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Southern Utah University
Southern Utah University
Spring Semester 2026

Literature and Film (Face-to-Face)

ENGL 3110-01

Course: ENGL 3110-01
Credits: 3
Term: Spring Semester 2026
Department: ENGL
CRN: 12163

Course Description

This course is a detailed investigation of narrative film as a literary genre, focusing not only on the critical elements of narrative in both novels and cinema, but also the theoretical and critical issues associated with adaptation, whereby a text is transformed from one genre/medium/form into another.

Required Texts

Text to Own
Saadawi, Ahmed. Frankenstein in Baghdad. Penguin Books, 2018. ISBN: 978-0143128793.
Shelley, Mary. Frankenstein: or the Modern Prometheus. 1818. In Frankenstein: A Norton Critical Edition, 3rd ed., edited by J. Paul Hunter, W. W. Norton, 2021. ISBN: 978-0393644029.
Additional Readings (on Google Drive)
Albrecht-Crane, Christa, and Dennis Cutchins. “Introduction: New Beginnings for Adaptation Studies.” In Adaptation Studies: New Approaches, edited by Christa Albrecht-Crane and Dennis Cutchins, Fairleigh Dickinson UP, 2010, pp. 11–22.
Andrew, Dudley. “Adaptation.” In Concepts in Film Theory, Oxford UP, 1984, pp. 96–106.
Baldick, Chris. “Assembling Frankenstein.” In Frankenstein, Third Norton Critical Edition, edited by J. Paul Hunter, Norton, pp. 222–233.
Bishop, Kyle William. “Frankenstein’s Adaptive Chain: From Fidelity to Promiscuity to Adultery.” Adaptation, Vol. 19, No. 1, pp. 1–17.
Cutchins, Dennis R., and Dennis R. Perry. “Introduction: The Frankenstein Complex: When the Text Is More than a Text.” In Adapting Frankenstein: The Monster’s Eternal Lives in Popular Culture, edited by Dennis R. Cutchins and Dennis R. Perry, Manchester UP, pp. 1–19
Demory, Pamela. “Jane Austen and the Chick Flick in the Twenty-first Century.” In Adaptation Studies: New Approaches, edited by Christa Albrecht-Crane and Dennis Cutchins, Fairleigh Dickinson UP, 2010, pp 121–149.
Hutcheon, Linda. “Beginning to Theorize Adaptation: What? Who? Why? How? Where? When?” In A Theory of Adaptation, Routledge, 2006, pp. 1–32.
Assigned Screenings
The Angry Black Girl and Her Monster. Directed by Bomani J. Story, Crypt TV, 2023. (Hulu)
The Bride of Frankenstein. Directed by James Whale, Universal Pictures, 1935. (Disney+ and HBO Max)
The Curse of Frankenstein. Directed by Terence Fisher, Hammer Films, 1957. (Tubi)
Frankenstein. Directed by James Whale, Universal Pictures, 1931. (Internet Archive)
Frankenstein. Directed by Kevin Connor, Hallmark Entertainment, 2004. (Amazon Prime)
Frankenstein. Directed by Guillermo del Toro; Double Dare You, Demilo Films, and Bluegrass Films; • 2025. (Netflix)
Mary Shelley’s Frankenstein. Directed by Kenneth Branagh, TriStar Pictures, 1994. (rental)
Victor Frankenstein. Directed by Paul McGuigan, Davis Entertainment, 2015. (rental)
Young Frankenstein. Directed by Mel Brooks, Gruskoff/Venture Films, 1974. (rental)
Assigned Attendance
The Bride! Directed by Maggie Gyllenhaal, Warner Bros., 2026. (March 6 release)
The Rocky Horror Show. Music, lyrics and book by Richard O'Brien, 1973. (SUU’s 2026 production)
In-class Screenings
“Frankenbone.” Wishbone. Directed by Allen Mondell, Big Feats! Entertainment, 1995. (YouTube)
Frankenstein. Directed by J. Searle Dawley, Edison Studios, 1910. (YouTube)

Learning Outcomes

Learning OutcomeLearning ActivitiesAssessment Methods
Identify, describe, and compare the literary and structural features of source narratives and their film, television, and other visual adaptations using medium-specific critical languageAssigned readings; class lectures, discussions, and activities; and essay drafting and revisionAssignments, scene analysis, reflection essay, and two exams
Interpret literary and cinematic texts, employing critical positions and scholarly research through both written and multimedia essays and presentationsAssigned readings; class lectures, discussions, and activities; and essay drafting and revisionAssignments, scene analysis, reflection essay, and two exams
Analyze written and cinematic texts and narratives from various cultures and historical periods to recognize and value different human perspectives and experiencesAssigned readings; class lectures, discussions, and activities; and essay drafting and revisionAssignments, scene analysis, and two exams
Recognize the creative and constructive processes and theories that inform the adaptation of a text from one medium to anotherClass discussions and activities, adaptation project creation, and essay drafting and revisionAssignments, scene analysis, adaptation project, reflection essay, and two exams

