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English 390: Film & Literary Studies
Travels in the Kingdom of Shadows: The Sense of Place in Film
Dr. Marguerite Helmers, instructor
Radford Hall . Room 226 . 424-0916, office
helmers@uwosh.edu, www.english.uwosh.edu/helmers
English Department, www.english.uwosh.edu
Office Hours Tuesday 1:00-3:00pm, Thursday 10:30-1
All other times by appointment. I am available after class to answer questions.
The Kingdom of Shadows
This course will explore the storyworld and filmworld. The course title is attributed to the Russian writer
Maxim Gorky, who is alleged to have commented upon watching his first film, "Last night I was in the
kingdom of shadows. If you only knew how strange it is to be there. It is a world without sound, without
colour. ... It is not life but its shadow, it is not motion but its soundless spectre.” Using the literary works
Lord of the Rings, Do Androids Dream of Electric Sheep?, Brokeback Mountain, and A Passage to India
paired with criticism and the films Lord of the Rings: Fellowship of the Ring, Blade Runner, Brokeback
Mountain, and A Passage to India, we will explore the storyworld, focusing on mise-en scene, the
complete look and feel of a film. Questions that will occupy us in this course include: How do we
imagine historical and imaginary worlds? Is their realization on screen credible? How does the
interchange between author, filmmakers, and audience result in a convincing manifestation and
representation of the storyworld?
The term storyworld derives from the field of narratology. In a book titled Story Logic (2002), David
Herman argues that “readers (and, where relevant, viewers and listeners) create mental models called
‘storyworlds’ as they comprehend narratives. These storyworlds shift the readers' perceptions from the
‘here and now’ to the deictic [spatio-temporal] coordinates of a fictional or non-fictional story, charting
‘who did what to and with whom, when, where, why’ (5). The storyworlds are non-linguistic cognitive
representations of what has happened in a narrative, but the construction of these storyworlds nevertheless
depends on readers' responses to subtle (and sometimes ambiguous) textual cues. The process of
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interpreting textual cues is viewed as crucial, since storyworlds are built by readers as they make
inferences using real-world knowledge, knowledge acquired from earlier in the story, and their
expectations about the nature of narrative in general and of specific narrative genres. Herman believes
“that different genres may be characterized by varying types of textual cues relating to different
proportions of storyworld features in these genres” (commentary by Catherine Emmott in her review of
Story Logic, [Project Muse] 227-8). As Emmott points out in her review, the study of storyworlds enables
us to “explain how readers move from textual cues, such as words on a page, to rich mental models that
make readers feel as if they are in a different world, witnessing events and experiencing the emotions of
story participants” (228). This is essentially the process that screenwriters, set designers,
cinematographers, and directors go through as they adapt literary works for the screen.
Each of the films fits into a particular genre: fantasy, science fiction, westerns, and heritage. Thus, each
film raises particular questions about our expectations from that genre. When you also consider that each
film has been adapted from a literary source, you begin to see the complex interplay between audience
expectation, screenplay, location, and directorial style that emerges into an understanding of and reaction
to each film.
This course will also introduce you to the study of cinema as an artistic form. We will discuss film
language (how to read a film), adaptation, and interpretive theory. In addition to the primary texts (novel
and film), you will supplement your readings with readings drawn from literary and film theorists.
Relationship of English 390: The Kingdom of Shadows to Goals for English Major
Taking this course should enable you to meet many of the Goals for the English Major. You may want to
keep a record of the ways that your work for English 390 fosters the development of these abilities,
knowledge, and attitudes, as it will be useful for your final portfolio.
Abilities
1. The ability to read a familiar or an unfamiliar text in any of several genres and from any of
several cultural or historical origins.
2. The ability to write interpretive essays about various kinds of texts in clear, accurate, and
effective prose.
3. The ability to use reading and writing to address a wide variety of topics, problems, and issues.
4. The ability to articulate a critically informed, carefully reasoned position.
5. The ability to find (in a textbook, library, or elsewhere) the kinds of information that are relevant
to the problem or issue being addressed.
6. The ability to write and respond creatively.
7. The ability to compare and contrast and to find patterns in texts.
8. The ability to revise one's own work and edit the work of others.
Knowledge
1. Knowledge of a range of works written in different periods.
2. Knowledge of the issues/debates central to English studies.
3. Knowledge of a range of literary, rhetorical, critical, and/or cultural approaches to textual
analysis.
