Guía docente de De la Palabra a la Imagen: la Práctica de la Adaptación Fílmica (M19/56/2/16)

Las sesiones del curso se centrarán en los problemas de adaptación cinematográfica y las soluciones adoptadas por los cineastas desarrollando los
siguientes aspectos:

• El fenómeno de la adaptación cinematográfica: orígenes, tipos y teorías.
• Categorías narrativas: narrador, punto de vista, espacio, tiempo, comprensión narrativa.
• El contexto de las adaptaciones: cultura, la industria del cine, audiencias, géneros y espectáculo.
• Problemas y soluciones.

The course sessions deal with the problems posed by film adaptation and the solutions adopted by filmmakers focusing on:

• The concept of film adaptation: origins, types and theories.
• Narrative categories: narrator, point of view, space, time, narrative comprehension.
• The context of film adaptation: culture, the film industry, audiences, genres and entertainment.
• Problems and solutions.

• Advanced level of English (C1 CEFR).

• To acquire the necessary skills to develop a thorough comparative analysis between written and filmed texts within the framework of adaptation studies.
• To learn about the main theories and approaches to adaptation, and apply such knowledge critically to the analysis of specific texts.
• To examine critically a variety of adapted texts from classics to popular culture texts including novels, short stories, graphic novels and non fiction.

Course description

This course addresses the comparison between written and filmed narratives considering the convergences and divergences in the modes of storytelling. After establishing a framework for the study of literature and film, a survey will be made of the various approaches to the study of adaptation ranging from classics such as Bluestone (1956) and McFarlane (1996) to recent developments such as Stam (2000) and Hutcheon (2006). A wide range of source texts including literary and popular narratives, short stories, graphic novels and comics will provide the testing ground for theories and approaches with a focus on the problem-solving nature of film adaptation. The course sessions will cover:

1. The phenomenon of film adaptation: origins, types and theories.
2. Narrative categories: narrator, point of view, space and time, narrative comprehension.
3. Background: culture and film industry, audiences, genres and spectacles.
4. Problems and solutions: analysis of adaptations of classic novels, comics and graphic novels, short fiction, non-fiction, bestsellers, etc.

Course description

This course addresses the comparison between written and filmed narratives considering the convergences and divergences in the modes of storytelling. After establishing a framework for the study of literature and film, a survey will be made of the various approaches to the study of adaptation ranging from classics such as Bluestone (1956) and McFarlane (1996) to recent developments such as Stam (2000) and Hutcheon (2006). A wide range of source texts including literary and popular narratives, short stories, graphic novels and comics will provide the testing ground for theories and approaches with a focus on the problem-solving nature of film adaptation. The course sessions will cover:

1. The phenomenon of film adaptation: origins, types and theories.
2. Narrative categories: narrator, point of view, space and time, narrative comprehension.
3. Background: culture and film industry, audiences, genres and spectacles.
4. Problems and solutions: analysis of adaptations of classic novels, comics and graphic novels, short fiction, non-fiction, bestsellers, etc.