Course Requirements

Course Assignments

Assignments: (10% of course grade) To assist you in completing and understanding the scholarly reading assignments, you will complete regular study worksheets. Additionally, you may take in-class quizzes, usually consisting of just five questions, to assess how well you comprehend the various reading and screening assignments. Finally, you will have opportunities to participate in various in-class assignments and group activities, which will be assigned pass/fail grades only.

Scene Analysis: (20% of course grade) You will pick a single, corresponding scene from two different versions of Frankenstein, one of which must be a cinematic text (you may choose versions not already included as part of the class). Using screenshots or scanned images, present at least five specific moments in the shared scene for side-by-side comparison (text-to-image or image-to-image), along with a detailed paragraph (written or narrated) discussing the nature of the adaptation and the significance of the creative process, using as much specific technical language as possible and referencing at least one theoretical perspective from the class readings. This assignment may be submitted as a digital paper, a digital presentation, a website or blog, an entry in a social media platform, or a video or other multimedia presentation. (Examples of successful assignments are available in the class Google Drive folder.)

Midterm Exam: (20% of course grade) Halfway through the semester, you will take an exam on Canvas (outside of class), which may include true/false, matching, and multiple choice questions; passage/scene identifications; and analytical short-essay questions.

Adaptation Project: (10% of course grade) You will join a team of students and create a “pitch portfolio” proposing a film adaptation of Frankenstein in Baghdad. This portfolio must include a 500-word description of the planned film, a five-page example script of one key scene from the novel, a rough storyboard of the same scene, and a short (5–10 minute) filmic rendering (live-action, animated, or stop-motion) of the scene. Each team will have 15 minutes to present their portfolio and filmed scene to the rest of the class.

Reflection Essay: (20% of course grade) You will compose an essay of at least seven paragraphs narrating, discussing, and analyzing your process and experience of creating the pitch portfolio for Frankenstein in Baghdad. This essay will rely primarily on anecdote and personal narrative, but you must engage with at least two of the assigned class readings. The essay must conform to all MLA formatting and citation standards, including a works cited page.

Final Exam: (20% of course grade) During the final exam period, you will take a comprehensive exam on Canvas, which may include true/false, matching, and multiple choice questions; passage/scene identifications; and analytical short-essay questions.

Grading Policy

I will assess the worksheets and any in-class assignments, exercises, and activities as pass/fail only. Quizzes, the Scene Analysis, and the two exams will be graded objectively with percentages resulting in the following letter grades:

94-100% A 80-83% B- 67-69% D+

90-93% A- 77-79% C+ 64-66% D

87-89% B+ 74-76% C 60-63% D-

84-86% B 70-73% C- 0-59% F

I will assess the pitch portfolios and the reflection essays subjectively: work that exceeds expectation will receive an A grade; work that demonstrates competency, a B grade; work that falls short of minimum learning expectations, a C grade; and work that fails to fulfill assignment requirements, a D grade.

Course Outline

Week 1

Wednesday, January 7
Introduction to the course and adaptation as an interdisciplinary concept
Romeo & Juliet adaptation demonstration and activity

Friday, January 9
Review of syllabus and discussion of course assignments and procedures

Week 2

Monday, January 12
Practice worksheet created in class
Christa Albrecht-Crane and Dennis Cutchins, “Introduction”
The Hobbit case study analysis and discussion

Wednesday, January 14
Worksheet due in class
Dudley Andrew, “Adaptation”

Friday, January 16
Frankenstein (1931)

Week 3

Monday, January 19
No Class—Martin Luther King Jr. Day

Wednesday, January 21
The Bride of Frankenstein

Friday, January 23
Worksheet due in class
Linda Hutcheon, “Beginning to Theorize Adaptation”

Week 4

Monday, January 26
Worksheet due in class
Chris Baldick, “Assembling Frankenstein”

Wednesday, January 28
Frankenstein (1818) 1/5

Friday, January 30
Frankenstein (1818) 2/5

Week 5

Monday, February 2
Frankenstein (1818) 3/5
In-class storyboard exercise

Wednesday, February 4
Frankenstein (1818) 4/5

Friday, February 6
Frankenstein (1818) 5/5

Week 6

Monday, February 9
Kyle William Bishop, “Frankenstein’s Adaptive Chain”

