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LITR 400: Narrative in
Film and Literature
fall 2006 Dr. Abby Coykendall http://people.emich.edu/acoykenda/ Office Location: Pray-Harrold Hall 603G Office Hours: MW 2:45-3:45 PM; T 1:45-3:15; Th 10-11 Office Phone: 734-487-0147 (messages only) ~ or email for
an appointment ~
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Literature 400: Narrative in Film and
Literature
In this class, we are going to look at
how narratives in cinema and literature can together articulate that which
escapes unnoticed from “rational,” realistic, or science-driven accounts of
experience. If only that which is
understandable and registerable shapes how we
perceive ourselves and our culture, then why do cinema and literature return,
with so haunting a vengeance, to remind us of such bigger-than-life
incongruities, “perversions,” and terrors?
Whether producing horror flicks or romantic comedies, the film and print
industries attempt to appeal universally to the desires of everyone. But who is this hypothetical “everyone”? And in what ways do films or books reflect that
person’s supposed desires? Mass-produced
and widely distributed, cinema and literature are ultimately the foremost
mediums used to mirror, as well as to escape from, everyday life. With attentive reading and viewing, however,
we will see that they can also serve as thinly disguised barometers of cultural
conflict, especially once taken in their historical and material contexts.
Course Objectives: The principal objective of the course is
to investigate the narrative techniques and discursive structures found in
cinema and literature. We will focus primarily,
though not exclusively, on film, since that medium is most likely the one with
which you are least familiar at this point in your undergraduate major. Our ultimate aim is to examine the social
construction of identity, whether it be subjective or cultural — the narratives
told of self, of nation, and of the larger global community — by closely
analyzing an array of emblematic films produced in differing cultural
contexts. Ultimately, by the end of the
course, you will be better able to
1.
Identify
the narrative techniques that distinguish both film and literature, as well as
those utilized by each;
2.
Understand
how literature and film work in tandem to instill ideologies of nationality,
ethnicity, race, class, gender, or sexuality;
3.
Investigate
how film, whether in its adaptation of the literary canon or simply in its
formal structure, goes hand in hand with literature to reflect and sometimes
even generate anew our cultural heritage;
4.
Explore
the mutual intercourse between the literary, so-called “high art,” and popular
culture, while coming to recognize the respective benefits and limitations of
each;
5.
Inquire
how the filmic adaptation of literature, the relationship between film and
literature, or cinema itself change over time in distinct cultural contexts;
6. Enhance verbal, visual, and cultural
literacy, as well as the hermeneutic skills that each entail, by interpreting
film with the same critical acumen traditionally applied to literature alone.
Course Structure: For the majority of the semester, we
will be watching a pair of films in tandem — one older, and one more
contemporary — to assess the shifts in the narrative imagination occurring over
time. Each set of films will be
juxtaposed with a cultural theorist of note (e.g. Noam Chomsky, Laura Mulvey,
Frederic Jameson, Walter Benjamin, or bell hooks), theorists who will together
comprise a select yet representative survey of narrative theory and cultural
studies at this particular point in time.
We will also read two books of narrative theory in full — John Berger’s Ways of Seeing and Roland Barthes’ S/Z — the first to hone your skills in
visual literacy and the second to hone your skills in verbal literary. In addition, we will examine one filmic
adaptation of a novel in depth: the 1946 Howard Hawks’ production of The Big Sleep by Raymond Chandler.
Texts and Materials
The following books are available at
Ned’s bookstore (http://www.nedsbooks.com/emu/;
483-6400; 707 W. Cross), although additional copies may be
available at other local bookstores:
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Art of Watching Films, Ed. Boggs
and Petrie (McGraw-Hill,
2003; ISBN # 0072556269)
Roland Barthes, S/Z: An Essay (Hill and Wang, 1991; ISBN # 0374521670)
Raymond Chandler, The Big Sleep (Vintage, 1992; ISBN #0394758285)
John Berger, Ways of Seeing (Penguin, 1995; ISBN #0140135154)
Make sure to get the same editions
pictured above even if you purchase the books online, where they may be
significantly less expensive; otherwise, the differing page numbers will make
it difficult for you to follow along with class discussions. The most reliable way to get the correct
edition is to search by ISBN number, a unique fingerprint of sorts for the
book.