• Aragay, M. (ed.) (2005). Books in Motion: Adaptation, Intertextuality, Authorship. Series: Contemporary Cinema. Amsterdam, New York: Rodopi.
• Bluestone, G. (1957). Novels into Film. Berkeley and Los Angeles: University of California Press, London: Cambridge University Press.
• Bordwell, D. and K. Thompson (1979). Film Art. An Introduction. The McGraw-Hill Companies, Inc.
• Bordwell, D. (1985). Narration in the Fiction Film. Routledge.
• Branigan, E. (1992). Narrative Comprehension and Film. London, New York: Routledge.
• Cardwell, S. (2002). Adaptation Revisited: Television and the Classic Novel. Manchester University Press.
• Carretero González, M. and M.E. Rodríguez Martín (2007). “Fragmented women, fragmented discourses: The Hours and its film adaptation”. In Martínez-Cabeza M.A., McLaren, N. and Quereda Rodríguez-Navarro, L. (eds). Estudios en Honor de Rafael Fente Gómez. Granada: Editorial Universidad de Granada.
• Carretero González, M. and M.E. Rodríguez Martín (2010). “Becoming Jane Austen on screen: Narrative discourses in the biopic genre”. In M. Falces Sierra, E. Hidalgo Tenorio, J. Santana Lario and S. Valera Hernández (eds). Para, por y sobre Luis Quereda. Granada: Editorial Universidad de Granada, pp. 595-604.
• Cartmell, D. and I. Whelehan (eds) (2007). The Cambridge Companion to Literature on Screen. Cambridge: Cambridge University Press.
• Cartmell, D. and I. Whelehan (2010). Screen Adaptation: Impure Cinema. New York : Palgrave Macmillan.
• Chatman, S. (1978). Story and Discourse. Narrative Structure in Fiction and Film. USA: Cornell University Press.
• Chatman, S. (1990). Coming to Terms. The Rhetoric of Narrative in Fiction and Film. Ithaca and London: Cornell University Press.
• Deleyto, C. (1991), “Focalisation in Film Narrative”, ATLANTIS, vol. XIII, november 1991, 1-2: 159-177.
• Desmond, J. & P. Hawkes (2006). Adaptation: studying film and literature. McGraw-Hill
• Giannetti, L. (1995). Understanding Movies. Englewood Cliffs, N.J.: Prentice Hall.
• Hutcheon, L. (2006). A Theory of Adaptation. Routledge.
• Leitch, T. (2007). Film Adaptation and its Discontents. Johns Hopkins University Press.
• Leitch, T. (2008a). “Adaptation Studies at a Crossroads”. Adaptation 1 (1): 63-77.
• Leitch (2008b). “Adaptation, the Genre”. Adaptation 1(2): 106-120.
• Leitch, T. (2017) (ed.). The Oxford Handbook of Adaptation Studies. Oxford: Oxford University Press.
• MacDonald, G. and A. Macdonald (eds) (2003). Jane Austen on Screen. Cambridge University Press.
• Marínez-Cabeza, M. A. (2004). “Cuento, cine y plagios”. El Cuento en Red 10, Págs. 91-98.
• Martínez-Cabeza, M.A. (2007). “How not to adapt a book to the screen successfully”, in M.A. Martínez-Cabeza, N. McLaren, L.Quereda (eds.) (2007) Estudios en honor de Rafael Fente Gómez. Granada: Editorial Universidad de Granada, pp. 499-506.McFarlane, B. (1996). Novel to Film. An Introduction to the Theory of Adaptation. Oxford: Clarendon Press.
• Naremore, J. (ed.) (2000). Film Adaptation. London: The Athlone Press.Page, R. (2010). New Perspectives on Narrative and Multimodality. New York and London: Routledge.
• Rodríguez Martín, M.E. (2002). “La adaptación al cine de Mansfield Park: un “collage” de Austen y su obra”, A Life in Words, M. Carretero, E. Hidalgo, N. McLaren y G. Porte (eds.). Granada: Editorial Universidad de Granada, 131-141.
• Rodríguez Martín, M.E. (2004). “La influencia de la ficción breve de Jane Austen en su obra posterior y en la adaptación al cine de su novela Mansfield Park”. El Cuento en Red. Revista Electrónica de Teoría de la Ficción Breve, nº 10.
• Rodríguez Martín, M.E. (2005). “Unfaithfulness” to Jane Austen? Communicating readings and interpretations of her novels through their film adaptations”. ES- English Studies 26: 189-200.
• Rodríguez Martín, M.E. (2005). “Teorías sobre adaptación cinematográfica”. El Cuento en Red. Revista Electrónica de Teoría de la Ficción Breve, nº 12.
• Rodríguez Martín, M.E. (2006). “Lecturas fílmicas de las obras de Jane Austen”. In Carretero González, M., Rodríguez Martín, M. E. and G. Rodríguez Salas (eds). De habitaciones propias y otros espacios conquistados. Estudios sobre mujeres y literatura en lengua inglesa en homenaje a Blanca López Román. Granada: Editorial Universidad de Granada.
• Rodríguez Martín, M.E. (2013). “Film adaptations as failed texts or why ‘the adapter, it seems, can never win’”. In J.L. Martínez-Dueñas Espejo y R. G. Sumillera (eds.). The Failed Text. Literature and Failure. Newcastle upon Tyne: Cambridge Scholars Publishing, pp. 161-173.
• Rodríguez Martín, M.E. (2019), “Love & Friendship: The film adaptation of Jane Austen’s epistolary novella Lady Susan”. In Martínez-Cabeza, M.A, Pascual, R.J., Soria, B. and R.G. Sumillera (eds.). The study of style. Essays in English Language and Literature in honour of José Luis Martínez-Dueñas. Granada: Editorial Universidad de Granada, pp. 75-91.
• Rodríguez Martín, M.E. (2019), “De la fidelidad al original a las narrativas transmedia: Desarrollo y evolución de las teorías de adaptación”. In Pollarolo, G. (ed.), Nuevas aproximaciones a viejas polémicas: cine/literatura. Lima, Perú: Fondo Editorial PUCP, pp. 39-61.
• Rodríguez Martín, M.E. and Rodríguez Salas, G. (2008). “Introducing temporal relations through novel and film: Michael Cunningham’s The Hours and its film adaptation”. In A. Linde López, J. Santana Lario and C. Wallhead Galway (eds.), Studies in Honour of Neil McLaren. A man for all seasons. Granada: Editorial Universidad de Granada, 339-349.
• Rodríguez Salas, G. and Rodríguez Martín, M.E. (2004). “Introducing narrative techniques through novel and film: Michael Cunningham’s The Hours and its film adaptation”. GRETA 12/1: 25-30.
• Scolari, C. A. (2009). “Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production”. International Journal of Communication 3: 586-606.
• Stam, R. (2000). “Beyond Fidelity: The Dialogics of Adaptation”. In Naremore, J. (ed.) (2000), Film Adaptation. London: The Athlone Press, pp. 54-76.
• Stam, R. and A. Raengo (eds) (2004). Literature and Film: A guide to the theory and practice of film adaptation. Oxford: Blackwell.
• Troost, L. y S. Greenfield (eds.) (1998). Jane Austen in Hollywood. Kentucky: The University Press of Kentucky.
• Voights. E. and P. Nicklas (2013). “Introduction: Adaptation, Transmedia Storytelling and Participatory Culture”. Adaptation 6 (2): 139–142.