Wednesday, February 11
Frankenstein (1910)
The Curse of Frankenstein

Friday, February 13
The Curse of Frankenstein

Week 7

Monday, February 16
No Class—Presidents’ Day

Wednesday, February 18
Mary Shelley’s Frankenstein

Friday, February 20
Scene Analysis draft due by 5 p.m.
Mary Shelley’s Frankenstein

Week 8

Monday, February 23
Dennis R. Cutchins and Dennis R. Perry, “Introduction”

Wednesday, February 25
Team formation
Discussion of roles and plan for pitch portfolio

Friday, February 27
Midterm Exam (on Canvas)

Week 9

Monday, March 2
Frankenstein (2004) Part 1

Wednesday, March 4
Frankenstein (2004) Part 2

Friday, March 6
“Frankenbone”

Spring Break

Read Frankenstein in Baghdad

Week 10

Monday, March 16
Worksheet due in class
Pamela Demory, “Jane Austen and the Chick Flick in the Twenty-first Century”

Tuesday, March 17
Screen The Bride! at the movie theater together

Wednesday, March 18
The Bride!

Friday, March 20
Revised Scene Analysis due by 5 p.m.
No Class
Production Team workday: write scripts, work on storyboards, schedule shoot, etc.

Week 11

Monday, March 23
Frankenstein in Baghdad 1/3

Wednesday, March 25
Frankenstein in Baghdad 2/3

Friday, March 27
Frankenstein in Baghdad 3/3

Week 12

Monday, March 30
Young Frankenstein

Wednesday, April 1
Victor Frankenstein

Friday, April 3
Survey of “adulterous adaptations”

Week 13

Monday, April 6
The Angry Black Girl and Her Monster

Wednesday, April 8
Frankenstein (2025)

Friday, April 10
Frankenstein (2025)

Friday, April 10 OR Saturday, April 11
Attend SUU’s performance of Rocky Horror Show

Week 14

Monday, April 13
Rocky Horror Show

Wednesday, April 15
Team Adaptations (1–3)

Wednesday, April 17
Pitch Portfolios due by 5 p.m.
Team Adaptations (4–6)

Finals Week

Monday, April 20, 11:00 a.m.-12:50 p.m.
Final Exam (on Canvas)
Reflection Essay due by midnight

Instructor's policies on late assignments and/or makeup work

Class Decorum and Behavior

Listen attentively and engage respectfully in conversations. I expect you to have read the assigned material carefully in advance so you can participate intelligently in all in-class discussions and activities. Please don’t distract others with your electronic devices!

In-class Work

You may participate in a variety of in-class activities to enhance your learning, which may include reading quizzes, theme writing, group discussions, personal reflections, adaptation team work, and other potential experiences. Although your work will not be formally graded (except for the quizzes, of course), you will learn through practice, feedback, reflection, and repetition.

Assignment Submission

Your SUU student email account (username@suumail.net) is affiliated with Gmail, and we will use Google Drive to facilitate your learning process (you may of course use your own Gmail account). You will need to create a folder titled “LastnameFirstinitial3110” inside the Google Drive “ENGL 3110: Lit and Film” folder and share it with me; you will then be able to save your assignments (specifically, the worksheets, the Scene Analysis, and the Reflection Essay) there so I can easily provide you with digital feedback and you will be able to collaborate with peers.

Late/Makeup Work

Generally speaking, I do not accept late work, nor will I provide makeup or substitution assignments. I may make exceptions in advance if I choose.

Attendance Policy

Even though this is strictly a face-to-face course, I do not regularly take nor require attendance. However, you will learn more and have a better experience if you hear the lectures and participate in the discussions personally. That said, your health should be your top priority!

Course Fees

Recommended Supplies

You must have access to paper or a computer in class for note taking, quizzes, written assignments and exercises, and other potential activities.

ADA Statement

Students with medical, psychological, learning, or other disabilities desiring academic adjustments, accommodations, or auxiliary aids will need to contact the Disability Resource Center, located in Room 206F of the Sharwan Smith Center or by phone at (435) 865-8042. The Disability Resource Center determines eligibility for and authorizes the provision of services.

If your instructor requires attendance, you may need to seek an ADA accommodation to request an exception to this attendance policy. Please contact the Disability Resource Center to determine what, if any, ADA accommodations are reasonable and appropriate.

Academic Credit

According to the federal definition of a Carnegie credit hour: A credit hour of work is the equivalent of approximately 60 minutes of class time or independent study work. A minimum of 45 hours of work by each student is required for each unit of credit. Credit is earned only when course requirements are met. One (1) credit hour is equivalent to 15 contact hours of lecture, discussion, testing, evaluation, or seminar, as well as 30 hours of student homework. An equivalent amount of work is expected for laboratory work, internships, practica, studio, and other academic work leading to the awarding of credit hours. Credit granted for individual courses, labs, or studio classes ranges from 0.5 to 15 credit hours per semester.