4. Knowledge of changes in audience/text relationships.
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Attitudes
1. Recognition of the personal and social importance of reading as a complex and culturally
significant act.
2. Recognition of the personal and social importance of writing well in a variety of situations.
3. Recognition of the importance of metaphorical thinking.
4. Recognition of the importance of analysis and critical reflection as activities both required and
enabled by language.
5. Recognition of the interdependence of all the dimensions of language activity--reading, writing,
listening, speaking, and thinking.
Book Purchases / Required Readings
Other than the specified edition of Understanding Movies, no other specific editions of these books is
necessary. Feel free to use whatever copies you have.
Brokeback Mountain, Annie Proulx. (You can find a full text version online, but I’m not sure of
its accuracy: http://brokeback-mountain.blogspot.com/.)
A Passage to India, E. M. Forster
Do Androids Dream of Electric Sheep? Philip K. Dick (Blade Runner)
Lord of the Rings: Fellowship of the Ring, J. R. R. Tolkien
Understanding Movies, Louis Giannetti. (Prentice Hall, 11th edition)
Required Viewing
Lord of the Rings: Fellowship of the Ring (this will be the only complete work screened in class)
Blade Runner
Brokeback Mountain (reserve)
A Passage to India (reserve)
A film of your selection that addresses the course questions
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Writing Assignments
Assignments are given a letter grade, ABCDF. Assignment directions and further ideas for getting started
will be distributed and discussed in class as assignments arise. Turn in paper and electronic copies of Film
Crew essays and the Final Researched Essay.
 Film Journal (30%). A 3 Ring binder will probably work the best for this course element. In it, you
should place—in an organized fashion--the following items, divided into sections for each film:
1. Cast Lists. These are available from either The Internet Movie Database or All Movie Guide.
2. Reviews. Use IMDB.com, Lexis/Nexis, or Google, but find authoritative reviews and not blogs or
fansites.
3. Interviews with writers, cast, directors, etc. Google will help you, but also some of the standard
databases include interviews.
4. Criticism. You can begin assembling critical articles on books or films at any time to enhance your
viewing, reading, and understanding.
5. Journaling about the film may be typed or handwritten. A good process is to have two entries, a previewing entry on what you expect to find and a post-viewing entry on what met or disappointed your
expectations. These are best when they are specific, tied to particular passages in the books.
6. Scene notes with time/ chapter markings. This will help with re-viewing. You should be in the habit
of . . .
7. Take notes during each film using a simplified double entry log. The left side of your page lists the
chapter number and the right side notes what you want to say about it.
The Film Journal is the best when it is thorough. It will be graded on complexity. The more reviews you
find, the longer and more specific your journal entries, the more detailed your notes, the higher your
grade.
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ALL MOVIE GUIDE
www.allmovie.com
INTERNET MOVIE DATABASE
www.imdb.com
 Discussion [D2L] (10%). By Monday each week, you will need to post one initial comment and one
response to a classmate to the Discussion area of D2L. Please feel free to suggest topics for the class to
discuss. Commentary and response should be on topic and substantial and use Standard American English
(not IM style). Something like “groovy” is not sufficient as a response.
 Film Crew (30% total, or 4 assignments @ 7.5%). Within a group of 4 people, you will re-view
and analyze a key scene from each film that you select and to which you apply (initially) concepts in film
language and (eventually) interpretations based on film and literary criticism. Such efforts will result in
four application days, titled “Re-viewing” in which you show the rest of the class what you see and how
we can understand the film. We want to talk and learn together, so this is an exploratory moment. Think
narrow and small for your scene selection, even narrowing the reviewing to one shot: the biggest problem
with such reviewing moments can be that these scenes go on way too long.
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 Written Element for Film Crew 
Due within one week of Reviewing
The written component of your Film Crew presentation can take many forms. It can be an
essay; it can be question and answer; it can be a lovely illustrated report; it can even be an
electronic file or webpage. I leave the format and length up to you, as long as you are thorough
(in other words, please don’t give me a half page of handwritten notes).
