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Course Info, Policies, Course Description, p. Course Assessment p. Course Overview, p. 6

and Procedures, pp. 2 5
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ENGLI/MPTV 1154: Film as Literature,

“New Year, New Look, Same Story”
IAI Number: HF 908 | Prof: Dr. Jacinta Yanders (Dr. J or Dr. Yanders or Professor
Yanders) | Pronouns: She/Her (what’s this about?) | Email: yandersj@cod.edu | Class
Time: F 9-11:50am | Classroom: BIC 3421 | O ce Hours: Tues 12-5pm & Fri 1-4:30pm

Welcome to English/MPTV 1154!

Even if you’re new to studying lm, you might’ve noticed the many movies and TV shows that are
adaptations of novels, plays, video games, and more. While some regard this as a new phenomenon,
that’s not quite true. Filmmakers have always used preexisting texts as sources to build upon. As such,
an entire eld of academic inquiry – Adaptation Studies – exists to explore the ongoing production of
these works as well as their cultural reception. These studies will be part of the toolkit we use in the
class. Our central text will be Hamlet, but this isn’t really a class about literature. We will use the play
as our starting point, but our main interest lies with the adaptations. Hamlet is one of the most
adapted works in lm, which makes it an excellent case study for our adaptation exploration. — Dr. J

Accessibility
We all have di erent learning needs, which I’ve tried to account for in designing this class. We’ll
operate in and with various modalities, such as audio, video, and text. If there's some way in which
your access and ability in this course could additionally be supported, feel free to share that with me.
To receive accommodations from COD’s Center for Access and Accommodations, email them at
access@cod.edu or complete the online form at cod.edu/access. If you’re already registered with the
Center for Access and Accommodations, don’t forget to email me your Letter of Accommodation.

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Course Description
Explores the process of lm adaptation from a variety of sources. Includes examination of lms
adapted directly and indirectly from prior media, as well as an overview of theoretical approaches to
studying lm adaptation. Through close study of selected lms, students will develop a nuanced,
open approach to considering the process of adaptation on screen.

General Course Objectives

• Practice active rather than passive spectatorship of lm
• Compare and contrast lm adaptations from di erent eras, nations, and authors
• Discuss lm as a mass medium in terms of its di erences from other media, including in
relationship to spectatorship
• Explain the theoretical progression of lm adaptation criticism
• Apply theoretical approaches to studying lm adaptation
• Analyze formal lm techniques relationship to both lm and source material content

Basic Needs
It's hard to focus on school work when your basic needs (such as food and housing) aren’t being met. I
don’t expect you to leave your humanity at the door for this class. I expect you to prioritize your
physical and mental well-being. I never need you to provide me with medical notes or obituaries or
anything else along those lines. I do ask that if you nd yourself not doing well, you consider
communicating that. I don’t need any speci c details, but I might be able to provide useful resources
and support. Note: COD does require me (as well as the rest of your profs) to report disclosures
of sexual violence to our Title IX o ce. While I absolutely do want to provide support in such
instances, I also know that a student may not wish to trigger an automatic report for various reasons,
and I believe it's important for you all to have that information before making the decision to disclose.

Our Class' Community

Sometimes we’ll engage with topics that may challenge your current views and/or be contrary to your
experiences. Approach the work of this class with respect and generosity. Doing so enables our class
to be the learning space it needs to be. Listen. Try not to jump to conclusions. Ask clarifying
questions. Make sure you understand what's actually being said before you formulate a response.
We don't have to agree about everything, but we do need to be able to listen to one another. 

I strive to give a heads up when content we're engaging with includes topics that can be traumatic,
such as sexual violence, child abuse, and suicide. If there's a type of content beyond the more
commonly known that you'd like a heads up on, let me know. In my classes, we do not make space for
racism, ableism, transphobia, sexism, xenophobia, etc. We’ll work together to ensure our class is one
in which care and respect are at the forefront. How we address one another is one component of this.
For example, referring to me as Dr. Yanders or Dr. J or Professor Yanders (👍 ) rather than Ms. Yanders
or Mrs. Yanders (🙅 ) is a matter of care and respect as is me using the name you tell me you wish to
use. I expect you to refer to one another by the correct names, with the correct pronunciations, and
with the correct pronouns.

