Time map: screenings, discussion seminars / workshops
S1 The Victorian novel and film adaptation and (re-)presentation [25.02]
The Victorian novel: overview, characteristics, development, content and construction. The modern age as civilisation of the eye and dominance of the visual representation. The matter of adaptation: what and how? – faithfulness and / or difference – adaptation vs. intertextuality (cf. Hutcheon). Types of adaptation (cf. “fidelity” or “specificity”): (i) transposition, (ii) commentary and (iii) analogy. Gérard Genette’s concepts of ‘hypotext’ (primary /source text) and ‘hypertext’ (subsequent film). The language of film: mise-en-scene, setting, lighting, costumes, makeup, figure behaviour, framing, editing, sound (c.f. Villarejo).
Bibliography: Brantlinger and Thessing (458-477). Hutcheon (1-32). Radu, Perceptions 136-140. Stam (1-45). Cartmell (85-140). Cartmell and Whelehan (14-39).
S2-S3 Jane Eyre [4-11.03]
The film: Jane Eyre (1996), directed by Franco Zeffirelli, screenplay by Hugh Whitemore, starring: William Hurt, Charlotte Gainsbourg, Anna Paquin. Re-creation of the plot, characters and situations. The novel vs. the film: similarities / differences – the setting: Lowood School, Thornfield Hall: the characters: Jane, Mrs Reed, Helen Burns, Mr Rochester, Bertha Mason; discussion: the scene after the wedding (‘I Will not Be Yours’). Representation and reception.
Bibliography: Radu, Perceptions (170-172). Radu, The Palace of Art (66-74). Allen (180-90), Galea (114-126), Daiches (1064-6), Ford (256-8). James (107-8 and 160-1). Levine (87-99, 108-10, 126-7 and 136-7).
S4-S5 Wuthering Heights [18-25.03]
The film: Wuthering Heights (1992), directed by Peter Kosminsky, screenplay by Anne Devlin, starring: Juliette Binoche, Ralph Fiennes, Janet McTeer. Re-creation of the plot, characters and situations. The novel vs. the film: similarities / differences – the setting: Wuthering Heights, Thrushcross Grange, the moors; characters: Catherine, Cathy, Heathcliff, Hindley, Hareton, Mrs Dean; discussion: the scene of Heathcliff’s last visit to Catherine (‘How Can I Bear It?’). Representation and reception.
Bibliography: Radu, Perceptions (176-182). Radu, The Palace of Art (79-87). Allen (194-8). Galea (128-141). Daiches (1064‑6), Ford (260‑73). James (160-1).
S6-S7 Wuthering Heights (2011 version) [1-8.04]
Wuthering Heights (2011): directed by Andrea Arnold, Screenplay by Andrea Arnold and Olivia Hetreed, starring: Kaya Scodelario, James Howson, Solomon Glave. Discussion: characters, setting (WH, TG and the moors), the narrator, visual symbolism, ending scene: “The Enemy” (lyrics by Mumford & Sons).
S8-S9 Great Expectations [15-22.04]
The film: Great Expectations (2012), directed by Mike Newell, screenplay by David Nicholls, starring: Jeremy Irvine (Pip), Helena Bonham Carter (Miss Havisham), Holliday Grainger (Estella), Ralph Fiennes (Abel Magwitch) and Robbie Coltrane (Jaggers). Re-creation of the plot, characters and situations. The novel vs. the film: similarities / differences: the setting: Satis House, Victorian London; the characters and the impersonating actors: Pip, Estella, Miss Havisham, Abel Magwitch, Jaggers, Joe Gargery; discussion: the final scene between Pip and Estella (‘Estella’). Representation and reception.
Bibliography: Radu, Perceptions (153-156). Radu, The Palace of Art (41-50). Allen (174-82). Galea (89-106). Ford (147-53). Daiches (1059-64). James (170-1). Levine (183-7).
Bibliography: Brantlinger and Tessing (260-278). Wynne (38-59, 83-97). Bayard (passim).
S10-S11 Far from the Madding Crowd [6-13.05]
Hardy’s novel Far from the Madding Crowd (1874) and the film (2015), directed by Thomas Vinterberg, screenplay by David Nicholls and starring Carey Mulligan (Bathsheba Everdeene), Matthias Schoenaerts (Gabriel Oak), Michael Sheen (William Boldwood) and Tom Sturridge (Sergeant Troy).Re-creation of the plot, characters, situations and remote countryside. The novel vs. the film: similarities / differences, the characters and impersonating actors: Bathsheba Everdeene, Gabriel Oak, Sergeant Troy. Representation and reception.
Bibliography: Morgan (7-12, 35-58). Harvey (21-24, 61-66). Brantlinger, Thesing (321, 324).