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Cultural Studies in Anglophone Countries

Code: 106322
Credits: 6
2026/2027
Degree programme Type Course
English Studies OP 3
English Studies OP 4
English and Catalan Studies OP 3
English and Catalan Studies OP 4
English and Spanish Studies OP 3
English and Spanish Studies OP 4
English and French Studies OP 4
English and Classics Studies OP 3
English and Classics Studies OP 4

Contact lecturer

Name :
Sara Martin Alegre
Email :
sara.martin@uab.cat

Group languages

You can consult this information at the end of the document.

Prerequisites

  • To take this subject you must have an interest in reading and in films and TV series in the English language.
  • An initial level of English of C2 (proficiency) of the Common European Framework of Reference for Languages: Learning, Teaching, Assessment is required.
  • With C2 the student can, without significant effort, comprehend the greater part of all that they read or listen to; they can summarize information from different oral or written sources, reconstruct facts and arguments, and present them in a coherent manner; express themselves spontaneously, with fluency and precision, distinguishing subtle nuances of meaning even in the most complex situations.
  • It is NOT recommended to enrol without having passed Reading & Writing for Academic Purposes 2 and Listening & Speaking for Academic Purposes 2.


Objectives

  • Familiarising students with Adaptation Studies and with the practice of film and TV series adaptation.
  • Familiarising students with the role of world-building and description in fiction (novels, short story/novella) and with the role of production design in audiovisual adaptation.
  • Training students to write academic work about adaptation, world-building and production design according to current research in Adaptation Studies, Literary Studies, and Film Studies.


Learning outcomes

  1. Incorporate ideas and concepts from published sources into work, citing and referencing appropriately.
  2. Express oneself effectively by applying argumentative and textual procedures in formal and scientific texts, in the language studied.
  3. Demonstrate autonomy in learning subjects of social, scientific or ethical interest related to Literature and Culture.
  4. Express oneself in English orally and in writing in an academic register and using appropriate terminology in relation to cultural, transnational and gender studies in English-speaking countries.
  5. Demonstrate full comprehension of a wide range of literary, audio-visual and essayistic texts related to aspects of current culture and society in English and recognise implicit meanings in these.
  6. Write advanced argumentative essays (C2) in English on topics related to current culture and society in English and their textual representation.
  7. Make oral presentations in English of advanced academic content on topics related to current culture and society in the English language and their textual representation.
  8. Distinguish principal ideas from secondary ideas and summarise literary, audiovisual and essayistic texts related to current culture and society in the English language and their textual representation.
  9. Analyse and interpret at an advanced level any aspect of current culture and society in the English language and its textual representation.
  10. Produce advanced academic work of critical content in relation to primary and secondary sources dealing with current English language culture and society and its textual representation.
  11. Discuss with critical arguments orally in the classroom primary and secondary sources dealing with current English language culture and society and their textual representation.
  12. Apply the knowledge acquired to a professional context related to cultural and social communication in English.
  13. Develop advanced-level critical arguments applied to the interpretation of primary and secondary sources dealing with current English-language culture and society and its textual representation.
  14. Locate and organise relevant English-language information available on the internet, databases and libraries, and apply this to work and/or research environments.
  15. Plan work effectively, individually or in groups, in order to fulfil the planned objectives.
  16. Express oneself fluently, correctly, appropriately and effectively, both orally and in writing, in an academic environment.
  17. Locate specialised and academic information and select this according to its relevance.
  18. Rigorously assess the values conveyed by the texts analysed, making constructive criticism.
  19. Demonstrate full comprehension of a wide range of literary, audio-visual and essayistic texts related to aspects of current culture and society in English and recognise implicit meanings in these at Advanced User level (C1).
  20. Produce written and oral academic discourse with a fluency and accuracy appropriate at Advanced User level (C1).
  21. Demonstrate a full understanding of a wide range of literary, audio-visual and essayistic texts related to aspects of current culture and society in English, and recognise implicit meaning at a higher-proficient-user level (C2).
  22. Produce written and oral academic discourse with a fluency and accuracy appropriate to a higher-proficient-user level (C2).
  23. Write argumentative essays at Mastery level (C2) in English on topics related to current culture and society in English and their textual representation.
  24. Make oral presentations in English at Mastery level (C2) of advanced academic content on topics related to current culture and society in the English language and their textual representation.
  25. Carry out bibliographic searches of secondary sources related to current culture and society in English and their textual representation, using digital technologies (catalogues and databases).
  26. Distinguish principal ideas from secondary ideas and synthesise literary, audiovisual and essayistic texts related to current culture and society in the English language, and their textual representation.
  27. Understand and differentiate adequately between the concepts of literature and culture in English, as well as their mutual relations and interactions.
  28. Understand and reflect on literature and culture in English, situating these in their contexts and historical circumstances.
  29. Develop coherent discourses on literature and culture in English and apply these discourses to the analysis of social and academic reality.
  30. Demonstrate understanding at advanced proficient-user level (C1) of a wide range of nineteenth-century literary texts in English and recognise implicit meaning.
  31. Produce written and oral academic discourse with a fluency and accuracy appropriate to a proficient-user level (C1).
  32. Make oral presentations in English (C2) of advanced academic content on topics related to current culture and society in the English language and their textual representation.
  33. Write advanced argumentative essays (C2) in English on topics related to current culture and society in English and their textual representation.
  34. Plan work effectively, individually or in groups, in order to fulfil the planned objectives.
  35. Demonstrate full comprehension of, and recognise implicit meaning in, a wide range of literary, audio-visual and essayistic texts related to aspects of current culture and society in English at higher-proficient-user level (C2).
  36. Produce written and oral academic discourse with a fluency and accuracy appropriate at higher-proficient-user level (C2).
  37. Demonstrate full comprehension of, and recognise implicit meaning in, a wide range of literary, audio-visual and essayistic texts at higher-proficient-user level (C2) related to aspects of current culture and society in English.
  38. Write argumentative essays at advanced higher-proficient-user level (C2) in English on topics related to current culture and society in English and their textual representation.
  39. Make oral presentations in English at advanced higher-proficient-user level (C2) of advanced academic content on topics related to current culture and society in the English language and their textual representation.
  40. Demonstrate full comprehension of a wide range of literary, audiovisual and essay texts related to aspects of current culture and society in English at proficient-user level (C1), and recognise implicit meaning.
  41. Demonstrate a full understanding of a wide range of literary, audio-visual and essayistic texts related to aspects of current culture and society in English (C2), and recognise implicit meaning.
  42. Make oral presentations in English (C2), of advanced academic content on topics related to current culture and society in the English language and their textual representation.

