Sixth Questions for the Second Half of the Semester in EN 190/190HM

Good afternoon :)

Just a reminder that I will be happy to look over your rough drafts -- if they arrive by 11:59 pm tomorrow.  Let me know if I need to read for content, organization, grammar, or MLA.  If you have taken EN 102 already, feel free to do a little research for this paper.

I hope that you are enjoying Murnau's Nosferatu.  As I was walking home this afternoon, I realized how important plot is.  Of course, symbols, theme, and setting are important.  But plot is really important.  Character isn't as important as the characters are really archetypes, rather than fully fleshed out characters.

Here are a few more questions for you.

-- Discuss the role that genre fiction or film plays in EN 190.  

-- Discuss the role that plot plays in Nosferatu.  Map the story along the narrative arc that Mr. Goodwin gave you.  Consider any exposition, foreshadowing, or false closure.  Would flashbacks have helped this story at all?

-- Discuss the role that narrative plays in Nosferatu.  Consider that this film is presented as a story told by an unnamed individual (who has spoken to Hutter and the doctor).  Compare this narration to the narration in "Cask of Amontillado," "Today's Demon: Magic," or "The Last Convertible."  How does this narration help you?  How does it hinder you?

-- Discuss the role that character plays in Nosferatu.  

-- Discuss the role that visual elements play in Nosferatu.

-- Consider film as technology.  How does this apply to Nosferatu?

-- Consider film as art.  How does this apply to Nosferatu?

-- Consider film and literature.  How does this apply to Nosferatu?  (Consider the Stoker family's response to Murnau's film.)

-- Discuss the role that setting plays in Nosferatu.

-- Discuss the role that symbols play.

-- Consider that this film is Expressionist.  How do the characters embody their extreme emotions?  How do the sets support them?

-- What seems to be German about this film?  (Feel free to speculate.)

-- Compare and contrast the film we saw with the pictures from the 1979 version.

-- Compare and contrast the film to graphic fiction.  How does each genre add to literature?  How does each distract from it?

-- Compare and contrast the film to short stories we've read.  Which ones would you pair together?  Why?

See you on Thursday!

Dr. Szlyk

Fifth Set of Questions for En 190/190 HM

Above are pictures of Harbin, Mr. Chiu's city.  Note the Russian influence.  Harbin is also known for its winter festivals...and its smog from coal smoke.

Muji City, on the other hand, is fictional although the Muji are an ethnic minority in China, albeit in the Southwest.  (Harbin is in the Northeast.)

http://www.joshuaproject.net/people-profile.php?peo3=18613&rog3=CH

Good evening :)

Today we finished our unit on fiction, prepared to watch Nosferatu, and watched Cassandra's presentation on blogging.  It is amazing how quickly the semester is passing!

Over the weekend, we won't have any new reading, so it will be a good time to catch up on old readings, write more journal entries, and start your papers on fiction.  I will be happy to look over your drafts until Wed. Oct. 30. 

In the meantime, here are a few questions for your journal.

-- How did watching the presentations today help you think about your own presentation?

-- The presentation on vampires is starting to become a little out of date.  (It's from Summer 2010.)  What would you add to it?  Are vampires still as exciting as they were in 2010?

-- What do you expect when we watch Nosferatu?  Why?

-- Which vampire or other horror movies/TV shows are you familiar with?  Which are your favorite?  Why?

-- What do you make of movies with CGI?  How do they make your moviegoing experience more pleasurable?  How do they make it more frustrating?

-- Why are horror movies appealing? 

-- Why are vampires appealing?

-- Why does reading or watching horrifying goings on appeal to us?  Why might they not appeal to us?

-- Choose a topic we've talked about in class (today or earlier) and expand on it.  What would you have said if you had had time or courage?

-- Are you an introvert or an extrovert (or an ambivert)?  How does that part of your temperament affect your response to "The Cask of Amontillado"?

-- If you are familiar with other works by Poe (including "The Raven"), how does "Cask" compare to it/them?  How would you characterize Poe's style? 