A number of other required texts are
located online through the Electronic Reserves (ER): http://reserves.emich.edu/eres/coursepage.aspx?cid=1829
(password 400). It is best to print out
these materials every few weeks in advance from the multimedia computers on the
first floor of the
Assignments & Assessment in Sum
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35% |
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Weekly Homework Assignments: Responses,
Quizzes, Discussion Questions, Extra Credit, & Class Participation |
due dates: |
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30% |
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Critical Essay:
4½-page Semiotic Analysis of Raymond Chandler’s Big Sleep |
November 20 |
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35% |
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Research Project: A
8- to 10-page Comparison-Contrast Essay on Two Films, Including a Research
Proposal & In-Class Presentation |
December 20 (12 PM) |
Film Screenings
We will
typically be viewing and discussing one film per week, although there will be some
rare exceptions such as when I will show a film during class time in full or
when we will have conferences on your research projects towards the end of the
semester. There will also be fewer films
midway through the semester, when we will be discussing The Big Sleep and S/Z during class time in depth. Those films that you will need to watch as
homework are all specified on the Schedule that follows.
I have arranged
film screenings on Fridays from 6:30-8:30 in Pray Harrold 204 in order to show the
films to the maximum number of people in one sitting at the same time; however,
if you cannot make it to the screenings at that particular time, you will need
to acquire the films scheduled for each week and arrange to watch them on your
own.
Other
Ways to Access Films: Most of the films are available on reserve at the
Course Reading
Schedule
The reading load
for this course will be somewhat lighter than usual in order to account for the
extra time that you will need to spend viewing the films each week. I have also restricted the bulk of the
assignments to weekly responses and/or analytic essays rather than in-class
exams for the same reason. However, you
should plan for a more substantial reading load for Weeks 7-9, when we will be
covering The Big Sleep and S/Z — though these books both read
rather quickly per page for most people anyway.
Typically, you will read around 20 pages of narrative theory each week,
plus one chapter from the film textbook, sometimes in combination with
literature and sometimes in isolation.
Though
this reading schedule is technically less extensive page-wise, it will still be
fairly challenging given its philosophical nature. It is important to focus on the big picture —
tracing three or four of the main ideas and honing in on specific creative
applications of the theory most of interest to you — rather than getting mired
in the minutia or in the mechanics of each theorist. You will not be tested on this material in
any depth or in any detail, but you must be able to connect it in interesting
ways to the films in your responses, be able to discuss it articulately and
critically during in-class conversations, and finally be able to incorporate a
select portion of it into your research essay at the end of the semester. Altogether, this selection of cultural
theorists should offer a firm basis for approaching topics in all sorts of
literature and film courses, as well as for simply recognizing the range of
questions that can be posed about literature, film, and the larger culture on
your own initiative outside of the classroom.
Weekly
Homework Assignments
A large portion
of the grade (35%) is based on the homework assignments rather than on exams or
other more conventional forms of evaluation, so it is very important to keep up
with the reading assignments and thus be able to do the other kinds of tasks
that are assigned for each class.
Usually, you will be doing at least one homework assignment per week in
addition to the reading. Sometimes the
entire class will be posting a response to the course listserv (novel@list.emich.edu); sometimes only a portion of the class will be
posting a response to the listserv, and sometimes an even smaller portion of
the class will be writing a discussion question instead of a response. You will also be taking brief, online quizzes
after reading the more important chapters from the Art of Watching Films: http://highered.mcgraw-hill.com/sites/0072556269/student_view0/index.html.
Most evenings,
we will have a lecture format for the first half of the class, then take a
break, and finally conclude the class by doing either peer- or group-work on
the various discussion questions generated by students. This structure not only makes for a very
interactive, student-centered, and dialogue-intensive format, but also one in
which all students must be prepared to engage with the materials covered for
the week, if only by participating in small groups.
See the Weekly
Homework Assignments handout for a more in-depth description of each kind of
task: http://people.emich.edu/acoykenda/400/hmwk.htm. To determine which group you are in, and thus which
task you will be doing, see the List of Group Assignments (http://people.emich.edu/acoykenda/400/groups.htm).
** NOTE: A
master list of all course links and handouts is available online: http://people.emich.edu/acoykenda/hand.htm#l400.
The Critical Essay & Research Project
The critical essay, a 4½-page semiotic
analysis of Raymond Chandler’s Big Sleep
(incorporating Barthes’ S/Z), is
described on the schedule below (November 6). To ensure that the requirements are the same
for all students, both this essay and the research paper must have the standard
margins (only 1 inch on all sides), the standard font (Times New Roman), the
standard font size (12 point), as well as double spacing.
