This course is designed to investigate the interplay among literary texts, screenplays, and their cinematic realizations. It focuses primarily on film adaptations of diverse literary forms—both fictional and non-fictional—including plays, short stories, novels, autobiographies, biographies, essays, and diaries. Students will engage with the theoretical frameworks of film adaptation while also considering the social, cultural, and political contexts that shape the process. These contexts offer insight into how cinematic adaptations reinterpret literary works, presenting a renewed articulation of their meaning, and how the original texts, in turn, acquire fresh significance through their cinematic counterparts.
The course invites students to examine a variety of scholarly perspectives on the principles and strategies of adaptation. Through discussion, they will critically response to these viewpoints, fostering a reasoned analysis of complex issues and enabling a clear, thoughtful assessment of the subject. This approach cultivates an environment where intellectual rigor and elegant inquiry converge, illuminating the dynamic relationship between literature and film.
This course also aims to assess the transformative potential of AI-generated media, focusing on its capacity for cross-modal "translation," evident in text-to-image generation. Students will investigate the interconnection between AI-generated creations and human artistic production, expounding how AI tools influence the relationships among subject, content, style, and form. A central emphasis is placed on theoretical and methodological issues pertaining to creativity, originality, subject, and style within the specific context of film adaptation.
This course is designed to investigate the interplay among literature texts, screenplays, and their cinematic realizations. It focuses primarily on film adaptations of diverse literature forms—both fictional and non-fictional—including plays, short stories, novels, autobiographyes, biographies, essays, and diaries. Students will engage with the theoretical frameworks of film adaptation while also considering the social, cultural, and political contexts that shape the process. These contexts offer insight into how cinematic adaptations reinterpret literary works, presenting a renewed articulation of their meaning, and how the original texts, in turn, acquire fresh significance through their cinematic counterparts.
The course invites students to examine a variety of scholarly perspectives on the principles and strategies of adaptation. Through discussion, they will critically respond to these viewpoints, fostering a reasoned analysis of complex issues and enabling a clear, thoughtful assessment of the subject. This approach cultivates an environment where intellectual rigor and elegant inquiry converge, illuminating the dynamic relationship between literature and film.
This course also aims to assess the transformative potential of AI-generated media, focusing on its capacity for cross-modal "translation," evidence in text-to-image generation. Students will investigate the interaction between AI-generated creations and human artistic production, expounding how AI tools influence the relationships among subject, content, style, and form. A central emphasis is placed on theoretical and methodological issues pertaining to creativity, originality, subject, and style within the specific context of film adaptation.
This course is designed to investigate the interplay among literary texts, screenplays, and their cinematic realizations. It focuses primarily on film adaptations of diverse literary forms—both fictional and non-fictional—including plays, short stories, novels, autobiographies, biographies, essays, and diaries. Students will engage with the theoretical frameworks of film adaptation while also considering the social, cultural, and political contexts that shape the process. These contexts offer insight into how cinematic adaptations reinterpret literary works, presenting a renewed articulation of their meaning, and how the original texts, in turn, acquire fresh significance through their cinematic counterparts. The course invites students to explore a variety of scholarly perspectives on the principles and strategies of adaptation. Through structured discussion, they will critically examine these viewpoints, fostering a reasoned analysis of complex issues and enabling a clear, thoughtful assessment of the subject. This approach cultivates an environment where intellectual rigor and elegant inquiry converge, illuminating the dynamic relationship between literature and film.
This course is designed to investigate the interplay among literature texts, screenplays, and their cinematic realizations. It focuses primarily on film adaptations of diverse literature forms—both fictional and non-fictional—including plays, short stories, novels, autobiographyes, biographies, essays, and diaries. Students will engage with the theoretical frameworks of film adaptation while also considering the social, cultural, and political contexts that shape the process. These contexts offer insight into how cinematic adaptations reinterpret literary works, presenting a renewed articulation of their meaning, and how the original texts, in turn, acquire fresh significance through their cinematic counterparts. The course invites students to explore a variety of scholarly perspectives on the principles and strategies of adaptation. Through structured discussion, they will critically examine These viewpoints, fostering a reasoned analysis of complex issues and enabling a clear, thoughtful assessment of the subject. This approach cultivates an environment where intellectual rigor and elegant inquiry converge, illuminating the dynamic relationship between literature and film.
Literary and Filmic Texts:
Jane Austin, Sense and Sensibility (1811) / Ang Lee, Dir. Sense and Sensibility (1995)
Paul Auster, “Auggie Wren’s Christmas Story” (1990) / Wayne Wang, Dir. Smoke (1995)
Kazuo Ishiguro, The Remains of the Day (1989) / James Ivory, Dir. The Remains of the Day (1993)
Annie Proulx, "Brokeback Mountain" (1997) / Ang Lee, Dir. Brokeback Mountain (2005)
Aragay, Mireia, ed. Books in Motion: Adaptaion, Intertextuality, Authorhip. Ameterdam: Rodopi, 2005.