• Andrew, Dudley (2004). “Adapting Cinema to History”. In Stam, R. and A. Raengo (eds.) A Companion to Literature and Film. Oxford: Blackwell, pp. 189-204.
• Beja, M. (1979). Film and Literature. An Introduction. New York, London: Longman.
• Bordwell, D. (1989). Meaking Meaning. Inference and Rhetoric in the Interpretation of Cinema. Cambridge, Massachussets, London: Harvard University Press.
• Branigan, E. (1975). “The Point-of-View Shot”. Screen 16(3): 54-64.
• Branigan, E. (1984). Point of View in the Cinema. A Theory of Narration and Subjectivity in Classical Film. Berlin, New York, Amsterdam: Mouton Publishers.
• Burke, L. (2015). The comic book film adapttaiopn: exploring modern Hollywood leading genre. Jackson: University Press of Mississippi.
• Carroll, R. (ed.) (2009). Adaptation in Contemporary Culture: Textual Infidelities. London and New York: Continuum.
• Cartmell, D., Hunter, I.Q. and H. Hay (eds.) (1996). Pulping Fictions: Consuming Culture Across the literature-media divide. London: Pluto Press.
• Cartmell, D. y I. Whelehan (eds.) (1999). Adaptations. From text to screen, screen to text. London and New York: Routledge.
• Cartmell, D., Hunter, I.Q., Kaye, H. y Whelehan, I. (eds.) (2000). Classics in Film and Fiction. London-Sterling. Virginia: Pluto Press.
• Deleyto, C. (2004). “Return to Austen: Film heroines of the Nineties”. In C. Gutleben and S. Onega (eds.). Refracting the Canon in Contemporary British Literature and Film. Amsterdam and New York: Rodopi, pp. 95-110.
• Genette, G. (1980). Narrative Discourse. Oxford: Basil Blackwell.
• Genette, G. (1982). Palimpsestes. Translated by Channa Newman y Claude Doubinsky (1997). University of Nebraska Press.
• Giddings, R., Keith, S. y Ch. Wensley (1990). Screening the Novel. The Theory and Practice of Literary Dramatization. London: MacMillan Press, LTD.
• Giddings, R. y E. Sheen (eds.) (2000). The classic novel from page to screen, Manchester: Manchester University Press.
• Gutleben, C. and S. Onega (eds.). (2004). Refracting the Canon in Contemporary British Literature and Film. Amsterdam and New York: Rodopi.
• Kranz, D. L. and N. C. Mellerski (eds.) (2008). In/Fidelity: Essays on Film Adaptation. Cambridge Scholars Publishing.
• Martínez-Cabeza, M. A. (2005). “Million $$$ Baby”. El Cuento en Red 12, Págs. 131-136.
• Martínez-Cabeza, M.A. (2007). “V de violencia”. El fingidor. Enero-junio 2007 pp.58-60. MacCabe, C., Murray, K. and Rick Warner (2011). True to the Spirit: Film Adaptation and the Question of Fidelity. Oxford. Oxford University Press.
• McCloud, S. (1994). Understanding Comics. New York: Harper Perenninal.
• Palmer, R. Barton (ed.) (2007). Nineteenth-Century American Fiction on Screen. Cambridge: Cambridge University Press.
• Palmer, R. Barton (ed.) (2007). Twentieth-Century American Fiction on Screen. Cambridge: Cambridge University Press.
• Rifkin, B. (1994). Semiotics of Narration in Film and Prose Fiction, New York: Peter Lang.
• Sanders, J. (2006), Adaptation and Appropriation. London: Routledge
• Stam R., Burgoyne, R. y S. Flitterman-Lewis (1992). New Vocabularies in Film Semiotics. London and New York: Routledge.
• Stam, R. and T. Miller (eds) (2000). Film Theory: An Anthology. Malden, Mass.: Blacwell.
• Stam, R. (2004). Literature through Film: Realism, Magic and the Art of Adaptation. Malden, Mass.: Blackwell Publishing.
• Stam, R. (2004). Film theory: An Introduction. Malden, Mass.: Blackwell.
• Stam, R. and A. Raengo (eds) (2004). A Companion to Literature and Film. Oxford: Blackwell.
• Welsh, J. and P. Lev (eds.) (2007). The Literature/Film Reader: Issues of Adaptation, Scarecrow Press.