The research project essentially entails
doing an 8- to 10-page close analysis of one of the films that we have viewed
for the course, comparing and/or contrasting it to another film by the same
director or to another film recommended as a companion for it on the Schedule. In addition to outside research, the paper
should reference at least four of the theorists required as
reading over the course of the semester (not including Barthes). See the Internet Movie Database (IMDb) to
find information on the various films that you are considering for the paper: http://www.imdb.com/. Links to this database are provided on the Schedule for each particular film.
You will also need to do a research
proposal by the week of November 27, when you will meet with me in my office
for a conference instead of attending class proper. At that time, we will discuss your project, as
well as the various ways to approach it.
(If you want to write on either Do
the Right Thing or Full Metal Jacket,
which we will be watching after that time, you will need to see the film and perhaps
do some of the accompanying reading for it in advance.) On the final day — December 18 — you will
present your research to the class.
** All aspects of the Research Project
will eventually be described in depth on Guidelines on the Research Essay: http://people.emich.edu/acoykenda/400/essay.htm.
Extra-Credit Assignments
You can do up to two additional responses
for extra credit (either posted to the course listserv or turned in by hand). These can be responses to films that the
entire class is watching, but that you are not otherwise required to write a
response on; responses to films that you have seen at the State Theater, the Michigan Theater, or the Detroit Institute for Arts (DIA) over
the course of the semester; or responses to any other film that you are
considering examining for the paper.
Like any response, the extra-credit responses must allude to one of the
theorists covered in the course (either as required or recommended reading),
applying one of the concepts to the film and/or directly engaging with a
passage from the text. It would be a very good idea to do
extra-credit responses on films that you are considering for the paper, as you
can then generate ideas and get feedback for the research project while also
getting additional credit at the same time.
You can also exchange your research essay
with another student in the class, peer reviewing his or her essay and having
your own essay peer reviewed in turn, for extra credit. See the Rubric on Peer Editing for guidelines
on how to document your work (http://people.emich.edu/acoykenda/315/rubric.htm),
preferably emailing your answers both to the peer and to myself for quick
credit and feedback. Reading the rubric
would be helpful even if you do not plan to partake in peer review.
Academic
Integrity
Plagiarism is a very serious offense
against the Code of Student Conduct. Any
cheating on the quizzes or plagiarized writing will automatically result in a
failing, zero-percent grade for the assignment, as well as in further
disciplinary action from the Student Judicial Services if egregious. The general rule is that if you use three or
more words of another writer in a row without enclosing those words in
quotation marks and acknowledging your source, you are guilty of plagiarism. Turning in a paper that you wrote for
another course for this course, i.e. recycling the same words for double
credit, also constitutes academic dishonesty at EMU. See http://www.emich.edu/halle/plagiarism.html
for more specific guidelines on plagiarism.
Attendance
Because this course primarily consists of reading and discussion —
rather than facts, figures, or memorization — attendance is crucial. After three absences (or, in other
words, after missing the equivalent of nine days of class in a regular
schedule), your final grade will start being reduced by a letter grade: that is, the fourth class missed will turn a
final grade of an A into a B; the fifth, an A into a C; and so on. These three absences are for emergencies, so make
sure to conserve some of them for the end of the term when you may become ill
or have other extenuating circumstances.
Leaving halfway through a class period or arriving halfway into one each
count as half an absence. Please do not
distract other students by walking in or out of class unnecessarily, or by
answering your cell phone or otherwise interrupting it. There will be 10-minute breaks midway through
each class period when you can attend to personal business.
Schedule
Week One (September 11): Class cancelled and meets next time instead
Recommended Film: Rear Window (1954),** dir. Alfred Hitchcock, 112 min.
Recommended Companion Film: Peeping Tom
(1960), dir. Michael Powell
Optional: Elizabeth Cowie,
“Rear Window Ethics” [ER
475-93]
Slavoj Zizek,
“Gaze of the Other” [ER
2 pgs.]
Note: All reading and homework
assignments are listed on the day that they are due (unless specified
otherwise), so see what follows for the assignments for next week.
Week Two (September 18): Introduction to Course and Topic; Discuss
Realism & the Fantastic (The Uncanny, the Surreal, the Gothic, the
Grotesque, the Hypnotic, the Literary, & the Cinematic)
Film: Blue Velvet (1986),** dir. David Lynch, 120 min. (Screening 9/16, 8:00PM,
Recommended
Companion Film: The Graduate (1967),
dir. Mike Nichols
Fiction: E. T.
A. Hoffmann, “The Sandman” [ER
85-118]
Theorist: Sigmund
Freud, “The ‘Uncanny’” [ER
12 pgs.]