Andrew, Dudley. “The Well-Worn Muse: Adaptation in Film History and Theory.” Narrative Strategies: Original Essays in Film and Prose Fiction. Eds. Sydney M. Conger and Janice R. Welsch. Macomb, Ill.: Western Illinois University, 1980. 9-17.
Arnheim, Rudolf. “Who Is the Author of a Film?" Film Essays and Criticism. Trans. Brenda Benthien. Madison, WI: The U of Wisconsin P, 1997. 62-69.
Balázs, Béla. “The Script." Film And/As Literature. Ed. John Harrington. Englewood Cliffs, NJ: Prentice-Hall, 1977. 215-223.
Barthes, Roland. “The Third Meaning." Image, Music, Text. Trans. Stephen Heath. New York: Hill and Wang, 1977. 44-68.
Bazin, André. “Adaptation, or the Cinema as Digest." Film Adaptation. Ed. James Naremore. New Brunswick, NJ: Rutgers UP, 2000. 19-27.
Bazin, André. “In Defense of Mixed Cinema." What is Cinema?, Vol. 1. Trans. Hugh Gray. Berkeley: U of California P, 1967. 53-75.
Branigan, Edward. “Narration.” Narrative Comprehension and Film. London: Routledge, 1992. 63-85.
Chatman, Seymour. “What Novels Can Do That Films Can’t (and Vice Versa)." Critical Inquiry 7.1 (1980): 121-140.
Connor, J.D. “The Persistence of Fidelity: Adaptation Theory Today.” M/C Journal 10.2 (2007).
Corrigan, Timothy. A Short Guide to Write About Film. Boston: Pearson, 2015.
Elliott, Kamilla. “Literary Cinema and the Form/Content Debate.” Rethinking the Novel/Film Debate. Cambridge: Cambridge UP, 2003. 133-183.
Hutcheon, Linda. A Theory of
Literary and Filmic Texts:
Jane Austin, Sense and Sensibility (1811) / Ang Lee, Dir. Sense and Sensibility (1995)
Paul Auster, “Auggie Wren’s Christmas Story” (1990) / Wayne Wang, Dir. Smoke (1995)
Kazuo Ishiguro, The Remains of the Day (1989) / James Ivory, Dir. The Remains of the Day (1993)
Annie Proulx, "Brokeback Mountain" (1997) / Ang Lee, Dir. Brokeback Mountain (2005)
Aragay, Mireia, ed. Books in Motion: Adaptaion, Intertextuality, Authorhip. Ameterdam: Rodopi, 2005.
Andrew, Dudley. “The Well-Worn Muse: Adaptation in Film History and Theory.” Narrative Strategies: Original Essays in Film and Prose Fiction. Eds. Sydney M. Conger and Janice R. Welsch. Macomb, Ill.: Western Illinois University, 1980. 9-17.
Arnheim, Rudolf. “Who Is the Author of a Film?” Film Essays and Criticism. Trans. Brenda Benthien. Madison, WI: The U of Wisconsin P, 1997. 62-69.
Balázs, Béla. “The Script.” Film And/As Literature. Ed. John Harrington. Englewood Cliffs, NJ: Prentice-Hall, 1977. 215-223.
Barthes, Roland. “The Third Meaning.” Image, Music, Text. Trans. Stephen Heath. New York: Hill and Wang, 1977. 44-68.
Bazin, André. “Adaptation, or the Cinema as Digest.” Film Adaptation. Ed. James Naremore. New Brunswick, NJ: Rutgers UP, 2000. 19-27.
Bazin, André. “In Defense of Mixed Cinema.” What is Cinema?, Vol. 1. Trans. Hugh Gray. Berkeley: U of California P, 1967. 53-75.
Branigan, Edward. “Narration.” Narrative Comprehension and Film. London: Routledge, 1992. 63-85.
Chatman, Seymour. “What Novels Can Do That Films Can’t (and Vice Versa).” Critical Inquiry 7.1 (1980): 121-140.
Connor, J.D. “The Persistence of Fidelity: Adaptation Theory Today.” M/C Journal 10.2 (2007).
Corrigan, Timothy. A Short Guide to Write About Film. Boston: Pearson, 2015.
Elliott, Kamilla. “Literary Cinema and the Form/Content Debate.” Rethinking the Novel/Film Debate. Cambridge: Cambridge UP, 2003. 133-183.
Hutcheon, Linda. A Theory of
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| Attendance and participationAttendance and participation Attendance and participation |
10 | |
| In-class presentationsIn-class presentations In-class presentations |
30 | |
| Midterm PaperMidterm Paper Midterm Paper |
30 | |
| Final PaperFinal Paper Final Paper |
30 |