-- How does Poe's story fit with the other stories that we have looked in this unit?  How is it unique?

-- If you are a fan of horror movies or fiction, how does "Cask" measure up?  Why?

-- Should our anthology include more genre fiction?  Why?  Why not?  If so, which genres would you recommend?  Why?

-- In your opinion, what is the relationship between film and literature?  Why?  How does film fit into a literature class?  How does it not fit in? 

-- How does film fit into a literature class that includes graphic fiction?  How does it still not fit in?

 -- Look up the cities in "Saboteur."  What can you find out about them?  How might this information shed light on Ha Jin's story?

Have a great weekend, and see you on Tuesday!

Fourth Questions for EN 190/190HM

(For more about Victorian houses, see this link:  http://faculty.wcas.northwestern.edu/~infocom/scndempr/school.html )

I can't believe that we spent part of class talking about grammar and mechanics, but we did.  After all, grammar is an important part of style.  As are diction (word choice) and sentence length.

For Thursday, let's reread Saboteur and Araby.  Then I'd like you to read Poe's "Cask of Amontillado" (528).

Here are a few questions.

-- Would you like to do a solo presentation or a group presentation?  If you would like to do a group presentation, which topics are you most interested in?

-- Choose one of the stories we have read or are reading.  How does style, tone, or irony affect your understanding of it?  Why?

-- Compare two stories and their tone or use of irony.

-- How does irony add to a story?  How does it detract from it?

-- How does the lack of irony detract from a story?  How does it improve a story?

-- Now and again commentators discuss the death of irony.  Is irony dead now?  Or is it alive and well?  Here is some commentary for you:

http://www.nytimes.com/2008/11/23/fashion/23irony.html?pagewanted=all&_r=0

http://www.theatlanticwire.com/national/2011/09/death-irony-and-its-many-reincarnations/42298/

http://nymag.com/news/9-11/10th-anniversary/irony/

-- How might your view of irony affect the way you read particular stories?

-- Choose the work of an author we've read and characterize his/her style.

-- How does an author's word choice, sentence structure, or sentence length affect your understanding of his/her story?  Support your argument with examples.

-- How does an author's word choice, sentence structure, or sentence length affect your response to his/her characters?  Support your argument with examples.

-- Poe and Chopin are writers of the 1800s.  How are their styles similar?  How are they different?

-- Do you feel that the narrator's epiphany in "Araby" is warranted?  Why?  Why not?

-- How would you characterize the narrator and/or his younger self in "Araby"?  How old do you think that the narrator is?  Why?

-- Both "Story of an Hour" and "Araby" are set in the 1800s.  Based on these stories (and others we've looked at), how would you characterize this era?

-- How did looking at Victorian houses inside and out help you understand "The Story of an Hour"?

-- What do you make of the ending to "Saboteur"?

-- How would you characterize the protagonist?  Did the events of the story change him?  Or did they bring out latent tendencies?

-- Discuss how Ha Jin overcomes not being a native speaker of English.  How might an American writer handle the events, characters, setting, and theme of his story?

Good night, and see you Thursday!

Dr. Szlyk

Third Questions for EN 190/190HM After Midterm

Good afternoon :)

While I'm waiting in my office, I'd like to send around a photo of the presentation cluster that we worked on as well as the readings and questions for Tuesday.  I am sending Juan's photo of the board since it is smaller and therefore easier on your inboxes.

For readings, let's reread ch. 8 on style, tone, and irony, focusing on the stories "The Story of an Hour" and "Araby" as well as "Saboteur" (347).

I will be handing out the assignment sheets for the next paper & the presentation.

These are the questions:

-- Which topic would you like to present on?  Why?

-- Which topic would you like to write about for the next paper?  Why?

-- Choose one of the topics we discussed in class: the relative importance of character and plot in Alexie's stories, the effect of flashbacks in his stories, and the effect of setting (time, place, cultural context/history) in his stories.  Then expand on our discussion.