Contents

  • There is no common content for all students, as each student will work on three different fiction works (one realist novel, one short story or novella of any genre, one fantasy/SF/horror novel) and their corresponding audiovisual adaptations.
  • The novels and the corresponding audiovisual adaptation are freely chosen. The short story/novella must be chosen from the list in this Guide, although a different choice may be proposed to the teacher.
  • Please contact the teacher (Sara.Martin@uab.cat) about your choices as soon as you can following registration.


Learning activities and methodology

Title Hours ECTS Learning outcomes
Classroom interaction 25 1 2, 3, 4, 5, 7, 8, 9, 11, 12, 13, 16, 18, 19, 20, 21, 22, 24, 26, 27, 28, 29, 30, 31, 32, 34, 35, 36, 37, 39, 40, 41, 42
In-class exam 1.5 0.06 2, 4, 6, 8, 9, 10, 16, 18, 19, 20, 21, 22, 23, 26, 29, 30, 31, 33, 35, 36, 37, 38, 41
Read the literary texts, see the audiovisual adaptations and study 43.5 1.74 3, 5, 8, 9, 13, 14, 15, 17, 18, 19, 21, 25, 26, 27, 28, 29, 30, 34, 35, 37, 40, 41
Essay writing 6.5 0.26 1, 2, 3, 5, 6, 8, 9, 10, 12, 13, 14, 15, 17, 18, 19, 20, 21, 22, 23, 26, 27, 28, 29, 30, 31, 33, 35, 36, 37, 38, 40, 41

The training activities are divided into three blocks:

  1. 44.5 hours of interaction in the classroom with the teacher and other students. These hours include the in-class exam.
  2. 52.5 hours of supervised work consisting of writing three essays.
  3. 53 hours of independent work consisting of reading the three literary works and watching their audiovisual adaptations, and studying for the in-class exam.


