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[This is a printable hard copy of the extensive web installation for ENG 107 which also includes WebCT, an On-Line Glossary with Digitized video clips, etc.  Go to:]

ENG 107 Literature 
& Film
Spring 2001
Bill McBride

Associate Professor of English      

Course Title:  

Literature & Film


Bill McBride

Course Number:

ENG 107-01&02     


STV 336

Credit Hours:   


Office Hours: 

T 5-7p

Meeting Times:

T & R 12:00-12:50p 




STV 101    

Screen Time:

Tuesday 7-9:30p


Spring 2001





Grad. Asst.

Joseph Thomas


STV 122



Office Hours:

T&R 3-4

Required Texts

The Catcher in the Rye [1951] J. D. Salinger   
The Maltese Falcon [1930] Dashiell Hammett  
Who's Afraid of Virginia Woolf Edward Albee [1962]
Dracula [1897] Bram Stoker 
Psycho [1959] Robert Bloch
American Beauty [1999]  Alan Ball
Fight Club
[1992] Chuck Palahniuk
Ways of Seeing  [1972] John Berger    
A Viewers Guide to Film. Arts, Artifices, and Issues. [1992] Richard M. Gollin
Industrial Society and Its Future  [1995] FC
The Little Mermaid.  Hans Christian Andersen (on line text)
"Mater of the Unresolved" (handout) Jay Allan Quantrill

Recommended Texts

Hamlet [1601] William Shakespeare  
A Doll House [1879] Henrik Ibsen  
"Femininity By Design” from The Women Who Knew Too Much. Hitchcock and Femininism, Tanya Modleski on reserve at Milner
Earlier version of Balls' script of American Beauty "for educational purposes only" (Go to web page for link.)


Required Films

Visions of Light: The Art of Cinematography  (Glassman, McCarthy, Samuels 1993)
CaddyShack (Ramis 1980)
Maltese Falcon (Huston 1941)
(Ford 1939) 
Citizen Kane (Welles 1941) & Psycho (Hitchcock 1960) 
Shadow of a Doubt
 (Hitchcock 1943)
Vertigo (Hitchcock 1958)
Who's Afraid of Virginia Woolf? (Nichols 1966)
Taxi Driver (Scorcese 1976)
Blue Velvet (Lynch 1986)
Thelma & Louise (Scott 1991)
Bram Stoker’s Dracula (Coppola 1992)
The Little Mermaid (Clements & Musker 1989)
American Beauty (Mendes 1999)
Fight Club
(Fincher 1999)


1 in-class essay, 2 mid-term exam essays, and 1 final five page interpretive essay. All work (except in-class essay) is to be typed by the student, double spaced, one inch margins, stapled (no plastic nor any other kind of binder or folder). I reserve the right to pop assorted reading/lecture/viewing quizzes. A minimum of FIVE net forum postings throughout the semester. This course demands clear, coherent, well written and logically argued, evidence-based theses. Lectures may not be recorded except by permission. Videocassette and/or DVD copies of films are available at most video stores.


Think of this course as an intensive English Department literature course in which you write essays in a "foreign" language--the language of film and literary criticism. The theory of ENG 107 argues that style can be described, analyzed, and turned into meaning via metaphor. Your goal is to acquire adequate film and literary vocabulary and skill to convert your observations of camera placement and movement, lighting, spatial relationships, soundtrack, etc. into an analysis of the meaning of a "stylized moment" and, from that, of the film and literary component as a whole.


Mandatory. Anyone caught exiting the classroom during lectures or screenings after "signing in" will be considered absent, not to mention foolishly rude.  Three absences excused.  Final grade will be reduced 1/2 a letter grade for each additional absence.

Grading Equation:

One Minute Papers via

= 5 points

= 5 points

Essays:    February 14th   


= 20 points (1st stylized moment)

March 7th                


= 25 points (2nd stylized moment)

April 9th


= 20 points (Ways of Seeing)

May ndd


= 25 points (stylized moment & literary component

Ethical Behavior in the Classroom

Cheating and/or plagiarism will not be tolerated. Consult Guide to Writing Papers. You may be prosecuted to the full extent of University administrative procedures if you are caught engaging in these activities.