Academic Freedom

SUU is operated for the common good of the greater community it serves. The common good depends upon the free search for truth and its free exposition. Academic Freedom is the right of faculty to study, discuss, investigate, teach, and publish. Academic Freedom is essential to these purposes and applies to both teaching and research.

Academic Freedom in the realm of teaching is fundamental for the protection of the rights of the faculty member and of you, the student, with respect to the free pursuit of learning and discovery. Faculty members possess the right to full freedom in the classroom in discussing their subjects. They may present any controversial material relevant to their courses and their intended learning outcomes, but they shall take care not to introduce into their teaching controversial materials which have no relation to the subject being taught or the intended learning outcomes for the course.

As such, students enrolled in any course at SUU may encounter topics, perspectives, and ideas that are unfamiliar or controversial, with the educational intent of providing a meaningful learning environment that fosters your growth and development. These parameters related to Academic Freedom are included in SUU Policy 6.6.

Academic Misconduct

Scholastic honesty is expected of all students. Dishonesty will not be tolerated and will be prosecuted to the fullest extent (see SUU Policy 6.33). You are expected to have read and understood the current SUU student conduct code (SUU Policy 11.2) regarding student responsibilities and rights, the intellectual property policy (SUU Policy 5.52), information about procedures, and what constitutes acceptable behavior.

Please Note: The use of websites or services that sell essays is a violation of these policies; likewise, the use of websites or services that provide answers to assignments, quizzes, or tests is also a violation of these policies. Regarding the use of Generative Artificial Intelligence (AI), you should check with your individual course instructor.

Emergency Management Statement

In case of an emergency, the University's Emergency Notification System (ENS) will be activated. Students are encouraged to maintain updated contact information using the link on the homepage of the mySUU portal. In addition, students are encouraged to familiarize themselves with the Emergency Response Protocols posted in each classroom. Detailed information about the University's emergency management plan can be found at https://www.suu.edu/emergency.

HEOA Compliance Statement

For a full set of Higher Education Opportunity Act (HEOA) compliance statements, please visit https://www.suu.edu/heoa. The sharing of copyrighted material through peer-to-peer (P2P) file sharing, except as provided under U.S. copyright law, is prohibited by law; additional information can be found at https://my.suu.edu/help/article/1096/heoa-compliance-plan.

You are also expected to comply with policies regarding intellectual property (SUU Policy 5.52) and copyright (SUU Policy 5.54).

Mandatory Reporting

University policy (SUU Policy 5.60) requires instructors to report disclosures received from students that indicate they have been subjected to sexual misconduct/harassment. The University defines sexual harassment consistent with Federal Regulations (34 C.F.R. Part 106, Subpart D) to include quid pro quo, hostile environment harassment, sexual assault, dating violence, domestic violence, and stalking. When students communicate this information to an instructor in-person, by email, or within writing assignments, the instructor will report that to the Title IX Coordinator to ensure students receive support from the Title IX Office. A reporting form is available at https://cm.maxient.com/reportingform.php?SouthernUtahUniv

Non-Discrimination Statement

SUU is committed to fostering an inclusive community of lifelong learners and believes our university's encompassing of different views, beliefs, and identities makes us stronger, more innovative, and better prepared for the global society.

SUU does not discriminate on the basis of race, religion, color, national origin, citizenship, sex (including sex discrimination and sexual harassment), sexual orientation, gender identity, age, ancestry, disability status, pregnancy, pregnancy-related conditions, genetic information, military status, veteran status, or other bases protected by applicable law in employment, treatment, admission, access to educational programs and activities, or other University benefits or services.

SUU strives to cultivate a campus environment that encourages freedom of expression from diverse viewpoints. We encourage all to dialogue within a spirit of respect, civility, and decency.

For additional information on non-discrimination, please see SUU Policy 5.27 and/or visit https://www.suu.edu/nondiscrimination.

Pregnancy

Students who are or become pregnant during this course may receive reasonable modifications to facilitate continued access and participation in the course. Pregnancy and related conditions are broadly defined to include pregnancy, childbirth, termination of pregnancy, lactation, related medical conditions, and recovery. To obtain reasonable modifications, please make a request to title9@suu.edu. To learn more visit: https://www.suu.edu/titleix/pregnancy.html.

Disclaimer Statement

Information contained in this syllabus, other than the grading, late assignments, makeup work, and attendance policies, may be subject to change with advance notice, as deemed appropriate by the instructor.