Please, fill in the teacher’s surveys, always with constructive feedback. Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Annotation: within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Assessment

Continuous assessment activities

Title Weight Hours ECTS Learning outcomes
In-class exam (preparation and writing) 15% 7 0.28 2, 4, 5, 6, 8, 9, 10, 16, 18, 19, 20, 21, 22, 23, 26, 29, 30, 31, 33, 35, 36, 37, 38, 41
Classroom interaction with other students 20% 22 0.88 2, 3, 4, 5, 7, 8, 9, 11, 12, 13, 16, 18, 19, 20, 21, 22, 24, 26, 27, 28, 29, 30, 31, 32, 34, 35, 36, 37, 39, 40, 41, 42
Essay 1000-1300 words on the audiovisual adaptation of a fantasy/SF/horror novel (adult, YA or children’s fiction) (preparation and writing) 25% 18.5 0.74 1, 2, 3, 4, 5, 6, 8, 9, 10, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 25, 26, 27, 28, 29, 30, 31, 33, 34, 35, 36, 37, 38, 40, 41
Essay 1000-1300 eords on the audiovisual adaptation of a short story or novella of any genre (preparation and writing) 15% 7.5 0.3 1, 2, 3, 4, 5, 6, 8, 9, 10, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 25, 26, 27, 28, 29, 30, 31, 33, 34, 35, 36, 37, 38, 40, 41
Essay on the audiovisual adaptation of a realist novel (preparation and writing) 25% 18.5 0.74 1, 2, 3, 4, 5, 6, 8, 9, 10, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 25, 26, 27, 28, 29, 30, 31, 33, 34, 35, 36, 37, 38, 40, 41

CONTINUOUS ASSESSMENT


Continuous assessment is based on:

  1. 20% of the final mark: interaction in the classroom with other students (full attendance is expected for this reason, except in justified cases related to health, personal or family issues, and work, which must be notified to the teacher by email).
  2. 15% of the final mark: writing an in-class exam about the theory and practice of audiovisual adaptation
  3. 25% of the final mark: 1 essay (1000-1300 words) on the audiovisual adaptation of a realist novel.
  4. 15 % of the final mark: 1 essay (1000-1300 words) on the audiovisual adaptation of a short story or novella.
  5. 25% of the final mark: 1 essay (1000-1300 words) on the audiovisual adaptation of a fantasy novel (fantasy novel (adult, YA or children’s book).


CLASS PARTICIPATION

The 20% of the final mark for this concept is subdivided into two items:

  • 30% class attendance: students need to sign the attendance list each session and email the teacher in case of justified absence, which will be counted as presence. The subject will consist of 28 sessions (plus the exam session), therefore the following marks will be awarded for attendance (obtaining a Pass requires attending 50% of all classes).

PASS: 28-26 = 10; 25-24 = 9.5; 23-22 = 9; 21-20 8.5; 19-18 = 8; 17-16 = 7; 15-14 = 6; 13: 5

FAIL: 12-10 = 4; 9-8 = 3.5; 7-6 = 3; 5-4 = 2; 3-0 = 0

  • 70% class participation: students discuss with each other the adaptations they are working on in preparation for writing the essay; three conversations per session

PASS: 81-78 = 10; 75-72 = 9.5; 69-66 = 9; 63-60 = 8.5; 57-54 = 8; 51-48 = 7; 45-42 = 6; 39 = 5

FAIL: 36-30 = 5; 27-24 = 4; 21-18 = 3; 15-12 = 2; 9 or less = 0


THE EXAM

The exam (21 December) will consist of a 1000-word essay commenting on a theoretical issue related to Adaptation Studies and based on the bibliography used by the teacher during the sessions.


LITERARY WORKS

These are the literary works students can choose from on a first-come-first saved basis are:


NOVELS

Choose two adaptations based on any novel originally written in English, of any geographical area and period. One novel must be realist and the other fantasy/SF/or horror (adult, YA or children’s).