Here are the elements to include, some of which overlap. (You may also include more
elements than those included here):
1. Literal content. Briefly describe who, what, when, where in order to establish and
contextualize characters, plot, setting.
2. Structure. Is this film using open or closed form (see page 91+ in Understanding
Movies). Consider composition and design (UM chapter 2). What leads into this scene
and how does it push us further into the film?
3. Style. Examine the photography: shots, angles, light and dark, color, setting, the use
of space within the shots (UM chapter 1). In what way do the elements add up to a
whole? What is the significance of a particular camera angle or shot?
4. Characterization. What insight into a character does this scene offer? Consider the
style of the scene, dialogue, and any cues to character that are nonverbal.
5. Narrative technique. (See UM chapter 8 on story). Is the story told through flashback
or voiceover? Is the story realistic? How does the narrative or dialogue contribute to
the explication of the plot or the revelation of character? Is it realistic?
6. Music. In what way does the music or background noise support the mood and
meaning of the scene?
7. Ideology. At this point, you are making an interpretive assessment that helps expand
our knowledge of the text. How does this scene offer an insight into larger themes or
ideas, either in the film itself or in a class of films? See the comments on the
sociopsychic approach to art (UM 398-99) and consider race, class, and gender.
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 Final Researched Essay (30%). Apply a critical perspective to one of the works read / screened for
this course during the semester. Your topics should be drawn from issues and perspectives raised in class
(here’s another time where your Film Journal will be handy). Don’t worry about duplicate topics; many
people may select the same film, but your perspective will—and should—be unique. The purpose of the
research paper is to synthesize diverse points of view into a coherent statement. Research asks you to
manage, interpret, and validate information; to connect ideas; and to formulate and defend your own
views. Therefore, it is critical that you work with databases of information to enhance your information
literacy.
Peer-reviewed Sources:
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Derive from scholarly journals.
Your peer-reviewed sources must be substantial (no one page pieces).
Pamphlets and class notes do not count toward your bibliography.
Interviews do not count toward your bibliography.
Internet sources (.net, .com, and .org) do not count.
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For the final paper, you may include non-peer-reviewed resources; however, they must adhere to these
guidelines:
 Not more than 50% of your final bibliography can be from non-peer-reviewed sources.
 The paper must substantially discuss the peer-reviewed works on the bibliography.
This assignment must be completed individually, although you may seek assistance from the librarians
and the Writing Center.
Grading: Your researched written work is graded on the extent to which you addressed the assignment,
ideas, organization, use of grammar, and management of sources.
Writing About Film
Some useful internet resources for writing about film can help you with Film Crew and with the final,
researched essay:
Rick Lewis, “Guidelines for Writing about Film,” Sandhills Community College.
http://www.sandhills.cc.nc.us/english/shared/160guidelines.html
Dartmouth College, “Writing About Film:
http://www.dartmouth.edu/~writing/materials/student/humanities/film.shtml
Food
I have been a student! I understand that sometimes you are tired and need a coffee and a candy bar. Such
light food is fine for class; however, I prefer that you do not bring what I call “disruptive food” to class:
pizza (unless I order it), bagels and cream cheese, crackling bags and papers, sub sandwiches.
Attendance
I expect you to attend all class sessions. If you are unable to attend, I ask that you explain to me why you
will not be in class. For medical absences, please supply a dated, signed excuse from a doctor. After 3
missed hours of class, your final grade will be lowered on a percentage basis: number of class hours
missed divided by 42 class hours per semester (and this will include all absences). Please remember that,
if you have the sniffles or you didn’t do the reading or your hair got stuck in your electric dryer and you
miss class three times because of this—and then your car breaks down or you have the stomach flu and
you miss class two more times because of it, that you will be registered as having 5 absences.
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Late Papers
All assignments are due in paper form at the beginning of the class period (unless otherwise specified).
Please be responsible for delivering your own work to me on time. In exceptional circumstances, such as
documented illness, I will accept a late paper.
Late Persons
While there are no bells in college, class begins at the time listed in the timetable. You may be late once
due to weather; however, repeatedly walking into class late will affect your final grade: it is not
constructive, it is disrespectful, and it interferes with students' ability to learn in a conducive and positive
environment. Announcements, such as changes to the schedule, clarification of essay assignments, and
announcements of English Department and campus events, are made in the first-10 minutes of class.