• Journals:

1. Literature Film Quarterly. Journal website: http://www.salisbury.edu/lfq/; available on the Library website, University of Granada: http://biblioteca.ugr.es/
2. Adaptation: The Journal of Literature on Screen Studies. Journal website: http://adaptation.oxfordjournals.org/content/current; available on the Library website, University of Granada: http://biblioteca.ugr.es/        
3. Journal of adaptation in film and performance. http://www.intellectbooks.co.uk/journals/view-Journal,id=153/
4. Screen. Journal website: http://screen.oxfordjournals.org/; available on the Library website, University of Granada: http://biblioteca.ugr.es/
5. Sight and Sound. Available on the Library website, University of Granada: http://biblioteca.ugr.es/

• Association of Adaptation Studies: https://www.adaptation.uk.com/
• Cinema, Culture and Society website: http://ccs.filmculture.net/
• David Bordwell’s website on cinema: http://www.davidbordwell.net/books/
• The Living Handbook of Narratology: https://www.lhn.uni-hamburg.de/
• Internet Movie Database (IMDb): http://www.imdb.com/
• Film Index International: Available on the Library website, University of Granada: http://biblioteca.ugr.es/; http://biblioteca.ugr.es/pages/biblioteca_electronica/bases_datos/filmindex
• Biblioteca Universidad de Granada: http://biblioteca.ugr.es
• DIGIBUG: Repositorio Institucional de la Universidad de Granada: http://digibug.ugr.es/

Tools

• Attendance and participation.
• Oral presentation of project/abstract.
• Written exam.

Criteria

• Knowledge of course contents.
• Critical application of theories and approaches.
• Capacity to draw up and develop a practical analysis.

Percentages

• Attendance and participation in course sessions: 20%
• Oral presentation of project: 20%
• Written exam: 60%

Both in the written and spoken activities, students are expected to show an advanced level of English (C1). Failing to do so will be negatively assessed.

In cases where serious plagiarism is found, the matter will be dealt with under University Regulation https://www.ugr.es/~plagio_hum/0501EUniversitarios.htm

Tools

• Written and oral exam.

Criteria

• Knowledge of course contents.
• Critical application of theories and approaches. 
• Capacity to draw up and develop a practical analysis.

Percentage

• Written and oral exam: 100%

Both in the written and spoken activities, students are expected to show an advanced level of English (C1). Failing to do so will be negatively assessed.

In cases where serious plagiarism is found, the matter will be dealt with under University Regulation https://www.ugr.es/~plagio_hum/0501EUniversitarios.htm

Tools

• Written and oral exam.

Criteria

• Knowledge of course contents.
• Critical application of theories and approaches.
• Capacity to draw up and develop a practical analysis.

Percentage

• Written and oral exam: 100%

Both in the written and spoken activities, students are expected to show an advanced level of English (C1). Failing to do so will be negatively assessed.

In cases where serious plagiarism is found, the matter will be dealt with under University Regulation https://www.ugr.es/~plagio_hum/0501EUniversitarios.htm

• Both in the written and spoken activities, students are expected to show an advanced level of English (C1). Failing to do so will be negatively assessed.
• In cases where serious plagiarism is found, the matter will be dealt with under University Regulation https://www.ugr.es/~plagio_hum/0501EUniversitarios.htm (This also applies to the submission and presentation of essays or other course-related assignments written by non-human resources, such as artificial intelligence applications, software and tools).