SHORT STORIES / NOVELLAS


Short fiction Audiovisual adaptation(s)
  1. Apt Pupil (1982), Stephen King
Apt Pupil (1998)
  1. “Bad Time at Honda” (1947), Howard Breslin
Bad Day at Black Rock (1955)
  1. “The Basement Room” (1936), Graham Greene
The Fallen Idol (1948)
  1. “The Bear Came Over the Mountain“ (1999), Alice Munro
Away from Her (2006)
  1. “The Bicentennial Man“ (1976), Isaac Asimov
Bicentennial Man (1999)
  1. “The Birds“ (1952), Daphne du Maurier
The Birds (1963)
  1. The Body (1982), Stephen King
Stand by Me (1986)
  1. “The Body Snatcher“ (1881), R.L. Stevenson
The Body Snatcher (1945)
  1. Breakfast at Tiffany's (1958), Truman Capote
Breakfast at Tiffany's (1961)
  1. “Bringing Up Baby” (1937), Hagar Wilde
Bringing Up Baby (1938)
  1. “Brokeback Mountain“ (1997), Annie Proulx
Brokeback Mountain (2005)
  1. “The Call of Cthulhu“ (1928), H. P. Lovecraft
The Call of Cthulhu (2005)
  1. “Children of the Corn“ (1977), Stephen King
Children of the Corn (1984)
  1. A Christmas Carol (1843), Charles Dickens
Scrooged (1988)
  1. “The Curious Case of Benjamin Button“ (1922), Francis Scott Fitzgerald
The Curious Case of Benjamin Button (2008)
  1. “The Dead“ (1914), James Joyce
The Dead (1987)
  1. “Don't Look Now“ (1970), Daphne du Maurier
Don't Look Now (1973)
  1. Enemy Mine (1979), Barry B. Longyear
Enemy Mine (1985)
  1. “The Fall of the House of Usher“ (1839), Edgar Allan Poe
House of Usher (1960)
  1. “Farewell to the Master“ (1940), Harry Bates
The Day the Earth Stood Still (1951)
  1. Flowers for Algernon (1959), Daniel Keyes
Charly (1968)
  1. “The Fly“ (1957), George Langelaan
The Fly (1958)
The Fly (1986)
  1. “The Greatest Gift“ (1939, 1943), Philip Van Doren Stern
It's a Wonderful Life (1946)
  1. Heart of Darkness (1899, 1903), Joseph Conrad
Apocalypse Now (1979)
Heart of Darkness (1993)[N 1]
  1. “Heavenly Shades of Night Are Falling“ (1999), Stephen King
Hearts in Atlantis (2001)
  1. “It Had to Be Murder” (1942), Cornell Woolrich
Rear Window (1954)
  1. “Johnny Mnemonic“ (1981), William Gibson
Johnny Mnemonic (1995)
  1. “The Legend of Sleepy Hollow“ (1820), Washington Irving
Sleepy Hollow (1999)
  1. “Leiningen Versus the Ants“ (1938), Carl Stephenson
The Naked Jungle (1954)
  1. “Madame la Gimp” (1929), Damon Runyon
Pocketful of Miracles (1961)
  1. “The Man Who Would Be King“ (1888), Rudyard Kipling
The Man Who Would Be King (1975)
  1. “The Minority Report“ (1956), Philip K. Dick
Minority Report (2002)
  1. “The Most Dangerous Game“ (1924), Richard Connell
The Naked Prey (1965)
  1. “Opera Hat” (1935), Clarence Budington Kelland
Mr. Deeds Goes to Town (1936)
  1. Rita Hayworth and Shawshank Redemption (1982), Stephen King
The Shawshank Redemption (1994)
  1. “The Secret Life of Walter Mitty“ (1939), James Thurber
The Secret Life of Walter Mitty (1947)
The Secret Life of Walter Mitty (2013)
  1. “The Snows of Kilimanjaro“ (1936), Ernest Hemingway
The Snows of Kilimanjaro (1952)
  1. “The Sobbin' Women” (1938), Stephen Vincent Benét
Seven Brides for Seven Brothers (1954)
  1. “Spurs“ (1923), Tod Robbins
Freaks (1932)
  1. “Super-Toys Last All Summer Long“ (1969), Brian Aldiss
A.I. Artificial Intelligence (2001)
  1. “The Swimmer“ (1964), John Cheever
The Swimmer (1968)
  1. The Turn of the Screw (1898), Henry James
The Innocents (1961)
  1. We Can Remember It for You Wholesale“ (1966), Philip K. Dick
Total Recall (1990)
Total Recall (2012)
  1. Who Goes There? (1938), John W. Campbell, Jr.
The Thing from Another World (1951)
The Thing (1982)
  1. “The Wisdom of Eve“ (1946), Mary Orr
All About Eve (1950)