-- Compare one of Alexie's stories to one of the other stories we've read ("Love in LA," "The Red Convertible," "Everyday Use," "Where are You Going, Where Have You Been?," "Today's Demon: Magic, "Cigarette," "Here," "The Story of an Hour," and "Araby") or to Fences or Crossing the Border.

-- Why are Alexie's stories worth including in EN 190?

-- "The Story of An Hour" is in 3rd person omniscient.  How does this type of narration affect your understanding of the story?

-- Discuss the impact of style, tone, and irony in "The Story of An Hour."  For example, note the shortness of the last two paragraphs in the story.  How do they affect your understanding of the story and its ending?

-- "Araby" is the 1st person narration of a man looking back on his youth.  How does this affect our understanding of his story?

-- Discuss the ending of the story.  Why does he regard himself the way he does?  Does it seem to be justified to you?  Why?  Why not?

I am going to stop now.  See you in class on Tuesday.

Dr. Szlyk

Second Questions for the Second Half of the Semester in EN 190/190HM

Good afternoon :)

Today we began the second half of the semester by going over the midterms, discussing the upcoming response to fiction, and examining graphic fiction (excerpt from Maus, "The Cigarette," and "Here").  Thursday we will go over the assignment sheet for the presentation, and the reading will be ch. 8 (Irony, Style, and Tone) and the short stories by Sherman Alexie: “This is What It Means to Say Phoenix, Arizona” (254-263) & “Somebody Kept Saying Powwow” (268-274).  Also, here is a cool poem by Alexie:http://www.bpj.org/poems/alexie_whitman.html

And here are your questions:

-- Which response would you like to expand for the "fiction paper"?  Why?

-- Which stories would you compare and contrast in your paper?  Why?

-- What did today's discussion of graphic fiction add to your understanding of this genre and its balance between text and graphics?

-- Technically speaking, the graphic fictions we looked at today are actually life writing, a genre that includes biography (Maus) and autobiography/memoir ("The Cigarette").  What does this genre add to EN 190?  What does it take away from our course?  Consider that works like Fences, A Doll House, and "Everyday Use" are grounded in reality even though the characters are fictional.  Consider that some (but not all) first-person narrators may be identified with the story's author.  

-- Should EN 190 include more life writing?  Why?  Why not?

-- Should EN 190 include more experimental writing like "Here"?  Why?  Why not?  Consider the following other examples of experimental writing:

http://mseffie.com/assignments/poem-a-day/graphics/forsythia.gif

http://isuarts.files.wordpress.com/2009/10/poem-example.jpg

http://delightfuldabblings.files.wordpress.com/2012/03/found-poetry-tree.jpg

https://pantherfile.uwm.edu/moulthro/hypertexts/rs/

Yikes...these are all poems.  These two are fiction.

http://www.esquire.com/fiction/fiction/incarnations-burned-children-david-foster-wallace-0900

http://www.nbu.bg/webs/amb/american/5/barthelme/balloon.htm

How does "Here"'s format enable its author to be more experimental?  How do visuals add to experimental literature?  What do the text-only pieces add?

These authors discuss the demise of hypertext fiction, but I think that their arguments may also be applicable to experimental fiction--or futurism in general and maybe even to the graphic novel:

http://www.wired.com/magazine/2013/04/hypertext/

http://kairos.technorhetoric.net/4.1/coverweb/clark/
What do you think?!

On to Sherman Alexie....

Discuss the impact of irony, tone, and style in Alexie's writing.  Compare it to their impact on other writers' work.

Discuss Alexie's approach to plot.

Discuss his creation of characters.  Note that characters frequently reappear in his stories.

Which character may be a surrogate for the author?  Why?  Have other such surrogates appeared in the stories we've read so far?  If so, where and why?

Discuss the impact of setting in Alexie's stories.  How do his settings affect you as a reader from Montgomery County?

Compare Alexie's stories to "Love in LA," "The Red Convertible," "Where Are You Going, Where Have You Been?", "Hills Like White Elephants," and "The House on Mango Street."  What do they tell you of the American experience?  of the experience of people of color?  of human experience?

