES: 1. Students will participate in small group discussions, freewrite, complete written journals for each piece of literature and film used in class, and will write two papers (one at mid-semester and one for a final exam).

STUDENT REQUIREMENTS: 1. Students are expected to attend all classes on time. Leaving during the break will count as one full absence. Excessive absences ( any which exceed the course limit of 2), will result in the student being dropped from the course. 2. Students are expected to read assigned chapters in the DeSario text and all literature prior to class and be ready to discuss their readings during class.

3. Students must integrate information given during lectures (terminology, critiques) into their oral and written discussions. 4. Students must submit a two page typed journal at the beginning of each class. Late journals will lose an entire letter grade (A to B, for example) for each day they are late. Untyped journals will not be accepted. 5. Students who miss the films will be responsible for arranging with Audio Visual Services to see any films they have missed. Copies of all films will be on reserve in AV. FILMS MAY NOT BE TAKEN OUT OF THE LIBRARY. 6. Turn off all cellphones and beepers BEFORE entering the classroom. GRADING: JOURNALS: Mid-Semester Paper: Final Paper: Attendance/Participation: 55% 15% 20% 10%

WEEKLY OUTLINE: ENG 58 WEEK 1: Introduction to course Literary Terminology Lecture Film Terminology Lecture Short Story: “Story of an Hour” (Kate Chopin) 8

Film: Story of an Hour: five versions of the short story ASSIGNMENT: LITERATURE: “Paul‟s Case” by Willa Cather INTRODUCTION:” Reading and Seeing” CHAPTER ONE: “Looking Through the LensTo Make You See: POV and Narration in Literature and Film” JOURNAL #1 GROUPS: “Paul‟s Case”: You are the director:Construct an ending ,scene by scene, for the story‟s adaptation into film Class discussion: Chapter One and “Paul‟s Case” Film: Paul’s Case “The Yellow Wallpaper” (Charlotte Perkins Gilman) CHAPTER TWO: “Film Terminology” CHAPTER THREE: “Character and Motivation” WRITTEN: JOURNAL #2

TEXT:

WRITTEN:

WEEK 2:

ASSIGNMENT: LITERATURE: TEXT:

WEEK 3:

Class discussion: Chapters Two & Three GROUPS: ”The Yellow Wallpaper” Film: The Yellow Wallpaper Group assignment: How important Is Setting? How does the film handle POV?

ASSIGNMENT: 9

LITERATURE: TEXT:

“Turn of the Screw” CHAPTER ONE: reread section on POV: “Unreliable Narrators” and “How Does POV Translate to Film?” JOURNAL #3

WRITTEN:

WEEK 4:

Class discussion on POV chapters Discussion of “Turn of the Screw” Film: The Innocents Group Work: How does the film handle the ambiguity in James‟ text?

ASSIGNMENT: LITERATURE: TEXT: WRITTEN:

“The Sentinel” (Arthur C. Clarke) CHAPTER FOUR: “Setting vs Sets” JOURNAL #4

WEEK 5:

Discussion of Chapter 4 Discussion of “The Sentinel” Film: 2001: A Space Odyssey “Ghost World” (Daniel Clowes) Continued on next page CHAPTER FIVE: “Themes: What the Work Means” PAPER #1: Analysis of Kubrick’s film: due next class

ASSIGNMENT: LITERATURE: TEXT: WRITTEN:

WEEK 6:

Discussion of Chapter Five Discussion of “Ghost World” Film: Ghost World In-Class Writing „Night Mother (Marsha Norman) 10

ASSIGNMENT: LITERATURE:

TEXT:

CHAPTER SIX: “Language: The Power of the Written vs the Spoken Word: hearing dialogue” JOURNAL #5

WRITTEN:

WEEK 7:

Film: „Night Mother Class discussion of play and film & Ch 6

ASSIGNMENT: LITERATURE: TEXT: WRITTEN:

The Tragedy of Othello : The Moor of Venice CHAPTER SEVEN: “Imagery and Symbols” JOURNAL #6

WEEK 8:

Discussion of Othello: group work No film today: the entire class will be devoted to discussion of the play GROUPS: Showing scenes: what would the scene look like on film?

ASSIGNMENT: LITERATURE: TEXT:

Reread Othello no assignment

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WRITTEN:

JOURNAL #7:New insights after class discussion and rereading Film: Othello (Oliver Parker, 1995) Group discussion

WEEK 9:

ASSIGNMENT: LITERATURE: WEEK 10:

Start reading Speaking in Tongues (no other assignment) Film: Othello(Andrew Davies, 2002) Class discussion In-Class Writing

ASSIGNMENT: LITERATURE: TEXT: WRITTEN:

Speaking in Tongues (Bovell) CHAPTER EIGHT: What We Hear:Music and Sound Effects JOURNAL #8

WEEK 11:

Class Discussion: Speaking in Tongues Film: Lantana (Ray Lawrence, 2001) Group Work and discussion “Killings” (Andre Dubus) JOURNAL #9 Discuss “Killings” Film: In The Bedroom (Todd Field, 2001) Class Discussion

ASSIGNMENT: LITERATURE: WRITTEN: WEEK 12:

ASSIGNMENT: LITERATURE: WRITTEN: literary

Heart of Darkness (Joseph Conrad) 1. Prepare a passage from novella to share with class: use terminology to analyze 2. Point out one strength and one weakness in novella Read Chapter 9 : “Projects” & decide on a project for your final paper 13

TEXT:

WEEK 13:

Discuss Heart of Darkness passages Film: groups: what would you show?

WEEK 14: ASSIGNMENT: WEEK 15:

Film: Apocalypse Now (Francis Ford Coppola, 1979) Paper #2: Final exam : Due next class Final Papers due Class discussion on Apocalypse Now Summary

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