Textbook: Art of Watching Films,
Chapter One [1-18]
Optional: Optional, but Recommended for Review:
Art of Watching Films,
Chapter Two [19-36]
HOMEWORK: Incorporating at least one quotation and/or concept from Freud,
write a 275-350 word response on Blue Velvet, preferably though not
necessarily by comparing it to some aspect of the Hoffman story or Rear
Window. Email your response to the course listserv (novel@list.emich.edu) by Wednesday,
September 20. See the “Weekly Homework Assignments” handout for information on
the responses: http://people.emich.edu/acoykenda/400/hmwk.htm.
NOTE: With each set of responses, the first student to post to the listserv
will get extra credit; so too will those students who reply to the posts of
other students in any substantive fashion.
You should thus consider posting early and/or responding thoughtfully to
the posts that other students have sent already
Week Three (September 25): Discuss Spectacle, Mass Consumption,
Fetishism, the Film Industry & the Film Medium
Film: Sunset Blvd. (1950),** dir. Billy Wilder, 110
min. (Screening
9/22, 6:30, PH 318)
Recommended
Companion Film: Memento (2000),** dir. Christopher Nolan
Theorist: Walter Benjamin, “Work of Art in the Age of Mechanical
Reproduction” [ER
15 pgs.]
Textbook: Art of Watching Films,
Chapter Three [39-83]
HOMEWORK: If you are in Groups 1-2, write a discussion
question on the Wilder film and email it to acoykenda@emich.edu
by 4PM 9/25. (See the List of Group Assignments: http://people.emich.edu/acoykenda/400/groups.htm.) If you are in Groups 4-6, post a 275-350 word
response on Sunset Blvd. to the listserv,
incorporating at least one quotation and/or concept from Benjamin. All students
must do the quiz for Chapter Three online: http://highered.mcgraw-hill.com/sites/0072556269/student_view0/.
Week Four (October 2): Discuss Commodity Culture, the Imagined
Community, the Nymph, the Voyeur (Continued), the “Master” Narrative & the
Iconography of Women
Film: American Beauty (1999),**
dir. Sam Mendes, 122
min. (Screening
9/29, 6:30, PH 318)
Recommended
Companion Film: Amelie (2001),** dir. Jean-Pierre Jeunet
Theorist: John Berger, Ways of
Seeing, Part 1-4
Textbook: Art of Watching Films,
Chapter Four [90-119]
Optional: Mary Anne Doane, “Economy of Desire” [ER
119-32]
Mary Anne Doane, Femme Fatales [ER 5 pgs.]
HOMEWORK: If you are in Groups 3-4, write a discussion
question on the Mendes film and email it to acoykenda@emich.edu
by 4PM 10/2; if you are in Groups 1-3, post a 275-350 word
response on American Beauty to the listserv,
incorporating at least one quotation and/or concept from Berger. All students must
do the quiz for Chapter Four
online.
Week Five (October 9): Discuss Glamour,
Imitation/Empathy/Subjectivity, Irony & Melodrama; Begin Female
Spectatorship
Film:
All about Eve (1950),**
dir. Joseph Mankiewicz, 138 min. (Screening
10/6, 6:30, PH 204)
Recommended
Companion Film: Imitation of Life (1959),** dir. Douglas Sirk
Theorist: John Berger, Ways of
Seeing, Part 5-7
Textbook: Art of Watching Films,
Chapter Five [122-61]
Optional: Frederic Jameson, “Postmodernism and
Consumer Society” [ER
185-202]
HOMEWORK: If you are in Groups 5-6, write a discussion
question on the Mankiewicz film and email it to acoykenda@emich.edu by 4PM 10/9; if you
are in Groups 1-3,
post a 275-350 word response on All about Eve to the listserv, incorporating at least one
quotation and/or concept from Berger. All students must do the quiz for Chapter Five
online.
Week Six (October 16): Discuss Pastiche, Intertextuality,
Postmodernism, Performative Genders (Nostalgia, Travesty, & Neo-Fetishism);
Queer Spectatorship (Female Spectatorship Continued)
Film: All about My Mother (1999),**
dir. Pedro Almodóvar, 101 min. (Screening 10/13, 6:30, PH 204)
Recommended
Companion Film: Streetcar Named Desire
(1951),**
dir. Elia Kazan
Theorist: Laura Mulvey, “Visual
Pleasure and Narrative Cinema” [ER
57-79]
Textbook: Art of Watching Films, Chapter Six [164-98]
Optional: Lauren Berlant and Michael Warner, “Sex in
Public” [ER
187-208]
Judith
Butler, “Gender Trouble” [ER]
HOMEWORK: If you are in Groups 4-6, post a 275-350 word
response on All about My Mother to the listserv, incorporating at least one quotation
and/or concept from Mulvey. All students must do the quiz for Chapter Six
online.
