Module Specifications.
Current Academic Year 2024 - 2025
All Module information is indicative, and this portal is an interim interface pending the full upgrade of Coursebuilder and subsequent integration to the new DCU Student Information System (DCU Key).
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Date posted: September 2024
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Coursework Only |
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Description | |||||||||||||||||||||||||||||||||||||||||||
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Learning Outcomes 1. 1. Demonstrate an appreciation of the development of polysemic film and print narratives for children and young adults 2. 2. Show an appreciation of the differences that exist between polysemic film and print narratives and other forms and genres 3. 3. Manifest an ability to distinguish between different types of visual narratives in formal terms 4. 4. Appreciate how the interpretation of visual storytelling and reading has been influenced by recent theoretical research | |||||||||||||||||||||||||||||||||||||||||||
All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml |
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Indicative Content and Learning Activities
Module ContentThe first section of this module introduces students to films for children, and considers the differences between how a film tells a story and other more traditional forms and genres; it also explores issues related to production and the relationship between the cinema and the market place. Audio-visual material will be used. The second section of the module looks at picturebooks and graphic novels from within the English-speaking world and elsewhere. How the picturebook, the comic book and the graphic novel intersect and influence each other, and how national and international trends are part of this will be considered. The purpose of this module is to develop students’ understanding of the language and conventions of polysemic film and print narratives. In this module students develop knowledge and skills in how to discuss polysemic narratives and become familiar with key visual texts. Students will participate in the following learning activities: close examination of a range of visual narratives.Secondary ReadingPicturebooks Beckett, Sandra. Crossover Picturebooks. London: Routledge, 2012. Beckett, Sandra. ‘Picturebooks that Transcend Boundaries’. In Valerie Coghlan and Keith O’Sullivan, eds. Irish Children’s Literature and Culture: New Perspectives on Contemporary Writing. London: Routledge, 2011. Colomar, T. et al, eds. New Directions in Picturebook Research. London, Routledge, 2010. Graham, J. “Reading contemporary picturebooks” in K. Reynolds, K. (Ed.) Modern children’s literature, Basingstoke: Palgrave Macmillan, 2005, pp.209-226. Lewis, David. Reading Contemporary Picturebooks: Picturing Text. London and New York: Routledge, 2001. Nikolajeva, Maria and Scott, Carole. How Picturebooks Work. New York and London: Garland Publishing, 2001. Nodelman, P. “Decoding the images: Illustration and picture books”, in P.Hunt (Ed.) Understanding children’s literature, London: Routledge, 1999, pp.69-80. McCloud, Scott. Understanding Comics: The Invisible Art. New York: HarperCollins, 1993 or later editions). Pictiúr: Contemporary Children’s Book Illustrators from Ireland. Children’s Books Ireland, 2013 Salisbury, Martin and Morag Styles. Children’s Picturebooks. The Art of Visual Storytelling. London: Lawrence King, 2012 and 2nd ed. 2020. Sipe, L.R. and Sylvia Pantaleo, eds. Postmodern Picturebook: Play, Parody and Self-Referentiality. London and New York: Routledge, 2008. Whalley, J.I., and T. R. Chester. A History of Children’s Book Illustration. John Murray, 1988. · www.picturingbooks.com Film Andrews, Wojik, Children’s Films: History, Ideology ,Pedagogy, Theory. New York: Garland Publishing, 2000. Easthope, Antony, Contemporary film theory. London; New York: Longman, 1993 Gordon, Andrew. "E.T." as Fairy Tale ("E.T." comme conte de fée), Science Fiction Studies, Vol. 10, No. 3, 1983, pp. 298-305 https://www.jstor.org/stable/4239568 Griswold, Jerry. “There’s No Place but Home: The Wizard of Oz”, The Antioch Review, Vol. 45, No. 4, The Romance of Toughness, 1987, pp. 462-475 https://www.jstor.org/stable/4611799 Hedges, Ines. “Scripting Children’s Minds E.T. and The Wizard of Oz”, Breaking the Frame: Film Language and the experience of Limits. Bloomington and Indeanapolis: Indiana University Press, 1999, pp. 109-121. Monaco, James. How to Read a Film: the art, technology, language, history, and theory of film and media. New York: Oxford University Press, 1981 -- Jennifer Mooney Assistant Professor School of English All Hallows Campus, Dublin City University Chair, MA in Children's and Young Adult Literature Co-director, Centre for Research in Children's and Young Adult Literature Office: AHC S225 Phone: 017006036 Feminist Discourse in Irish Literature: Gender and Power in Louise O'Neill's Young Adult Fiction (Routledge, 2022) | |||||||||||||||||||||||||||||||||||||||||||
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Indicative Reading List | |||||||||||||||||||||||||||||||||||||||||||
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Other Resources None | |||||||||||||||||||||||||||||||||||||||||||