Site Accessibility Statement
Wilfrid Laurier University Faculty of Arts
April 23, 2014
Canadian Excellence

400-level Courses, 2013-14

Note 1: Fourth-year students may register for only the number of seminars (i.e., 400-level courses) that are required for their program. Honours Film majors require 2 FS seminars and Combined Honours Film majors require 1 FS seminar. Students who choose more than the number of required seminars will be removed from the extra(s).

Note 2: The Department cannot add students into full courses even if they are needed to fulfill graduation requirements. It is the student’s responsibility to put themselves on course waitlists as early in the Spring registration period as possible.

Note 3: Students who arrive at the beginning of term without having made any course selections will be advised to add themselves into open courses and onto the waitlist of closed courses, even if that means they don't acquire all of the English courses they'd planned to take.


The university reserves the right to remove you at any time from any courses that you have registered for contrary to the regulations. For example, if you register in more courses than allowed, in courses for which you have exclusions, in courses for which you lack prerequisites or in courses which are inappropriate due to any other university regulation, the university reserves the right to remove you even after classes have begun. Nevertheless, it is your responsibility to make the appropriate selections. The university does not guarantee that your errors will be caught.






Day / Time




Metafictional Adaptations: Novel to Film and Beyond


Lecture: TR 11:30-12:50


Dr. R. Kilbourn

Screening: M 7:00-9:50


Writing in the early 1990s, Robert Stam observes that, while "many of the cinematic adaptations of self-conscious novels…incorporate certain reflexive devices, they [often] do not metalinguistically dissect their own practice or include critical discourse within the [film] text itself". This course brings together recent theories of intermedial adaptation (Grusin and Bolter; Stam; Hutcheon) with the genre of meta-fiction in both literature and film in order to examine the hybrid genre of metafilmic adaptations: films that self-reflexively discuss and include, thematically and narratively, the process of adaptation of the source-text within the film itself. By exploring these metafilmic productions, which encourage the viewer to engage in the (re)construction and/or (re)coding of a particular text, we will expose the metafilm’s subversion of viewer’s expectations of adaptations, and what this suggests about the current state of media literacy and spectatorship. These metafilmic productions expose the destabilization and impermanence of such literary conventions as authorship and genre, as the metafilms explore and discuss which elements should be changed and/or critiqued, while also probing the illusorily hermetic nature of the ‘text’ itself. This new approach to (re)coding texts lies at the heart of current and future adaptation studies, focusing on adaptations that directly engage their respective source texts in an overtly self-conscious dialogue, in order to not only embrace the ‘politics of adaptation’, but also to illuminate the internal structures and components of the films’ literary ‘models’, as well as the comparable constructedness of both adaptation and source-text. The most pertinent questions regarding adaptation theory to be addressed are: what can we learn from adaptive texts that move beyond the standard binary of original and (relatively ‘faithful’) reproduction? How does the process of adaptation influence our understanding of the texts themselves? And, most importantly, what does this notion of ‘self-consciousness’ and the desire to promote active viewership say about our current state as media consumers?

NOTE: This course is cross-listed with EN470e. Students who are Combined Honours English and Film majors may not count this course towards both programs.



Digital New Media


Lecture: TR 1:00-2:20


Dr. S. Annett


Screening: R 7:00-9:50


In 1969, media theorist Marshall McLuhan wrote that "Media effects are new environments as imperceptible as water to a fish, subliminal for the most part." While digital new media today can strike us as exciting or shocking at first, their effects often fade from view the more we use them. The purpose of this course is to encourage a critical awareness of the new media technologies that have shaped both film and everyday life in recent decades. "Critical awareness" does not mean disliking or "bashing" new technologies, but rather developing the media literacy skills necessary to engage with them in thoughtful, creative ways. To that end, this course is based on seminar discussions on the history and theory of new media and cybercultures as they have impacted film, especially in the age of digital cinema. Along with screenings of core examples of digital cinema, the course also includes hands-on activities using new media formats such as video game play, group blogging, and digital photography, among others. Active participation both in class and online is key to succeeding in (and enjoying!) Digital New Media.