What is it like for you to return to (text) fiction?

See you in class!

Dr. Szlyk

First Questions for the Second Half of EN 190/190HM

Good evening :)

This evening I realized that I haven't sent out the email that I usually send out on Thursday evening--and here it is Saturday night!

With that in mind, the reading for Tuesday will be  “Superman and Me,” the excerpt from Maus, and “I Am Not Batman” as well as “The Man to Send Clouds,” “Cigarettes,” "Here," and “A Very Old Man with Enormous Wings.”  Note that these are the same readings we had for last Tuesday.  We will move on to the stories by Sherman Alexie on Thursday.

This afternoon my husband and I saw Wajdja, a movie set in Saudi Arabia.  This movie is about a girl who is at odds with her milieu, and it kind of reminds me of "Cigarettes."  Here is the trailer to Wajdja:

  http://www.youtube.com/watch?v=vZEiM9vIMI4

Here is the trailer to Persepolis, the movie version of the book from which "Cigarettes" was taken.

http://www.youtube.com/watch?v=3PXHeKuBzPY

Actually, you can see the whole movie here:
http://www.youtube.com/watch?v=fNx4Pa2Gqfk

These are a few questions to start with.

-- Now that you are midway through our semester (and the unit on fiction), what comes to mind when you think about literature?  Why?

-- What comes to mind when you think about drama and the theater?  Why?

-- What comes to mind when you think about fiction?  why?

-- How did Ms. Vartanoff's presentation help you with Tuesday's reading?

-- Why should EN 190 include graphic fiction?

-- Why should EN 190 *not* include graphic fiction?

-- How is graphic fiction literature?  How is it not literature?

-- Recently my husband and I saw a play based on a foreign film from the 1970s?  Is it a good idea for playwrights to adapt movies to the stage?  Why?  Why not?

-- What do today's readings add to your understanding of fiction?

-- What would you like to write about for your paper on fiction?  Why?

-- Compare the trailers to Wajdja and to Persepolis?  Which seems to be a better vehicle for a coming of age story of a girl in Muslim society?  Why?  Why might someone prefer a live action film?  Why might someone prefer animation?

-- Compare the trailer to Persepolis and "Cigarettes."  Does "Cigarettes" seem to be a representative selection from Persepolis?  Why?  Why not?  Why do you think that our editors chose this particular story?  

-- Feel free to compare "Cigarettes" to other "coming of age stories" that we've read, especially to "Today's Demon: Magic" but also to "The House on Mango Street" or "Where are You Going, Where Have You Been?" or "Superman and Me."

-- Do you feel that the excerpt from Maus is representative?  Why?  Why not?

-- Discuss "Here" and "Girl" as stories that take risks with style and narrative.  Come to think of it, for its day, "Hills Like White Elephants" also took risks, never entering the minds of its characters.  Compare these three stories with other, more conventional ones like "The Red Convertible," "Where Are You Going, Where Have You Been," or "Today's Demon: Magic."

-- What is it like for you to return to drama with "I am not Batman"?

-- A number of today's readings are not from writers based in the US. What do these stories add to our understanding of literature?  Does anything seem to be lost in translation?  Why?  Why not?  Should EN 190 include more works from authors who write in languages other than English?  or from authors whose graphic novels include no text?  Why?  Why not?

Now I am returning to the journals.  If you haven't sent me your journals from the first half of the semester, please do so so that I may post your midterm grade.  Thank you.  :)

Dr. Szlyk

Last Questions Before Midterm in EN 190/190HM

  

Good evening :)

I'm glad that Ellen Vartanoff was able to speak to us this afternoon.  I hope that she gave you some ideas for your reading list.  I would like to look at the graphic novels adaptations of the Odyssey and the Tale of Genji -- perhaps during vacation!

