Dr. Karen Schneider
karen.schneider@wku.edu
745-3046 (office)
ENG 365
Film & Literature
www.wku.edu/~karen.schneider
782-3037 (home)
Shakespeare and Film: Screening Shakespeare
Course Description
No author moves more freely between high art and popular culture than Shakespeare. Since
cinema’s inception, Shakespearean drama has proved an inexhaustible source and inspiration for
films of every ilk, including animation. In this course we will study the protean relationship
between cinema and Shakespeare, whose work offers a special challenge to the process of
adaptation. As we explore this relationship, we will consider many questions, beginning with the
theory and practice of adaptation itself:
 What is the relationship between a cinematic adaptation and its literary source or
inspiration? What challenges inform the adaptation process?
 In what way has the issue of “fidelity” shaped and limited adaptation studies?
 Why might Shakespeare’s work present a particular challenge to adaptation? What are
(re)viewers’ assumptions about adaptations of Shakespeare?
 What factors influence interpretations of Shakespeare’s work?
 What is the role of Shakespeare in Western culture? Similarly, what is the role of film?
How do these complement and/or inform one another?
 What constitutes a “Shakespeare film?”
These questions begin to raise some the issues that we may consider in the course of the semester.
I expect you to come up with some of your own.
Required Texts
Bevington, David. The Necessary Shakespeare. 2nd ed. Longman, 2004.
Reader
Recommended: Gibaldi, Joseph. MLA Handbook for Writers of Research Papers, 6th ed.
Course Requirements and Procedures
--prompt and regular attendance
This includes the viewing lab (Wednesdays) and regular class meetings. If you have an
irreconcilable conflict, you may see the film on your own time, but you should clear it
with me first. Classroom discussion is at the heart of this course; absences result in
irrevocable loss. Because class discussion and activities are essential to your success in this
class, I encourage attendance by awarding or deducting points as follows:
0-2 absences:
3-4 absences:
5-6 absences:
7-8 absences:
More than 8:
+20 pts
no loss, no gain
- 30 pts
- 50 pts
automatic failure
--on reading Shakespeare
Yes, the language is difficult, especially at first. You will find that you grow accustomed to
it, though, and it will get easier. Some suggestions: Don’t insist on understanding every
word, especially the first time through. The text provides glosses on some of the archaic
language, and these can be very helpful, but re-read passages with such interruptions, for
greater comprehension and fluidity. If you are reading a play for the first time and/or
have little experience reading Shakespeare, you might find reading a plot summary
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beforehand helpful. Some synopses are quite detailed; you should read these one act (or
even one scene) at a time. Useful websites:
http://www.cummingsstudyguides.net/xShakeSph.html
http://www.shakespeare-online.com/playanalysis/
--thought questions
To give your reading some direction, I have prepared discussion questions for each of the
plays (see website). Read them over before reading the plays and think about what
answers take shape as you read. We will begin our discussions by considering your
findings. In this way, we should always have lively and informed conversation. You may
also use these as a starting point for paper topics, though I encourage you to write about
what interests you the most.
--reading quizzes (10 pts each)
On the days we discuss the assigned secondary readings, we will have a reading quiz. You
will do well on these if you are familiar with the reading’s thesis and/or main points. The
quiz questions will provide the starting point for our discussion of the reading. You should
also be prepared to raise your own questions and/or opinions about the material in the
readings. Be an interactive and critical reader!
--Viewing Responses (50 pts each)
The viewing responses are meant to promote thoughtful consideration of the individual
films before we discuss them in class. Eight due dates are noted on the syllabus. You must
choose to turn in responses seven of these times. Each completed entry should be about
two typed pages. You may explore formal features (e.g., the mise en scène, editing,
camera work, etc.) of the film as a whole or of a particular sequence; you may consider
characterization or a thematic concern; you may compare the film to another version of
the same play; or you may explore the film’s unique interpretation of the play. In short,
you may discuss whatever interests you as long as your response is focused and analytical.