Weekly Schedule

Week/Film/Discussion Topics/Reading Assignments

1/15-17 Intro to Course/Visual Literacy/Lexicon, Film Origins, "Silent" Film, Cinematography  Read GOLLIN, chapters 1 & 2
Visions of Light: The Art of Cinematography (Glassman, McCarthy, Samuels 1993)

1/22-24 Intro to Reading a film, Establishing Shot, Point of View Shot, Slow Motion 
Read GOLLIN ch. 3, complete SALINGER

CaddyShack (Ramis 1980) 

1/29-1/31 Mise-en-scene, Film Noir, Film Codes, Femme Fatal, Hard-Boiled Language   You Kill Me-Hollywood & Film Noir (1989) (view in class)
Read HAMMETT, "Ten Shades of Noir" (recommended—use web link)
Maltese Falcon (Huston 1941)

2/5-7 The Western, Huckleberry Finn, "Mickey-Mousing" Starmaker Machinery, the unsteady Zoom, Cinematic Mistakes
Read GOLLIN chs. 4& 5

Stagecoach (Ford 1939)

2/12-14 In-Class Essay written during Thursday's Class (2/15) "blue" book required (see link to In-Class Psycho Essay Prompt and Digitized Shower Scene on web) Sound, Welles' Innovations, Deep Focus photography, the Long Take. Read Bloch's Psycho by Tuesday Night
Citizen Kane (Welles 1941[in class clips]& Psycho (Hitchcock 1960) 
Tuesday night viewing

Crane Shot, Americana, Doppelganger
GOLLIN complete.
See web page for Hagopian essay
Shadow of a Doubt (Hitchcock 1943)

2/26-2/28 The “Vertigo” shot, Reading set & props,
Auteur Theory, Identity Interrogation, Gender Theory.  Read BERGER chs. 1- 3, Quantrill's "Mater of the Unresolved" (handout), Modleski's Chapter "Femininity By Design” from The Women Who Knew Too Much. Hitchcock and Femininism (recommended)—on reserve at Milner
Vertigo (Hitchcock 1958)

3/5-7 Film Adaptation, Author vs. Director, Battle of the Sexes, Self-Loathing
Second Stylized paper Due March 8th. Read ALBEE, BERGER chs. 3 & 4
Who's Afraid of Virginia Woolf? (Nichols 1966)

3/12-14 Spring Break Conferences

3/19-21 The “God Shot”/Art/Real Life/Handgun Violence/High School Shootings/"Too Sneaky For His Own Good" BERGER complete
Taxi Driver (Scorcese 1976)

3/26-28 "Close" Reading, Aesthetic Criticism, Obscenity, the "primal scene," false closure, Hamlet Suggested Reading: SHAKESPEARE
Blue Velvet (Lynch 1986)

4/2-4 The Picaresque, Kerouac, Women & Film, Buddy Films, Gender roles, graphic match, closure. Suggested Reading: IBSEN
Thelma & Louise (Scott 1991)

  4-9-11 Myth (Vampire/Devil/Mephistopheles), the slow lap dissolve/border crossing. Read STOKER
Bram Stoker’s Dracula (Coppola 1992)

 4/16-18 Little Mermaid (Clements & Musker 1989) Animation, Disneyfication, Faust Myth.

 4/23- 25 Growing Up PostModern/Slacker/The Oscar/the "push-in"/looking closer.  Read BALL Go to web for earlier version of Balls' script "for educational purposes only"
American Beauty (Mendes 1999)

 4/30-5/2 Growing Up PostModern/Terrorism/Propaganda By The Deed.  Read PALAHNIUK, FC go to the webpage for Industrial Society and Its Future
Course Evaluations--please bring a #2 pencil to final class
Fight Club
(Fincher 1999)