THE ESSAYS: each essay (1000-1300 words) will consist of the analysis of description and world-building in the literary text in comparison with the production design of the corresponding audiovisual adaptation. The focus should fall on a specific scene or scenes, or an aspect such as a specific place, the aspect of a character, etc, to be discussed with the teacher. Students are encouraged to use at least one academic secondary source, and consider other sources such as reviews and interviews, especially with production designers. The teacher will provide a model, available from the Moodle classroom.


The deadlines for the essays are:

essay 1: 28 October, 9:00 AM

essay 2: 23 November, 9:00 AM

essay 3: 11 January 2027, 9:00 AM


SINGLE ASSESSMENT

Students are not encouraged to apply for single assessment in this subject, as interaction in the classroom is considered essential and so is attendance. If this option is unavoidable, it should be borne in mind that single assessment consists of the 3 compulsory essays (65% of the final grade) and the exam (15% of the final grade), as for continuous assessment, and a fourth essay based on a freely chosen novel agreed with the teacher (20% of the final grade). Essays can be handed in on the day of the exam (which is the same as for continuous assessment and is taken in class) or, as advised, within the same deadlines as the rest of the class. Students who take a single assessment are not expected to attend or participate in class and are not graded for this concept. The re-evaluation for single assessment works with the same criteria and dates as continues assessment, and consists of the same essays and exam.


PLEASE, NOTE:

  • All exercises will be returned corrected and with the corresponding grade in a maximum of 3 weeks.
  • Students obtain a Not assessed/Not submitted course grade if they complete less than 30% of assessment.
  • To be eligible for re-assessment, students need to have been previously assessed for a set of activities constituting at least two third parts of all assessment activities, and obtained a course grade between 3.5 and 4.8.
  • If a student obtains a final course grade of 4,9 for assessment, this figure is automatically transformed into 5 and the student needs not take re-assessment.
  • There is no cap in the grade students may obtain in reassessment.
  • The final marks will be published on or before 14 January 2027, respecting the minimum 72-hour period before re-assessment.
  • Re-assessment consists of the repetition of the failed essays (maximum 65% of the course grade), which must be emailed to the teacher, and of the exam (15%); interaction with other students (20% of the course grade) cannot be re-assessed. The deadline for the re-assessment of the essays is 24 January 2027 9:00 AM. The date for the re-assessment exam, in the second fortnight of January, will be announced as soon as the teacher is notified.
  • On carrying out each evaluation activity, the teacher will inform students (on Moodle) of the procedures to be followed for reviewing all grades awarded, and the date on which such a review will take place.
  • Erasmus students who ask for any deadline or exam to be advanced must present a document signed by their university of origin that justifies their request.
  • This subject entirely prohibits the use of AI technologies in all of its activities. Any submitted work that contains content generated using AI will be considered academic dishonesty; the corresponding grade will be awarded a zero, without the possibility of reassessment. In cases of greater infringement, more serious action may be taken
  • In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.


Bibliography

The teacher will publish a bibliography about the theory of audiovisual adaptation on the Moodle classroom’s Folder at the beginning to the semester. Students will be introduced to the academic criticism connected with the subject through passages and chapters from selected sources and won’t be required to read any other whole book, though they’re welcome to do so. The exam will be based on the bibliography presented in class.


BIBLIOGRAPHY (provisional)


Books

Adaptation in Contemporary Culture: Textual Infidelities. Ed. Rachel Carroll. Continuum, 2009.

Adaptation Studies: New Challenges, New Directions. Eds. Jorgen Bruhn, Anne Gjelsvik and Eirik Frisvold Hanssen. Bloomsbury Academic, 2013.

Allen, Graham. Intertextuality. Second edition. The Critical Idiom series. Routledge, 2011.