If you choose, you may allude to relevant class reading and/or class discussion. You are
free to disagree with others’ opinions (including mine) as long as you are respectful and
provide carefully considered reasons and textual examples. Although these viewing
responses are not as formal as your papers, I expect you always to do your best possible
writing and thinking. You may use a thought question as the basis for your response, but
you don’t have to.
--Analytical Papers
Two formal papers are required; one must incorporate secondary readings obtained with
research. General remarks: No one can write knowingly about a film s/he has seen only
once. To facilitate multiple viewings, I will put each film on reserve in the library after we
have finished with it in class. If you have little or no experience writing textual analyses,
you should definitely talk with me about the first paper in advance. Before coming in,
consult “Writing about Literature: Some Basic Advice” on my web site (also applicable to
writing about film). If you refuse this opportunity, you will regret it; let me help you
write the kind of paper required for you to succeed in this class. Finally, if you’ve never
used MLA documentation form, you will need to learn it; I’ll be glad to help. You should
consult either the MLA Handbook or the website (see links on my website).
Paper # 1 (no research)—4-5 pages [due October 8] (150 pts)
At this point in the semester, we will have studied only Henry V (two film versions) and
Richard III, the two history plays. For this paper, you may focus on one film or compare
two. You may analyze the film as a discrete work of art and/or in the broader contexts of
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adaptation practice and history/ideology. You must choose your own topic, but we will
discuss possible topics as we go along. You may refer to our readings in your analysis
where appropriate and helpful. If you do so, be sure to document appropriately (using
MLA documentation style for in-text documentation and the Works Cited page).
Paper # 2 (with research)—6-8 pages [due November 12] (200 pst)
This paper must incorporate secondary material. A minimum of four sources is required;
one of them may be from our reader. (You may use as many from the reader as you like,
as long as you also use at least three sources you find in your own research.) You may
obtain these additional sources on line, but be sure that for the most part they are
legitimate academic sources. And don’t overlook the library as a possible source of
material. Again, you will need in-text documentation and a WC page (MLA).
Paper Guidelines: All papers must be either computer-generated or typed (double-spaced, with
the usual 1" margins, NON-justified on the right). Cover sheets are discouraged (see MLA form).
All essays should have original titles (remember not to underline your own title). Please do not
put papers in any kind of binder, but do make sure the pages are stapled or clipped together. I
reserve to right to return, unread, papers that have not been adequately proofread or do not
otherwise meet the requirements. Late papers are a problem for both you and me. Unless faced
with an emergency, you should turn in all papers on time. I urge you to avoid falling behind. I
will absolutely not accept any papers more than a week late.
--Final Exam: take-home essay (2) exam [100 pts]
Grading: Reading quizzes
Viewing responses
Paper # 1
Paper # 2
Final Exam:
80 pts
350 pts
150 pts
200 pts
120 pts
900 total points
Conferences
At any time during the semester, if you want help with anything connected to this class--the
readings, film concepts, viewing responses, papers, the final exam--I will be glad to provide it. I
am especially committed to helping you become better writers. We can work on any stage of the
writing process: brainstorming, outlining, drafting, revision. (You will never do your best work if
you wait until the night before something is due to write it. Leave time for revision!) You can
drop by my office most any time, but an appointment is the best way to go. Do not be shy about
asking.
A Note on Plagiarism
Plagiarism isn’t always fully intentional, I realize, but it is always wrong. Always give credit for
another’s ideas, even if you are only summarizing or paraphrasing. Substituting a word here and
there in a sentence does NOT constitute good enough paraphrase; recast the sentence altogether.
Always use quotation marks when using someone else’s language, even if it’s only a short phrase
(and, sometimes, a single word). Always use in-text parenthetical page number documentation to
indicate source, and always include full bibliographic information for that source on a separate
Works Cited page at the end. Any writing with plagiarism I deem “unintentional” (sloppy use of
sources) will have to be totally redone, with a letter grade deduction. Any writing with
intentional plagiarism will receive a zero; depending on the extent of the offense, intentional
plagiarism could result in failure for the class.
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In the Writing Center (CH 123) tutors are available to help you with specific micro problems (e.
g, sentence fragments) and/or the writing process, such as thesis development, paragraph unity,
organization, transitions, etc. Remember, though, this is not a proofreading service.