Week Seven (October 23): Discuss the realist episteme, the readerly/writerly text,
semiotics, ideology, & narrative film
Fiction: Honoré de Balzac, “Sarrasine” [SZ 221-254]
Begin Raymond Chandler, The Big
Sleep [Chapter 1 only, pg. 3-7]
Theorist: Begin Roland Barthes, S/Z
[SZ 3-6; 10-60]
HOMEWORK: Do a semiotic analysis of one of the
Week Eight (October 30): Continue Discussion of Barthes,
Film: The Big Sleep (1946),** dir. Howard
Hawks, 116 min. (Screening
10/27, 6:30, PH 204)
Recommended
Companion Film: Gilda (1946),** dir. Charles Vidor
Fiction: Continue
Raymond Chandler, The Big Sleep [7-89]
Theorist: Continue
Roland Barthes, S/Z [61-126]
Textbook: Art of Watching Films,
Chapter Thirteen [393-427]
HOMEWORK: Make a list of at least three significant motifs (repeating
images, situations, or rhetorical devices) in
Week Nine (November 6): Conclude Discussion of Barthes,
Fiction: Finish
Raymond Chandler, The Big Sleep [90-213]
Theorist: Finish
Roland Barthes, S/Z [126-97]
HOMEWORK: Begin writing the Critical Essay, a 4½-page semiotic
analysis of the Chandler novel, or of both the novel and the film,
drawing on Barthes in a substantive fashion and also incorporating at least one
other theorist that we have covered in the course so far (due 11/20).
Week Ten (November 13): Discuss globalization & the global imagination; begin racial,
gender, & colonial discourse
Film: Traffic (2000),** dir. Steven
Soderbergh, 147 min. (Screening
11/10, 6:30, PH 204)
Recommended
Companion Film: Dirty Pretty Things
(2002),** dir. Stephen Frears
Theorists: Ella Shohat and Robert Stam, “Tropes of Empire” [ER 4
pgs.]
Benedict Anderson, “Imagined Communities”
[ER
10 pgs.]
Textbook: Art of Watching Films,
Chapter Seven [203-31]
Optional: Edward Said, “Imaginative Geography,” Orientalism
[ER
5 pgs.]
HOMEWORK: If you are in Groups 1-2, write a discussion question
on the Soderbergh film and email it to acoykenda@emich.edu
by 4PM 11/13; if you are in Groups 4-6, post a 275-350 word
response on Traffic to the listserv,
incorporating at least one quotation and/or concept from Shohat or Anderson.
All students must do the quiz for Chapter Seven
online and continue work on Critical Essay (due 11/20).
Week Eleven (November 20): Discuss nationalism, narratives of
nation, diasporas, and border crossings; continue racial, gender, &
colonial discourse
Film: Touch of Evil (1958),** dir. Orson Welles,
95 min. (Screening In-Class)
Recommended
Companion Film: Chinatown
(1974),**
dir. Roman Polanski
Theorists: Homi Bhabha, “The Other Question” [ER
66-75]
Homi Bhabha, “Narrating the Nation” [ER 5
pgs.]
Textbook: Art of
Watching Films, Chapter
Eight [235-62]
Optional: Art of Watching Films, Chapter Nine [265-81]
HOMEWORK: If you are in Groups 3-4, write a discussion
question on the Welles film and email it to acoykenda@emich.edu
by 4PM 11/20; if you are in Groups 1-3, post a 275-350 word
response on Touch of Evil to the listserv,
incorporating at least one quotation and/or concept from Bhabha. All students
must do the quiz for Chapter Eight
online and finish Critical Essay (due 11/20).
Week Twelve (November 27): Individual Conferences in Lieu of
Regular Class (See Conference
Schedule)
Film: View either the recommended companion for the film that you
are writing your paper on, or view another significant film by the same
director to compare/contrast in the Research Essay
(See the IMdB)
Context: “Writing
about Film” [ER
14 pgs.]