Here is a link to a lecture by Scott McLeod, the author of Understanding Comics:

http://www.youtube.com/watch?v=fXYckRgsdjI

What did you learn from Ms. Vartanoff's lecture on graphic novels?  What surprised you the most about the novels that she showed?

Which of these novels would be worth including in excerpts in our anthology?  Why?

Which is more worth including in our anthology: graphic novels that adapt literary works or ones that tell original stories?  Why?

Which is more worth including in our anthology: graphic novels that are based on personal experience or history or ones that are completely fictional (and perhaps even fantastic)?

Which comics are more interesting to you: black and white or color?  Why?  Here are links to panels from Maus, Persepolis, and A Contract with God:
http://www.history.ucsb.edu/faculty/marcuse/classes/33d/33dTexts/maus/MausRealityII16p800pxw.jpg

http://www.rahnkim.com/wp-content/uploads/2011/05/persepolis.jpg
http://images.amcnetworks.com/ifc.com/wp-content/uploads/2010/07/07302010_contractwithgodbig.jpg

These links are to American Born Chinese, Blood Song, and Fables:

http://yareviews.wikispaces.com/file/view/american_born_chinese.jpg/30714839/448x420/american_born_chinese.jpg

http://img.timeinc.net/time/daily/2002/0211/bloodsong_page11115.jpg

http://graphicnovelreporter.com/sites/default/files/fablespage.jpg

Can a novel be without words?  Why?  Why not?

Did you know that catching up on your journal entries is a good way to study for the midterm--especially if you focus on readings we've discussed in class?

What is the difference between graphic and text fictions?  Why?  What are the similarities?

Which of our readings would be worth converting to graphic fiction?  Why?

What have you learned so far about fiction?  Why?

What have you learned so far about drama and theater?  why?

Which play did you like best?  Why?  which one would you like to see performed at MC?  why?

Which short story did you like best?  Why?

Choose one of the elements of fiction that we discussed (plot, character, point of view/narration, theme, symbol) and use it to discuss one of the stories we talked about in class.

Choose one of the elements of fiction that we discussed (plot, character, point of view/narration, theme, symbol) and use it to discuss one of the stories we did not talk about in class.

Of the readings that we did not discuss today, which one or two would you like to discuss after the midterm?  Why?

We did not really discuss setting.  How does setting (time or place) shape our understanding of a particular story?

I'm looking forward to seeing what you have to say!

Dr. Szlyk

Questions for 10/8 in EN 190/190HM

Good evening :)

I'm glad we were able to have such a lively discussion of "Where Are You Going, Where Have You Been?"  today.  Although we will continue with fiction after the midterm, today's discussion was a great place to stop.  Tuesday Ellen Vartanoff will come to our class to speak about graphic fiction.  She is a cartoonist and has taught cartooning for many years.  She will look at graphic fiction from the viewpoint of visual culture.

With that in mind, the reading for Tuesday will be  “Superman and Me,” the excerpt from Maus, and “I Am Not Batman” as well as “The Man to Send Clouds,” “Cigarettes,” "Here," and “A Very Old Man with Enormous Wings.”  Note that not all readings are graphic fiction and that not all readings are fiction.

Next are links to various songs from the 1960s, including some by Bob Dylan (the dedicatee of Ms. Oates' story).  In fact, we will start with some early Bob Dylan:

http://www.youtube.com/watch?v=hBiwMT77Csg

http://www.youtube.com/watch?v=JS-7IoUwVsI

http://www.youtube.com/watch?v=I_y9FB3O7j0

http://www.youtube.com/watch?v=nMq-8ObJhZg

Having listened to these songs, why do you think that Oates dedicated her story to Dylan?  (Note that she is three years older than he is.)  How do these songs help you understand her story, Connie, and Arnold?

Or you may be interested in listening to one of these interviews:

http://www.youtube.com/watch?v=mnl5X5MQKTg

http://www.youtube.com/watch?v=2138kXVIonY

What do they tell you about Dylan's persona--and Arnold Friend?