Last, but certainly not least, the devil does not need an advocate.

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Presence
Being present will improve your understanding of course material, increase your ability to
con dently complete assignments, and allow me to observe and provide feedback on your growth
and development in the course. Aim to be in our class and on time as much as you healthily can.

Timeliness
Assignments will have due dates. Aim to meet those due dates as the work will be more
manageable and make more sense that way. That being said, in the “real world” we often hear so
much about, it’s common to receive extensions at work when needed. While there may be spaces
that o er little to no wiggle room, this class is not one of them. There will be no points deducted for
late submissions. But you should know that there will be a hard deadline for submission of any late
work from the rst half of the semester as well as a hard deadline for submission of any late work
from the second half of the semester. P.S.: The later an assignment is submitted, the less likely it is
to receive useful feedback.

Engagement
The work of this class is designed to demonstrate your understanding and to foster community. To
make this happen, we all have to regularly engage with each other and the material. There will be
ample opportunities to actively engage with the material, and I encourage you to make good use of
those opportunities. That’s why we’re here 😁

Linguistic Diversity
Despite common perceptions, there’s no such thing as “correct” or “proper” English. Many scholars –
myself included – believe the Conference on College Composition and Communication had it right
in 1972 when they declared that students have a right to their own language. As the statement
explains, "The claim that any one dialect is unacceptable amounts to an attempt of one social group to
exert its dominance over another…A nation proud of its diverse heritage and its cultural and racial
variety will preserve its heritage of dialects.” In this class, I welcome the deliberate usage of language
variation. You don't need to give up your identity or your voice to be here. Like all of you, I'm bringing
along my own life experiences and understandings. This means you shouldn’t expect me to be neutral
or objective, just like I don't expect you to be neutral or objective. I do, however, expect you to support
what you say. And I challenge you to always strive to make your writing interesting and alive. You have
stories in you that only you can tell. So tell them.

What You Need

• No textbook ✌

• A notebook. This can be physical or digital. You can expect to write in every class session, so you
need a speci c place to house that writing along with any note taking you do in class.

• A folder or folder section in a notebook. From time to time, there may be handouts, examples,
charts, etc. Just like above, it’s a good idea to have a contained space for that material.

• Laptops/tablets if available. Laptops are available to rent from the campus library for the semester
while supplies last. To do so, complete this form: https://cod.libwizard.com/f/laptops.

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Class Philosophy (Adapted from Clint Smith III):

 
Read critically | Write consciously | Speak clearly | Tell your truth

Reasons to Go to Dr. J’s (or any other

professor’s) O ce Hours:
1. You have a question about something discussed in class or an upcoming assignment or feedback
you’ve received or course policies

2. You want to talk through your ideas

3. You want one-on-one assistance with some aspect of writing

4. You’re having a hard time, and you want to talk to Dr. J about how to nd a way forward

5. You want to talk about academic/career goals (this could be general convo as well as something
more speci c like letters of recommendation)

I know that it can sometimes seem intimidating to go to a professor’s o ce, but I promise my o ce is
chill, and I want you to come by. P.S. I have snacks.

Citation
The cli notes version is this: anytime you use other people’s material in your own work, you should
cite it (this includes paraphrases, summaries, and quotations). Failure to do so can lead to signi cant
consequences – academically and beyond. We’ll also be discussing how central working with the
ideas and creations of other people is to lmmaking more in class. In addition to being intrinsically tied
to the creative process, remember that citation is an act of both power and respect. We should always
operate thoughtfully and intentionally in our citational practices.

