Week 5: Adaptation and the derivative work / Erica Sheen - Screenings (Hitchcock 1954) Rear Window (Bresson 1956) A Man Escaped Required reading: We will continue to discuss our reading on and add to it: medium specificity John Belton, (CUP 2000) Alfred Hitchcock’s Rear Window Stefan Sharrf, (Southern Ill., 2001)_ The Art of Looking in Hitchcock’s Rear Window to be - pdf in VLE Cornell Woolrich, ‘It Had Murder’ (1950) Robert Bresson, trans J. Griffin, (Green Integer 1997). Notes on the Cinematographer Joseph Cunneen, (Bloomsbury 2005) Robert Bresson: A Spiritual Style in Film James Quandt, (Ontario Cinematheque 1998) Robert Bresson Andre Devigny, trans Peter Green, (1958) - excerpts in VLE A Man Escaped Rhonda Baker, (Chapman and Hall 1995), 178 - pdf on VLE Media Law: A User's Guide and share a surprisingly similar scenario: a in Rear Window A Man Escaped man ‘captured’ what is effectively the space of the frame, and exercising his imagination in resistance to his constraints. In every other respect they are polar contrasts: one exemplifies the ‘industrial’ Hollywood production system; the other is the work of a director who defies categorisation, even in post-war France. In this seminar we will consider i) contrasting approaches to adaptation as a process of creative, technical and technological transfer between two media; ii) the questions of intellectual property that derive from this. We will examine the documentation relating to the Window and contrast the modes of famous ‘Rear Case’, performance presented in these two films: the star system ; and concept of the Bresson’s ‘modèle’. Week 6: Reading Week: no classes or screenings/ submission of procedural essay Week 7: Surveillance and the Senses of Cinema/Michael McCluskey Screenings (dir. Michelangelo Antonioni, UK, 1966) Blow Up
Week 5: Adaptation and the derivative work / Erica Sheen - Screenings Rear Window (Hitchcock 1954) A Man Escaped (Bresson 1956) Required reading: We will continue to discuss our reading on medium specificity and add to it: John Belton, Alfred Hitchcock’s Rear Window (CUP 2000) Stefan Sharrf, The Art of Looking in Hitchcock’s Rear Window (Southern Ill., 2001)_ Cornell Woolrich, ‘It Had to be Murder’ (1950) - pdf in VLE Robert Bresson, trans J. Griffin, Notes on the Cinematographer (Green Integer 1997). Joseph Cunneen, Robert Bresson: A Spiritual Style in Film (Bloomsbury 2005) James Quandt, Robert Bresson (Ontario Cinematheque 1998) Andre Devigny, trans Peter Green, A Man Escaped (1958) - excerpts in VLE Rhonda Baker, Media Law: A User's Guide (Chapman and Hall 1995), 178 - pdf on VLE Rear Window and A Man Escaped share a surprisingly similar scenario: a man ‘captured’ in what is effectively the space of the frame, and exercising his imagination in resistance to his constraints. In every other respect they are polar contrasts: one exemplifies the ‘industrial’ Hollywood production system; the other is the work of a director who defies categorisation, even in post-war France. In this seminar we will consider i) contrasting approaches to adaptation as a process of creative, technical and technological transfer between two media; ii) the questions of intellectual property that derive from this. We will examine the documentation relating to the famous ‘Rear Window Case’, and contrast the modes of performance presented in these two films: the star system ; and Bresson’s concept of the ‘modèle’. Week 6: Reading Week: no classes or screenings/ submission of procedural essay Week 7: Surveillance and the Senses of Cinema/Michael McCluskey Screenings Blow Up (dir. Michelangelo Antonioni, UK, 1966)
Film-Literature%20Encounters%20MA%20FilmLit%20Core%20Module.docx