Authorship in Film Adaptation. Ed. Jack Boozer. University of Texas Press, 2008.

Baetens, Jan. Novelization: From Film to Novel. Chicago: Ohio State University Press, 2018.

Between Page and Screen: Remaking Literature Through Cinema and Cyberspace. Ed. Kiene Brillenburg Wurth. Fordham University Press, 2012.

Beyond Adaptation: Essays on Radical Transformations of Original Works. Eds. Phyllis Frus and Christy Williams. McFarland, 2010.

The Blackwell Companion to Literature, Film and Adaptation. Ed. Deborah Cartmell. Blackwell, 2012.

Books in Motion: Adaptation, Intertextuality, Authorship. Ed. Mireia Aragay. Rodopi, 2005.

Boozer, Jack, Ed. Authorship in Film Adaptation. University of Texas Press, 2008.

Brown, Kathleen L. Teaching Literary Theory Using Film Adaptations. McFarland Press, 2006.

Bryant, John. The Fluid Text: A Theory of Revision and Editing for Book and Screen. The Editorial Theory and Literary Criticism series. University of Michigan Press, 2002.

Burke, Liam. The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Genre. Jackson: University Press of Mississippi, 2015.

The Cambridge Companion to Literature on Screen. Ed. Deborah Cartmell. Cambridge University Press, 2007.

Cardwell, Sarah. Adaptation Revisited: Television and the Classic Novel. Manchester University Press, 2002.

Cartmell, Deborah. Adaptations in the Sound Era: 1927-37. Bloomsbury Academic, 2014.

Cartmell, Deborah, and Imelda Whelehan, eds. 2014. Teaching Adaptation. New York: Palgrave Macmillan, 2014.

Cattrysse, Patrick. Descriptive Adaptation Studies: Epistemological and Methodological Issues. Antwerp: Garant, 2014.

Classics in Film and Fiction. Eds. Deborah Cartmell, I. Q. Hunter, Heidi Kaye, and Imelda Whelehan. Pluto Press, 2000.

A Companion to Literature and Film. Eds. Robert Stam and Alessandro Raengo. Blackwell, 2005.

Constandinides, Costas. From Film Adaptation to Post-Celluloid Adaptation: Rethinking the Transition of Popular Narratives and Characters across Old and New Media. Bloomsbury Academic, 2012.

Corrigan, Timothy. Film and Literature: An Introduction and Reader. Routledge, 2012.

Cutchins, Dennis R., Katja Krebs, and Eckart Voigts. The Routledge Companion to Adaptation. London: Routledge, 2018.

DeBona, Guerric. Film Adaptation in the Hollywood Studio Era. University of Illinois Press, 2010.

Demory, Pamela, ed. Queer/Adaptation: A Collection of Critical Essays. Palgrave Studies in Adaptation and Visual Culture. London: Palgrave Macmillan, 2019.

Elliott, Kamilla. Rethinking the Novel/Film Debate. Cambridge University Press, 2003.

The Encyclopedia of Novels Into Film. Eds. John C. Tibbetts and James M. Welsh. Second edition. Checkmark Books, 2005.

Film Adaptation. Ed. James Naremore. Rutgers University Press, 2000.

Film / Literature / Heritage. Ed. Ginette Vincendeau. BFI, 2001.

Geraghty, Christine. Now A Major Motion Picture: Film Adaptations of Literature and Drama. Rowman and Littlefield, 2008.

Griffiths, James. Adaptations as Imitations. University of Delaware Press, 1997. Hunter, Jefferson. English Filming, English Writing. Indiana University Press, 2010.

Grossman, Julie and R. Barton Palmer, eds. Adaptation in Visual Culture: Images, Texts, and Their Multiple Worlds. London: Palgrave Macmillan, 2017.

Hassler-Forrest, Dan and Pascal Nicklas, eds. The Politics of Adaptation: New Media Convergence and Ideology. London: Palgrave Macmillan, 2015.

Hermansson, Casie and Janet Zepernick, eds. Where is Adaptation? Mapping Cultures, Texts, and Contexts. Amsterdam: John Benjamins, 2018.

Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006; Second edition (with Siobhan O’Flynn). New York: Routledge, 2013.

