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- Week One
- 1.1 Lecture session (Tues 25th Sept): Introduction to the
module
- 1.2 Seminar (Fri 28th Sept):
Discussion: Assessment, general Q&A.
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- 2.1 Lecture session (Tues 2nd Oct):
The Adaptation Debate
- 2.2 Seminar (Fri 5th Oct): Adaptation
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- Brian McFarlane, 'Backgrounds, Issues and a New Agenda' in McFarlane, Novel
to Film: An Introduction to the Theory of Adaptation (Clarendon Press:
Oxford, 1996) 3-30.
- Imelda Wheelehan, 'Introduction' to Cartmell & Wheelehan, eds, Adaptations
(Routledge: London, 1998) 3-19.
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- 3.1 Lecture session (Tues 9th Oct): American Roman Noir to Film
Noir
- 3.2 Seminar (Fri 5th Oct): Film Noir
Seminar Viewing: Pulp Fiction:
“The Film Noir Story” (Tx. BBC2,
1995)
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- Geoffrey O'Brien, 'Mythologists of the Hardboiled', Chapter Four in Hardboiled
America: Lurid Paperbacks and the Masters of Noir expanded edition (Da
Capo Press: NY, 1997) 61-100.
- Frank Krutnik, Film Noir: Sources and Determinants, Part Two of In
A Lonely Street: Film Noir,
Genre, Masculinity (Routledge: London, 1991) 33-72.
- Ian Cameron, The Movie Book of Film Noir (Studio Vista: London, 1992)
- E. Anne Kaplan, ed., Women in Film Noir (BFI: London, 1980)
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- 4.1 Screening (Tues 16th Oct):
The Maltese Falcon
- 4.2 Seminar (Fri 19th Oct):
The Maltese Falcon
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- 5.1 Lecture session (Tues 23rd Oct):
Progress Tutorials
Sign up on the tutorial notice board for individual or small
group tutorials (10” slots)
- NB: No seminars due to Graduation Ceremonies
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- 6.1 Screening (Tues 30th Oct):
Mildred Pierce
- 6.2 Seminar (Fri 2nd Nov):
Mildred Pierce
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- Mildred Pierce, in James M. Cain, The Five Great Novels (Picador:
London, 1985).
- Pam Cook, ‘Duplicity in Mildred Pierce’ in E. Ann Kaplan, ed., Women in
Film Noir (BFI: London, 1978).
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- If you are writing an essay on this, ask me for photocopies of extracts
from:
- Roy Hoopes, Cain: The Biography of James M. Cain (Southern Illinois
University Press, 1987).
- Paul Skenazy, James M. Cain (Ungar: New York, 1989).
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- 7.1 Screening (Tues 6th Nov):
Rear Window
- 7.2 Seminar (Fri 9th Nov):
Cornell Woolrich, "It Had to be Murder"
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- 'Rear Window', in Cornell Woolrich, The Cornell Woolrich Omnibus (Penguin:
London, 1998) 5-36.
- Donald Spoto, 'Rear Window' in Donald Spoto, The Art of Alfred
Hitchcock: Fifty Years of His Motion Pictures, second edition (London,
1992) 214-224.
- Tania Modleski, 'The Master's Dollhouse: Rear Window' in Tania Modleski,
Hitchcock and Feminist Theory (Routledge: London, 1988) 73-85 and
132-134.
- Robin Wood, 'Rear Window' in Robin Wood, Hitchcock's Films Revisited (Faber
and Faber: London, 1989) 100-107.
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- Eddie Duggan, 'Writing in the Darkness: The World of Cornell Woolrich', Crime
Time 2.6 (1999) 113-126.
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- If you are writing an essay on this, ask me for photocopies of extracts
from:
- Francis M. Nevins Jr, Cornell Woolrich: First You Dream and Then You
Die (Mysterious Press: London and NY, 1988).
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- Screening (Tues 13th Nov):
Kiss of the Spiderwoman
- Seminar (Fri 15th Nov):
Kiss of the Spiderwoman
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- Manuel Puig, Kiss of the Spiderwoman (Arrow: London, 1984).