Missing these will impair your ability to succeed.
Plagiarism
Plagiarism is a punishable offence, covered by the university rules. I can tell when your writing is not
your own and the university now subscribes to Turnitin, which is an authentication tool for all essays. In
addition, all essays must be original, which means that, even if you work with someone in class, you
should ensure that you turn in individual writing and research. Even duplicated sentences between essays
is considered an infringement of the academic honesty codes. We will discuss writing and plagiarism in
this class. In the meantime, if you have any doubts about how to properly cite research, talk to me before
you write.
Writing Center
The Writing Center will help you conceptualize your essays (for this class and others). The Writing
Center is not a proofreading or editing service. All Writing Center services are free, but you need to
schedule an appointment. The Writing Center is located in the basement of Radford Hall. The phone
number is 424-1152; you may also email them at wcenter@uwosh.edu.
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Daily Syllabus
September 11: Introduction
September 18: Adaptation
Lord of the Rings: issues in adaptation
Screening some special features from the LOTR films
Read: Understanding Movies (UM), Chapter 9 (Writing)
Dudley Andrew “Adaptation,” E Reserve
Robert Stam “Beyond Fidelity”, E Reserve
September 25:  Genre~Fantasy
Screening Lord of the Rings: Fellowship of the Ring
Read and Apply: Understanding Movies: Chapter 1 (Photography), Chapter 2 (Mise en Scene)
October 2: Re-viewing Lord of the Rings: Fellowship of the Ring
 Film Crews: Take One
Read: Understanding Movies: Chapter 3 (Movement), Chapter 4 (Editing)
Study the drawings of Alan Lee: realizing the vision
October 9: Theoretical Perspectives
 Turn in Film Journal
Read: Understanding Movies: Chapter 10 (Ideology), Chapter 11 (Critique)
Wim Wenders, “In Defense of Places” (Craft 2003, http://www.dga.org/news/v28_4/craft_wendersplaces.php3)
Laura Mulvey “Visual Pleasure and Narrative Cinema” (E Reserve)
Marita Sturken, “Spectatorship, Power, and Knowledge,” from Practices of Looking (E Reserve)
Christopher Tilley, “Space, Place, Landscape and Perception” (E Reserve)
Kent Ryden, “Of Maps and Minds: The Invisible Landscape” (E Reserve)
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October 16: Genre~Sci Fi
Read Do Androids Dream of Electric Sheep?
Read Understanding Movies: Chapter 8 (Story)
Watch Blade Runner by this date
October 23: Re-viewing Blade Runner
 Film Crews: Take Two
Read Robins, “The City in the Field of Vision” (E Reserve)
Jarvis, “Mapping the City of the Future” (E Reserve)
October 30: Genre~The Western
Read Brokeback Mountain
Read Understanding Movies: Chapter 6 (Acting)
Watch Brokeback Mountain by this date
November 6: Re-viewing Brokeback Mountain
 Film Crews: Take Three
Read Braudy, The World in a Frame (104-39) (E Reserve)
Critical perspectives from GLQ: A Journal of Lesbian and Gay Studies 13.1 (2007). Project Muse.
November 13: Genre~The Heritage Film
 Turn in Film Journal
Read A Passage to India
Watch A Passage to India by this date
November 20: Re-viewing A Passage to India
 Film Crews: Take Four
November 27: Understanding Heritage Film
Read Neil Sinyard, “Lids Tend to Come Off” (E Reserve)
Read Understanding Movies: Chapter 7 (Drama)
Read Brian Graham, G. J. Ashworth, J. E. Tonbridge, A Geography of Heritage, Chapter One: “The Uses
and Abuses of Heritage” & Chapter Two: “Heritage, Power and Identity.”
December 4
Cumulative Review / Comparison
Your own application: select your own clips to screen, from any film
December 11
 Turn in Film Journal & Final Researched Essay
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Kingdom of Shadows Trivia
In the “Hardball” episode of the CBS television program Numb3rs (November 2006), a
conversation between two main characters mentions that a part of town looks like Blade
Runner. Blade Runner director Ridley Scott produces Numb3rs with brother Tony Scott.
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This syllabus produced August 25, 2007. Dates subject to change.