In/Fidelity: Essays on Film Adaptation. Eds. David Kranz and Nancy C. Mellerski. Cambridge Scholars, 2008.

Kennedy-Karpat, Colleen, and Eric Sandberg, eds. Adaptation, Awards Culture, and the Value of Prestige. Palgrave Studies in Adaptation and Visual Culture. London: Palgrave Macmillan, 2017.

Leitch, Thomas. Film Adaptation and its Discontents. Johns Hopkins University Press, 2007.

Leitch, Thomas. The History of American Literature on Film. London: Bloomsbury Press, 2019.

Leitch, Thomas, ed. The Oxford Handbook of Adaptation Studies. New York: Oxford University Press, 2017.

The Literature/Film Reader: Issues of Adaptation. Eds. James M. Welsh and Peter Lev. Scarecrow Press, 2007.

Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Eds. Robert Stam and Alessandra Raengo. Blackwell, 2004.

Literature into Film: Theory and Practical Approaches. Ed. Linda Cahir. McFarland, 2006.

Media Archaeology: Approaches, Applications, and Implications. Eds. Erkki Huhtamo and Jussi Parikka. University of California Press, 2011.

Meikle, Kyle. Adaptations in the Franchise Era: 2001-16. London: Bloomsbury Press, 2019.

Murray, Simone. The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. Routledge, 2013.

Orr, Mary. Intertextuality: Debates and Contexts. Polity, 2003.

The Pedagogy of Adaptation. Eds. Dennis Cutchins, Lawrence Raw, and James M. Welsh. Scarecrow Press, 2010.

Pockets of Change: Adaptation and Cultural Transition. Eds. Tricia Hopton, Adam Atkinson, Jane Stadler, and Peta Mitchell. Lexington Books, 2011.

Redefining Adaptation Studies. Eds. Dennis Cutchins, Lawrence Raw, and James M. Welsh. Scarecrow Press, 2010.

Retrovisions: Reinventing the Past in Film and Fiction. Eds. Deborah Cartmell, I. Q. Hunter, and Imelda Whelehan. Pluto Press, 2001.

The Routledge Companion to Adaptation. Eds. Dennis Cutchins, Katja Krebs, and Eckart Voigts. Routledge, 2018.

Ryan, Marie-Laure. Narrative Across Media: The Languages of Storytelling. University of Nebraska Press, 2004.

Sanders, Julie. Adaptation and Appropriation. Routledge, 2006.

Screen Adaptation: Impure Cinema. Eds. Deborah Cartmell and Imelda Whelehan. Palgrave Macmillan, 2012.

Semenza, Greg M. Colón and Bob Hasenfratz. The History of British Literature on Film, 1895-2015. London: Bloomsbury Press, 2015.

Slethaug, Gordon E. Adaptation Theory and Criticism: Postmodern Literature and Cinema in the USA. Bloomsbury Academic, 2014.

Stage and Screen: Adaptation Theory from 1916 to 2000. Ed. Bert Cardullo. Bloomsbury Academic, 2013.

Stam, Robert. Literature Through Film: Realism, Magic, and the Art of Adaptation. Blackwell, 2005.

Strong, Jeremy, ed. “Adaptation and History,” special issue, Adaptation 12.3 (August 2019).

Translation and Adaptation in Theatre and Film. Routledge Advances in Theatre & Performance Studies series. Ed. Katja Krebs. Routledge, 2013.

True to the Spirit: Film Adaptation and the Question of Fidelity. Eds. Colin McCabe, Kathleen Murray, and Rick Warner. Oxford University Press, 2011.

Young, James O. Cultural Appropriation and the Arts. Blackwell, 2010.

Articles

Andrew, Dudley. “The Well-Worn Muse: Adaptation in Film History and Theory.” In Narrative Strategies. Eds. Syndy M. Conger and Janet R. Welsh. Western Illinois University Press, 1980. 9-17.

Bazin, Andre. “Adaptation, or the Cinema as Digest.” In Film Adaptation. Ed. James Naremore. Rutgers University Press, 2000. 19-27.

------. “In Defense of Mixed Cinema.” In What is Cinema? Trans. Hugh Gray. University of California Press, 1967. Vol. 1. 53-75.