And here are some more conventional songs from the 1960s:

http://www.youtube.com/watch?v=cmQN9VmZ4Ec

http://www.youtube.com/watch?v=CLgRVwQwnk4

http://www.youtube.com/watch?v=fyzDcQR2GOs

http://www.youtube.com/watch?v=ycbgHM1mI0k

http://www.youtube.com/watch?v=gwURntitA20

http://www.youtube.com/watch?v=lT-43zN414k

Enough!  But what do these songs tell you about the era when Oates wrote her story?  What do they tell you about Connie's "trashy daydreams"?

Here are scenes from the movie version of "Where Are You Going, Where Have You Been?" starring Laura Dern:

http://www.youtube.com/watch?v=co9bfNOlSRQ

Roger Ebert's review is here:  http://www.rogerebert.com/reviews/smooth-talk-1986

What do you think happens to Connie after the story ends?  Why?  Here is a different point of view:  

http://www.csun.edu/loverman/355/essay4tierce.pdf

Let's move on to our readings for Tuesday:

-- Choose one piece of graphic fiction and discuss it as a literary work.

-- Choose one piece of graphic fiction and discuss its visual elements.

-- How do our anthology's pieces compare to other graphic fiction you've read?

-- What appear to be the strengths and weaknesses of graphic fiction?

-- What would you like to ask Ms. Vartanoff?

-- Choose an element of fiction and examine how both it is used in both graphic fiction and textual fiction.

-- How do you feel about Maus' use of animal characters?  Why?

-- What do you make of the jumps back and forth in "Here"?  What is this piece about?

-- What does Batman mean to the characters in "I Am Not Batman"?  What does he mean to you?  Why?

-- What does Superman mean to Sherman Alexie's younger self?  to his older self?  What does he mean to you?

-- Choose an element of fiction and examine how it is used in the fiction I've assigned for the weekend.

-- How is flash fiction different from other fiction?  How is it similar?  Why?

-- How is graphic fiction different from other fiction?  How is it similar?  Why?

-- Must stories be realistic?  Why?  Why not?  Discuss your reactions to less realistic stories.

I'm looking forward to seeing and hearing what you have to say!

Dr. Szlyk

Study Guide for Midterm EN 190/190 HM -- Fall 2013 pt. 2

Let's move on to fiction! I am not sure whether we will see any of American Graffiti, but it seems to fit with a number of our stories, so here we are!

The stories that may be on the midterm include the following:
"Coyote and Eagle Visit the Land of the Dead"
"Love in LA"
"The Red Convertible"
"Today's Demon: Magic" (graphic fiction)
"The House on Mango Street"
"Girl"
"Everyday Use"
"Where Are You Going, Where Have You Been?"
"Hills Like White Elephants"
Maus
Persepolis

Main characters, authors' names, settings, and plot points will also be on the exam.  Remember Nancy Armstrong!

Here are some terms for you:
types of stories: literary fiction, genre fiction, folktale, graphic fiction (panel), flash fiction
differences between drama/theater and fiction
again orality
plot: narrative arc (initial incident etc.), false closure, foreshadowing, flashback, exposition, description, dialogue, epiphany
character: flat vs. round, major vs. minor, protagonist, antagonist, anti-hero, showing vs. telling -- ways to develop character
point of view: 1st person (reliable, unreliable, naive), 2nd person, 3rd person (omniscient, objective, center of consciousness, limited omniscience), frame narrative
types of theme: topic vs. thesis statement
graphic fiction:  Ms. Vartanoff covered a LOT, but try to remember different categories like manga and key titles like Maus, Persepolis, A Contract with God, Saints & Boxers, the adaptations of various literary/musical works like Wagner's Ring Cycle, The Tale of Genji, the Odyssey & the Iliad, Girl Stories.  Try to remember key names like Will Eisner, Scott McLeod (theorist/Understanding Comics), Art Spiegelman, Gene Yuen Yang, Lauren Weinstein.  Note that graphic fiction is available in many languages, even simply visual like Blood Song, a novel set in Vietnam.

