Teaching with Film Michelle Onley Pirkle
Teaching with Film “Upgrade” literature or composition course Film Studies (History & Aesthetics course or Adaptation*)
Teaching with Film Positive Holds attention (entertaining) Different teaching tool Cultural Studies Images & audio to read Seen as reward
Teaching with Film Michelle Onley Pirkle
Teaching with Film Positive Holds attention (entertaining) Different teaching tool Cultural Studies Images & audio to read Seen as reward
Teaching with Film Negative Seen as reward
Teaching with Film Negative Seen as reward—tasty dessert
Teaching with Film Positive Tasty dessert healthy sandwich
Teaching with Film
Mise en Scène Film as Visual Storytelling
Mise en Scène Camera: angle, lens, filter, shot type Composition: design, organization Color: dominant, contrast, symbolism Actors: position, proximity, body, expression Setting: place, space, materials Lighting: brightness, contrast, Depth: planes, foreground background Framing: tight or loose Form: open or closed, balance
Mise en Scène
Super 8 Director: J. J. Abrams Producer: Stephen Spielberg
Mise en Scène Giannetti, Louis. Understanding Movies. 12th ed. New York: Allyn & Bacon, Print.
Find “Ways In” Duchovatip #2 Costumes, Screenwriting, Music History, Movie Posters, Actors Cinematography, Theme (ex.: War) Acting Style (ex.: Method Acting), Genre Titles, Choreography, Censorship Special Effects (Technology), Set Design Class/Gender/Sexuality Director (Auteur Theory)*, Adaptation*
Auteur Theory
Director as author or auteur of film (patterns of motifs & themes) France (1954)–François Truffaut, Cahiers du Cinéma (directors: Alfred Hitchcock and Howard Hawks) U. S.—Andrew Sarris, The Village Voice Controversial (Pauline Kael— collaboration)
Adaptation Studies
BOOK FILMFILM
Levels of Adaptation Literal: word-for-word Faithful: captures spirit Loose: little resemblance
Adaptation Studies Film Novel Short story Video Game Board Game Comic book Toy Historical Event Person Song Painting
“Adaptation Studies at a Crossroads” Thomas Leitch (2008) Swamp of Fidelity Sea of Intertextuality
“Adaptation Studies at a Crossroads” Thomas Leitch (2008) Swamp of Fidelity Sea of Intertextuality
“Adaptation Studies at a Crossroads” Thomas Leitch (2008) Swamp of Fidelity Sea of Intertextuality
“Adaptation Studies at a Crossroads” Thomas Leitch (2008) Swamp of Fidelity Sea of Intertextuality
“Adaptation Studies at a Crossroads” Thomas Leitch (2008) Swamp of Fidelity Sea of Intertextuality
“Adaptation Studies at a Crossroads” Thomas Leitch (2008) Swamp of Fidelity Adaptation 1.1 (2008): Sea of Intertextuality (Bakhtin— “no single source”)
Approaches to Adaptation “The medium is the message.” Marshall McLuhan (1964)
Approaches to Adaptation “What Novels Can Do That Films Can't (And Vice Versa)” Seymour Chatman(1980)
Approaches to Adaptation “What Novels Can Do That Films Can't (And Vice Versa)” Seymour Chatman(1980) Affordances Novel Film Asserts Presents Describes Depicts Focus Overspecification
Approaches to Adaptation “What Novels Can Do That Films Can't (And Vice Versa)” Seymour Chatman(1980) Affordances Novel Film Name music Play music Reader controls time Director controls time
Teaching with Film
Positive Tasty dessert healthy sandwich
Teaching with Film Film Sandwich Introduction (director, cultural context, focus) Handout (info & questions over form & content) Film presentation (the chicken!) Written assignment Discussion (groups & full class)
Adaptation Studies BOOK FILMFILM
Adaptation—Intro (1)
Adaptation—Intro (1)
Maurice Sendak
Spike Jonze
Adaptation—Handout (2) Questions Information Images
Adaptation—Presentation (3) Opening Scenes 18 minutes
Adaptation—Writing (4) Class answers question(s) Each group answers question (s)
Adaptation—Discussion (5) Each group discusses question(s) Class discusses question(s)
Teaching with Film Michelle Onley Pirkle