Textbook: Art
of Watching Films, Chapter
Twelve [368-90]
Optional: Art of Watching Films, Chapter Eleven [332-66]
HOMEWORK: Begin the Research Project (see http://people.emich.edu/acoykenda/400/essay.htm). Search the MLA,
JSTOR, Project Muse, and Google Scholar
databases, as well as the Halle Catalogue,
to find at least three appropriate sources for the paper, and then do the
Research Proposal. All students must
also do the quiz for Chapter Twelve
online.
Week Thirteen (December 4): Discuss Ethic Conflict, Publics and
Counter Publics, and the Political Film
Film: Do the Right Thing (1989),** dir. Spike Lee, 120 min. (Screening 12/1, 6:30, PH 204)
Recommended
Companion Film: In the Heat of the Night
(1967),** dir. Norman Jewison
Theorists: W. J. T. Mitchell, “Violence of Public
Art” [ER 9
pgs.]
Houston A. Baker, Jr.,
“Spike Lee and the Commerce of Culture” [ER 7 pgs.]
Textbook: Art
of Watching Films, Chapter
Fourteen [433-64]
Optional: Sharon Willis, “Theater of Interpretations” (on Do the Right Thing) [ER
777-93]
bell hooks, “Oppositional Gaze”
[ER 247-64]
Art
of Watching Films, Chapter Ten [295-316]
HOMEWORK: If you are in Groups 5-6, write a discussion
question on the Spike Lee film and email it to acoykenda@emich.edu by 4PM 12/4; if you
are in Groups 1-3, post a 275-350 word response on Do the
Right Thing to the listserv,
incorporating at least one quotation and/or concept from Mitchell or
Baker. All students must do the quiz
for Chapter
Fourteen online and continue work on the Research Essay (due 12 PM 12/20).
Week Fourteen (December 11): Discuss cultural studies and narrative
theory in retrospect via a
Film: Full Metal Jacket (1987),** dir.
Recommended
Companion Film: Patton (1970),** dir. Franklin J. Schaffner
Theorists: Susan White, “Male
Bonding,
Noam Chomsky, “Manufacturing
Consent” [ER
181-96]
Textbook: Art of Watching Films,
Chapter Sixteen [512-35]
HOMEWORK: If you are in Groups 4-6, post a 275-350 word response on Full Metal
Jacket to the listserv, incorporating at least
one quotation and/or concept from White or Chomsky. All students must do the
quiz for Chapter Sixteen
online and work on the Research Essay
(due 12/20). In addition, if you want to turn in any late homework or do
extra-credit responses, you must turn them in by next class (12/18). However, you can turn in extra-credit peer
reviews along with the essays themselves on 12/20.
Monday, December 18: In-Class Research Presentations
HOMEWORK: Finish the 8- to 10-page Research Essay. Drop the paper in
my department mailbox (612 Pray Harrold) or under my office door (603G Pray
Harrold) by 12 PM 12/20.
Online
Handouts and Links (http://people.emich.edu/acoykenda/hand.htm#l400):
·
Course Syllabus (http://people.emich.edu/acoykenda/400/fa06/)
·
Course Schedule [Section II, III] (http://people.emich.edu/acoykenda/400/fa06/#schedule)
·
Electronic
Reserves (http://reserves.emich.edu/eres/coursepage.aspx?cid=1842)
·
List of Group Assignments (http://people.emich.edu/acoykenda/400/groups.htm)
·
Guidelines on the Research Essay (http://people.emich.edu/acoykenda/400/essay.htm)
·
Art of Watching Films Website (http://highered.mcgraw-hill.com/)
·
Weekly Homework Assignments (http://people.emich.edu/acoykenda/400/hmwk.htm)
·
Schedule of Film Screenings (http://people.emich.edu/acoykenda/screen.htm)
·
Listserv Information (https://list.emich.edu/mailman/listinfo/novel)
·
Listserv Email Address (
·
Listserv Archives (https://list.emich.edu/pipermail/novel/)
·
Schedule for Conferences (http://people.emich.edu/acoykenda/400/confer.htm)
·
Internet Movie
Database (http://www.imdb.com/)
·
American Film
Institute (AFI) (http://www.afi.com/)
·
Researching
Literature (http://people.emich.edu/acoykenda/demo.htm)
·
Roget's Thesaurus (http://humanities.uchicago.edu/orgs/ARTFL/forms_unrest/ROGET.html)
·
Foriegn
Language Translation (http://www.freeonline.it/link_dtml?id_sito=275)
·
Glossary of Literary Terms:
Norton Anthology (http://www.wwnorton.com/litweb/glossary/welcome.htm)
·
Writing about Literature [Norton
Anthology] (http://www.wwnorton.com/litweb/writing/welcome.asp)
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