- Leonard Cheever, ‘Puig’s Kiss of the Spider Woman: What the Movie
Version Couldn’t Show’ Publications of the Arkansas Philological
Association 13 (1987) 13-27
- Michael Boccia, ‘Versions (con- in- and per-) in Manuel Puig’s and
Hector Babenco’s Kiss of the Spider Woman novel and film’, Modern
Fiction Studies 32 (1986) 417-426.
- Inga Karetnikova and Susan Barber, ‘Cinematic Qualities in the Novel Kiss
of the Spiderwoman’, Literature Film Quarterly 15 (1987) 164-168
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- Screening (Tues 20th Nov): Trainspotting
- Seminar (Fri 20th Nov): Trainspotting
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- Irvine Welsh, Trainspotting (Minerva: London, 1996).
- Elina Lammi, Scottish English in Irvine Welsh’s Trainspotting http://www.uta.fi/FAST/BIE/BI1/trainspt.html
- Derek Paget, ‘Speaking Out: the transformations of Trainspotting’,
Cartmell and Wheelehan, eds, Adaptations: From Text to Screen, From
Screen to Text (Routledge: London, 1999) 128-140
- Murray Smith, ‘Transnational Trainspotting’ in Jane Stokes and Anna
Reading, eds, The Media in Britain: Current Debates and Developments (Macmillan:
London, 1999) 219-227.
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- 10.1 Lecture: Comics and
The New Dark Knights
- 10.2 Seminar session: Progress Tutorials
Sign up on the tutorial notice board for individual or small
group tutorials (10” slots)
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- Roger Sabin, Adult Comics: An Introduction (Routledge, London: 1999)
- Scott McLoud, Understanding Comics (HarperPerennial: New York, 1994)
- Frank Miller, Batman: The Dark Knight Returns (Titan: London, 1986).
- Roberta Pearson and W. Urricchio, eds, The Many Lives of the Batman: Critical
Approaches to a superhero and his media BFI: London, 1991).
- Will Brooker, ‘Batman: One Life, Many Faces’ in Cartmell and Wheelehan,
eds, Adaptations (1999) 185-198.
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- 11.1 Screening: Batman (Tim Burton)
- 11.2 Seminar: Comics,
Frank Miller, and Batman
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- 12.1 Lecture Session (Tues 11th Dec): Feedback/Course Review
- 12.2 Seminar session (Fri 14th Dec): Tutorials (as required)
Sign up on the tutorial notice board for
individual or small group tutorials (10” slots)
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- You will need to order and/or
purchase several primary texts in the first week of the module. Bear in mind that you will be writing
an essay on one of the adaptations, so you may want to own several in
order to give yourself some choice/scope for the long essay!
- Dashiell Hammett, The Four Great Novels (Picador)
James M. Cain, The Five Great Novels (Picador)
Cornell Woolrich, The Cornell Woolrich Omnibus (Penguin)
Manuel Puig, Kiss of the Spiderwoman (Arrow)
Irvine Welsh, Trainspotting (Minerva)
Frank Miller, The Dark Knight Returns (Titan)
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- You may also wish to purchase your own copy of either or both of the
texts listed under ‘Key Reading’ in the Module Outlilne.
- McFarlane: a good general
introduction, but no other essays relating to adaptations covered in the
module.
- Cartmell and Wheelehan: , useful introduction and essays on Batman and Trainspotting.
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- Course Essay (70%)
- Pick a title from a list or negotiate your own
- Cahier (30%)
- Notes on one of the themes/aspects covered in the module (doesn’t have
to be on same topic as essay).
- Include notes from your reading/viewing
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- What are the key themes of the novel / aspects of the main character
etc.
- What debates are relevant to this topic? (notes)
- Notes/thoughts/sketches/ from reading/viewing
- Little point in copying out handouts or huge quotes (though you may wish
to include key quotes and adequate references to sources, in order to
make the cahier a useful document)
- Better to note key points in your own words
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