Study Guide for Midterm EN 190/190HM -- Fall 2013

Below is a modern version of A Doll House:

The following plays will be fair game on the midterm:
A Doll House (mostly DVD)
Trifles
Fences (videos and text)
Crossing the Border
Death of a Salesman (videos only)

For these plays, know the names of main characters (i.e., Nora, Torvald, Troy, Cory, Rose), the playwrights, and major actors (i.e., Claire Bloom, Anthony Hopkins, Denzil Washington, Viola Davis).  Know the plot and setting of plays.  Note that Death of a Salesman is a memory play with flashbacks and no unity of place or time.  Note that Fences is part of Wilson's Century Cycle.

The talk with Christopher Goodrich of Unexpected Stage Company will be on the midterm.

These terms will be fair game:
drama vs. theater (compare with film -- camera angles & composition of shots)
developmental theory (Kohlberg & Gilligan)
act, scene
plot (conflict; the narrative arc-- inciting action, rising action, climax, falling action, resolution/denouement; false closure, flashback, foreshadowing)
character (contrast; impact of action; impact of dialogue; impact of stage directions)
dialogue vs. soliloquoy
exposition
language
family dynamics vs. impact of culture & society & community
community vs. isolation
memory play

orality -- note that Troy is illiterate
theme  -- how did I miss the central idea of a production?!
setting
blocking
stage directions
(more terms from photos)

Consider the developmental theories of Kohlberg and Gilligan:

http://faculty.plts.edu/gpence/html/kohlberg.htm

http://collegestudentdeveltheory.blogspot.com/2010/09/gilligans-theory-of-womens-moral.html

See below for links to key videos:

Next these are the links to the videos of A Doll House we saw on the first day.

http://www.youtube.com/watch?v=7uqomb814Qk

http://www.youtube.com/watch?v=hbgsD7K9qCc

I am trying to find a modern dress version--and here is one!

http://www.youtube.com/watch?v=Hb3CIsynKa4

Here is the infamous Mabou Mines version:  http://www.youtube.com/watch?v=oHn2FxLJOoI

To help with Fences, here are links to Eyes on the Prize, a documentary from the late 1980s.

We watched the video below at the end of class today:

http://www.youtube.com/watch?v=g5gvNPWSuKM&feature=related

These links are to longer sections:

http://www.youtube.com/watch?v=iVB2AlVpt0I

http://www.youtube.com/watch?v=2a32Uc1oP7s

For more videos of Fences and Death of a Salesman, see the entry below:

http://en202.blogspot.com/2013/09/from-archives-fences-death-of-salesman.html

Here are some scenes from Fences.

Ah, I was able to find James Earl Jones and Courtney B. Vance from 1987!

http://www.youtube.com/watch?v=K_kGtQmvrVI

Here is a juxtaposition of the 1987 and 2010 versions:

http://www.youtube.com/watch?v=jE2dDmMGfa4

Let's look at the Black Theater Ensemble of Virginia's versions of scenes we looked at:

http://www.youtube.com/watch?v=bmvNfiqnAng

http://www.youtube.com/watch?v=hn1fDmx--SE

Here Troy explains why he had his affair with Alberta:

http://www.youtube.com/watch?v=V1yumNODGOg

South Coast Repertory's scenes are here:

http://www.youtube.com/watch?v=ECf35PVdIys

For Death of a Salesman, see these links:

We'll start with the Oberlin production starring Avery Brooks as Willy and Justin Emeka as Biff.

http://www.youtube.com/watch?v=4qYxC9Grn4o

This video sounds much clearer on my new laptop!

Next is the clip of Willy and his sons at the restaurant.  This is the 1980s TV movie with Dustin Hoffman and John Malkovich.

http://www.youtube.com/watch?v=GjOvVcmmYy8

The clip below shows Willy's flashbacks where he sees his sons when they were young.

http://www.youtube.com/watch?v=QyNIk4S9Skg

I do want you to see the end of the play, Willy's funeral:

http://www.youtube.com/watch?v=zgm1uEKHeY4