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Assessment
What should grades re ect? Should they re ect a student’s behavior and/or compliance? Should they
indicate how a student grew in a class or what they knew before the class began? Should they be
grounded in equity? Is it ethical to engage in traditional grading mechanisms when a good deal of
research letter grades hinder learning? What should we do with the knowledge that grades can be
demotivating and anxiety-inducing? Is there any real need for grades in a learning-focused space?

My classes use an approach known as ungrading. I’m not interested in ranking you against one
another or elevating the nal product above the labor and learning it takes to get there. Rather than
simply crafting what you think I want to see, I want you to be actively apply and engage with what
you’re learning. Sometimes that includes missteps, but that’s ok! That’s how we learn! Tap into your
creativity and consider taking some risks with your work.

Assignments in the gradebook will be “worth” 2 points. I will review your submissions and assign a
score out of those 2 points. Here’s what those scores represent:
• 2: You turned in a submission that aligns with the assignment expectations
• 1: You turned in a submission that is out of alignment in some way (incomplete, not what was asked
for, etc). Revise it and resubmit it.
• 0/blank: You didn’t turn in anything for this assignment or I was unable to access it (ex: private
links in your Google Drive, corrupt les, etc.)

Unlike other point-based systems, points in this class do not re ect some percentage to be calculated.
For example, having 8 out of 10 does not mean you have an 80% or a B (regardless of anything
Blackboard might be suggesting in that regard – the software is extremely limited in how it can display
things. The only information you should be taking away from the point value is what’s listed in the
point breakdown above. Now the college does require me to enter a letter grade at the end of the
semester. To do this, I will review the assignment submissions holistically. I will also factor in your
in-class work as well as your responses to self-assessments that you will complete throughout the
semester and a discussion we will have in a one-on-one conference at the end of the semester. In
this way, the determination of your nal grade is a collaborative e ort between you and me.

It may sound completely ridiculous given how the education system is set up contemporarily, but I
don’t want you working for a grade. We’re not looking for paint-by-numbers work here. Make the
things you create for this class interesting. Make them matter to you.

I suspect this approach is new to many of you, and I know it might feel weird at times. However, we
can always chat to discuss your progress in the course.

My advice?

Do the work with a consistent desire to demonstrate what you’ve learned. Ask for help if/when you
need it, and don’t forget to use any resources provided. Trust yourself, and trust me. Do these things,
and I have little doubt that you’ll leave this class with the grade you desire.

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Ok, but what kind(s) of work will we do?

You’ll watch a lot, think a lot, and write a lot. You can expect a mix of in-class work and homework
throughout the semester as well as a few larger writing tasks. You can expect to spend signi cant time
with complex academic writing. These works may include disciplinary language and concepts that are
unfamiliar at rst glance. Don’t worry if you don’t get everything the rst time through. That’s totally
normal. We’ll spend time in class working with how to approach these kinds of readings.

Course Overview
(detailed description of assignments and homework will be provided via Blackboard)
Unit 1: Getting Started (Week 1)
Key Questions:
• What are the basics of lm and adaptation?
Unit 2: Traditional Adaptations (Weeks 2-3)
Key Questions:
• What do we need to know about Shakespeare and Hamlet?
• What do we need to know about traditional adaptations?
Unit 3: Continuations and Expansions (Weeks 4-5)
Key Questions:
• How can adaptations avoid stagnation?
• How far should adaptations stray from the original text?
Unit 4: Modernizations (Weeks 6-8)
Key Questions:
• Do we live in a remix culture?
Unit 5: Cultural Reimaginings (Weeks 9-12)

Note: Week 10 is Spring Break.

Key Questions
• How does identity impact the construction of adaptations?
• How important is characterization in adaptations?
Unit 6: TV Has Something to Say (Weeks 13-15)
Key Questions:
• How are television adaptations similar to and di erent from lm adaptations?
Week 16: Conferences
Week 17: Finals Week (no nal in this class)

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