PAPER TOPICS
For your two papers, choose any two of the following topics. You may write on them in any order. Do not write two papers on the same topic, even with different examples. I am glad to discuss outlines and rough drafts with you beforehand. The first paper may be rewritten, but note that rewriting does not automatically insure grade improvement. In particular, simply correcting mechanical errors or usage problems that I called your attention to in grading the paper does NOT constitute rewriting (though of course all such corrections must be made!). PLAGIARISM will lead at least to a 0 (not just an F) on the paper.
A. Compare and contrast the purposes, techniques, and accomplishments of two (or more) filmmakers who have based their films on books appropriate for adolescents. You may use two films of the same book, or films of two different books by the same filmmaker, or films by two different filmmakers related to two different books. You may use books and films we have not considered in the course, but check with me first, because you may NOT use books or films for young children (e.g., Disney cartoons!), or books that are "novelizations" of films, or books or films that are suitable only for adults--perhaps there are other categories. The idea here is to assess what the new medium has contributed in terms of interpretating and re-presenting the original story.
B. Compare and contrast the purposes, techniques, and accomplishments of two or more novels addressed to or read by young adults that have been made into films, focusing on what is missed in the cinematic version. Again, your choices are not restricted to books we have read in the course, but you should check with me first, as above. The idea here is to appreciate the unique features of stories told in words only. You might want to bring in the issue of audiocassettes. Is the experience of hearing a book read (assuming it is not abridged) different from that of reading it? But this is not required.
C. Choosing a book and film that we have not considered in this course, but possibly appropriate for it, write an analytical comparison of the relationship between the two. Be sure to discuss whether you think this pair should, or should not, be included in future versions of the course, by discussing what criteria should be used to decide which books and films to include and how well the ones you have chosen meet those criteria.
D. Choosing a work of "adolescent fiction" that is an award-winner, a "classic," or a 1997 or 1998 book that you believe will become a classic, but of which no film version has been made, analyze what the problems and opportunities would be in making a film of the book. In particular, consider what such a film would do to broaden and enrich the kinds of films available for adolescents, and how specifically it might complement the experience of reading the book--in other words, don't just say that films make it easier to follow the plot, or reluctant readers prefer films--things that might be said of any book/film combination. Creative options: (1)write this paper in the form of an appeal for funding to an appropriate producer, film studio, television network, educational organization.... or (2) Try your hand at actually writing the film script (or a part of it).
E. Since both films and books tell stories, sometimes (as in this course) the same story, they encounter similar story-telling problems. Both, for instance, want to "set the scene" for the reader, both want to represent actions and conversations, both want to convey characters' thoughts, feelings, and attitudes, both want to expand and contract time and space for their own purposes, both choose points of view and angles of approach, both have to select what to represent, in what order, and with what emphasis, both wish to elicit particular emotional and interpretative responses from readers/viewers. Choose one of these technical problems and discuss how it is solved in at least three works we have read or viewed this semester, including at least one from each medium. Note: this is the most demanding of the topics, but it is also potentially the most rewarding. For instance, you could analyze some very specific feature of several films and books, such as the use of weather, or color, or close-ups; you could discuss how film replaces some intrinsic feature of novels such as the ability to summarize, access to characters' thoughts, or the ability to choose words that have favorable or unfavorable connotations; or you could (especially if you are a trained "reader" of film) look at how film can make symbolic use of established visual conventions, or technological resources, or multimedia effects (e.g., music, sound effects, different ways of moving from image to image).
F. Your idea?
Everyone starts with 70 points (minimal C). You can lose points as follows: any unexcused absence = -4 points. Any serious unexcused lateness = -2 points. Exception: On days when we are viewing films, if you choose to view the whole film on your own and can prove that you did so (half-page written summary, with specific description of at least two visual effects), you will not be counted absent.
TO INDICATE THAT YOU ARE PRESENT, TURN IN AN INDEX CARD WITH YOUR NAME AND THE DATE WHEN REQUESTED TO DO SO, OR AT THE END OF CLASS.
You can GAIN points as follows
Student panel: three to five students may volunteer to make presentations and lead discussions on the books and films we are discussing class. 0-5 points for each participant.