Carroll, Noel. “Forget the Medium!” In Engaging the Moving Image. Yale University Press, 2003. 1-9.

Cattrysse, Patrick. “Film (Adaptation) as Translation: Some Methodological Proposals.” Target: International Journal of Translation Studies 4.1 (1992): 53-70.

Chatman, Seymour. “What Novels Can Do That Films Can’t (and Vice Versa).” Critical Inquiry 7.1 (1980): 121-40. Connor, J. D. "The Persistence of Fidelity: Adaptation Theory Today." M/C Journal 10.2 (2007).

Ellestrom, Lars. “The Modalities of Media: A Model for Understanding Intermedial Relations.” In Media Borders, Multimodality, and Intermediality. Eds. Lars Ellestrom. Palgrave Macmillan, 2010. 1-50.

Ellis, John. “The Literary Adaptation.” Screen 23 (1982): 3-5.

Hutcheon, Linda, and Gary R. Bortolotti. "On the Origin of Adaptations: Rethinking Fidelity Discourse and 'Success'—Biologically." New Literary History 38.3 (2007): 443-58.

Jameson, Frederic. "Afterword: Adaptation as a Philosophical Problem." In True to the Spirit: Film Adaptation and the Question of Fidelity. Eds. Colin McCabe, Kathleen Murray, and Rick Warner. Oxford University Press, 2011. 215-33.

Johnson, David T. “Windows onto Disciplines.” Literature/Film Quarterly 39.3 (2011): 162-4.

Leitch, Thomas M. “Twelve Fallacies in Contemporary Adaptation Theory.” Criticism 45.2 (2003): 149-71.

------. “Adaptation and Intertextuality, or What Isn’t an Adaptation, and What does it Matter?” In The Blackwell Companion to Literature, Film and Adaptation. Ed. Deborah Cartmell. Blackwell, 2012. 87-104.

Meikle, Kyle. “Rematerializing Adaptation Theory.” Literature/Film Quarterly 41.3(2013): 174-183.

Murray, Simone. “Materializing Adaptation Theory: The Adaptation Industry.” Literature/Film Quarterly 36.1(2008): 4-20.

Petho, Agnes. “Intermediality in Film: A Historiography of Methodologies.” In Cinema and Intermediality. Cambridge Scholars, 2011. 19-54.

Rajewsky, Irina O. “Intermediality, Intertextuality and Remediation: A Literary Perspective on Intermediality.” Intermedialites 6.1 (2005): 43-64.

Ray, Robert B. “The Field of ‘Literature and Film.’” In Film Adaptation. Ed. James Naremore. Rutgers University Press, 2000. 38-53.

Sanders, Julie. “Dynamic Repairs: The Emerging Landscape of Adaptation Studies.” In Pockets of Change: Adaptation and Cultural Transition. Eds. Tricia Hopton, Adam Atkinson, Jane Stadler, and Peta Mitchell. Lexington Books, 2011. ix-xiii.

Scholz, Anne-Marie. “Adaptation as Reception: How a Transnational Analysis of Hollywood Films Can Renew the Literature-to-Film Debates.” Amerikastudien / American Studies 54.4 (2009): 657-82.

Stam, Robert. "Introduction: The Theory and Practice of Adaptation." In Literature and Film. Eds. Robert Stam and Alessandra Raengo. Blackwell, 2005. 1-52.

Voigts-Virchow, Eckart. “Metadaptation: Adaptation and Intermediality—Cock and Bull.” Journal of Adaptation in Film and Performance 2.2 (2009): 137-52.

Journals

Adaptation. Published by Oxford University Press. 2008-present.

Journal of Adaptation in Film and Performance. Published by Intellect Publications. 2008-present.

Literature/Film Quarterly. Published by Salisbury University. 1973-present. Special Issue, “Adapt.” M/C Journal 10.2 (2007).

Software

There is no specific software associated with this subject, beyond Word. All exercises must be submitted as Word docx. files, named with the student’s surname and the exercise, like this: Martin essay 1.docx

Course groups and languages

The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE

Type of teaching Group Language Semester Shift
(TE) Theory 1 English second semester morning-mixed
(PAUL) Classroom practices 1 English second semester morning-mixed