Disabilities Statement
"Students with disabilities who require accommodations (academic adjustments and/or auxiliary
aids or services) for this course must contact the Office for Student Disability Services, Room 445,
Potter Hall. The OFSDS telephone number is (270) 745-5004 V/TDD. Please DO NOT request
accommodations directly from the professor or instructor without a letter of accommodation from
the Office for Student Disability Services."
Cell phone policy
Having your phone ring during class is disruptive and rude. Please turn off your cell phone before
class without fail.
Ideal Opportunity
This year the Popular Culture Association is holding its annual conference in San Francisco, March
19-22. One of the area categories is Shakespeare on Film and Television. I plan to submit a paper
proposal in any case, but what I’d really like to do is put together a complete panel or two
(several papers on the same general subject) of the best papers from this class. Potter College, the
English Department and, if appropriate, Honors have some funds available for student conference
travel and would be able to defray a significant portion of the cost. Check out the conference at
http://www.popularculture.org/ and keep this in mind as you write your papers.
SYLLABUS
M 8/27
Introduction to Class
W 8/29
Introductions, cont.
Stam, “Introduction: The Theory and Practice of Adaptation”
M 9/3
Labor Day Holiday
Buchanan, “Introduction” (from Shakespeare and Film)
Jackson, “Shakespeare, film, and the marketplace”
Screening: Shakespeare in Love (Madden, 1998, 122”)
W 9/5
M 9/10
Hatchuel, “Shakespeare from Stage to Screen: a historical and
aesthetic approach”
W 9/12
Screening:
Henry V
Henry V (Olivier, 1945, 137”)
M 9/17
Henry V, cont.
W 9/19
Henry V, cont.
Screening:
Viewing Response Due
Discuss Research Methods
Henry V (Branagh, 1989, 137”)
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M 9/24
Henry V, cont.
W 9/26
Screening:
Richard III
Richard III (Loncraine, 1995, 104”)
M 9/24
Richard III, cont.
W 9/26
Loehlin, “Top of the World, Ma”: Richard III and cinematic
convention”
Discuss Documentation
M 10/1
Lanier, “Unpopularizing Shakespeare: A Short History”
W 10/3
Paper Conferences
Cartmell, “Shakespeare, Film, and Nationalism: Henry V”
Viewing Response Due
Viewing Response Due
FALL BREAK
M 10/8
Othello
W 10/10
Screening:
Othello, cont.
Othello (Parker, 1995, 125”)
M 10/15
Othello, cont.
PAPERS DUE
Viewing Response Due
W 10/17
Macbeth
Screening: Throne of Blood (Kurosawa, 1957, 108”)
M 10/22
Buchanan, “Cross-cultural Narrative Rhymes: The Shakespeare Films
of Akira Kurosawa” (excerpt)
Holderness, excerpt from Visual Shakespeare
Viewing Response Due
W 10/24
Macbeth/Throne, cont.
Screening: Hamlet (Branagh, 1996, 242”) [first 120” only]
M 10/29
Hamlet
W 10/31
Hamlet, cont.
Screening: Hamlet (Branagh, second half)
M 11/5
Hamlet, cont.
W 11/7
Paper Conferences
M 11/12
Papers Due
Viewing Response Due
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W 11/14
Much Ado about Nothing
Screening: Much Ado about Nothing (Branagh, 1993, 111”)
M 11/19
Much Ado, cont.
W 11/21
Thanksgiving Break:
Watch Love’s Labour’s Lost (Branagh, 2000, 95”)
M 11/26
Crowl, “Flamboyant realist: Kenneth Branagh”
Viewing Response Due
Viewing Response Due
W 11/28
Boose and Burt, “Totally Clueless?: Shakespeare goes Hollywood in
the 1990s”
Screening: Complete Shakespeare Abridged or other film of your choice
M 12/3
Hand out and Discuss Final Exam (due no later than Thurs., 12/13)
W 12/5
Class Dinner
Finals Week: 12/10-12/14