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On the completion of French IIA Culture, students will be able to:

1. know the countries where French is spoken and understand their cultural productions such as literature and film

2. locate primary and secondary sources of information pertaining to the study of French culture

3. analyse cultural productions such as literature and film and be aware of the interpretative methods that can be used to deepen understanding of them

4. work individually or in groups in collecting and organising information, and communicating arguments and ideas in adequate French, both written and spoken, to an academic audience.

A link to the list of textbooks for all French courses can be found on the web site.

The French Research Librarian in the Barr-Smith Library, Jennifer Osborn, maintains a page of useful links for students of French. They can be found at the following url:


This is an excellent resource for all the work you do in French language and culture. You are urged to consult the link “Research Skills: Literature search techniques”, which teaches you how to use the Library’s academic databases for your essays.

For a French language website in which you will find, as well as a conventional dictionary, a dictionary of slang, synonyms and antonyms, figurative expressions, spelling and conjugations, etymologies, Old and Middle French, and varieties of French throughout the Francophone world, you should look at the url

The following documents will be available via MyUni:
- course outline
- lecture slides

There will be three contact hours per week: a lecture in French which provides an analysis of the topic set for study in each particular week; a two-hourseminar in which students will carry out tasks such as reading, textual/film analysis, individual presentations, tests and class discussion. The seminar session will also be used for screening the films.

The information below is provided as a guide to assist students in engaging appropriately with the course requirements.

3 hours of classes each week	3 hours
6 hours of preparation/follow-up work, including reading	6 hours
3 hours preparation for assignments and tests	3 hours
Average weekly workload	12 hours

Schedule

Week	Commencing	Topic	Reading	Assessed Tasks
Week 1		Introduction: avantages et inconvénients des adaptations cinématographiques de textes littéraires	1. Roché, Jules et Jim (ch 1) MacOrlan, Le Quai des brumes (ch 1)
Week 2		Maupassant, Une partie de campagne (texte)	Maupassant, Une partie de campagne
Week 3		Renoir, Une partie de campagne (film)		Comprehension Test 1
Week 4		Maupassant, Toine (texte)	Maupassant, Toine
Week 5		Santamaria, Toine (film)		Comprehension Test 2
Week 6		Vercors, Le Silence de la mer (texte)	Vercors, Le Silence de la mer
Week 7		Boutron, Le Silence de la mer (film)		Comprehension Test 3
Week 8		Gaboriau, Le Petit vieux des Batignolles (texte)	Gaboriau, Le Petit vieux des Batignolles	Analyse de scène (18 September)
	Mid-Semester Break
Week 9		Chabrol, Le Petit vieux des Batignolles (film)		Comprehension Test 4
Week 10		Simenon, La Nuit du carrefour (texte)	Simenon, La Nuit du carrefour
Week 11		Renoir, La Nuit du carrefour (film)		Comprehension Test 5
Week 12		L'adaptation: état des lieux
Week 13				Essay (8 November)

Hurdle requirements
Students who do not meet the following requirements will be awarded a grade of Fail for the course:
- a minimum of 75% attendance in lab and tutorial classes (labs and tutes considered individually)
- completion of all assessment tasks

The preparation of an oral presentation on an aspect of the Culture topic will require students to conduct research, working in pairs.

Assessment Task	Task Type	Due	Value	Learning Outcomes
Oral Presentation	Formative	During the seminar once during the semester	15%	1, 2, 3, 4
Comprehension Tests	Formative	Friday, Weeks 3, 5, 7, 9 & 11	25%	1, 3, 4
Analyse de scène (800 words in French)	Summative	Wednesday of Week 8	25%	1, 2, 3, 4
Essay (1200 words in French)	Summative	Friday of Week 13	35%	1, 2, 3, 4

Students are expected to read the texts set for the given weeks in advance and prepare their answers to any set questions, as required.

It is a requirement of the course that students attend all classes. Exemption from attendance may be given by tutors or the course coordinator only for medical reasons or for documented cases of personal hardship. If students miss two classes without providing a satisfactory explanation (on medical or compassionate grounds), the course coordinator will ask them to explain why they should not be excluded from the course. In all cases, the onus is on students to contact their tutor or the course coordinator, preferably in advance, to explain their absence and to make arrangements to catch up on missed work. If this is not done, it will be assumed that the students concerned are no longer in the course.

NB: Students must complete all assessment tasks in order to pass the course.

1. Exposé : analyse de scène
Avec un partenaire, vous devrez faire une présentation de 10 minutes (maximum) au cours de laquelle vous analyserez une scène dans un des textes suivants : Une partie de campagne, Toine, Le Silence de la mer, en comparant son traitement par le cinéma. Présentez d’abord la scène que vous allez analyser – mais très brièvement, car tout le monde aura déjà lu le texte et vu le film ! Vous passerez donc ensuite à votre analyse, qui devra porter sur la façon dont le cinéma représente l’action, les décors, le caractère des personnages, et ainsi de suite. Dans votre conclusion, vous expliquerez les similarités et les différences (de fond, de forme, etc) entre la représentation textuelle et la représentation cinématographique de la scène, tout en réfléchissant sur les avantages et les inconvénients des deux versions et sur leur impact.

2. Analyse de texte
Comme pour l’exposé oral, vous devrez choisir une scène dans un des textes suivants : Une partie de campagne, Toine, Le Silence de la mer, et faire une analyse de la façon dont cette scène est représentée au cinéma. Adoptez la même structure que pour l’exposé oral :
1. une brève présentation de la scène, en guise d’introduction
2. une analyse comparative de tous les aspects les plus importants (description/décor, caractérisation, thèmes, action, etc)
3. une conclusion dans laquelle vous réfléchissez sur les similarités et les différences, et sur l’impact de ces différences sur notre perception de la scène

NB Vous ne pouvez pas choisir pour cette analyse le même texte (et le même film) que pour l’exposé oral. Votre analyse de texte doit être écrit en français (800 mots) et doit être rendu le 18 septembre avant 12h00.

3. Tests de compréhension
Après avoir étudié le texte en classe (cours + séminaire), nous vous demanderons dans le séminaire suivant, avant de visionner le film, de lire un extrait du texte et de répondre à quelques questions de compréhension. C’est une façon pour nous, et pour vous, de vérifier que vous avez lu et compris le texte. Nous ferons des exercices similaires dans les séminaires afin de vous préparer pour le type de questions auxquelles vous aurez à répondre.

4. Dissertation
Vous devrez rédiger une dissertation de 1200 mots, en français, à remettre le 8 novembre (avant 12h00). Choisissez un des sujets suivants :

1. Examinez la façon dont le mystère et le suspense sont créés et maintenus dans Le Petit vieux des Batignolles ou La Nuit du carrefour, en comparant le texte et le film.

2. Examinez la représentation et la fonction de l’espace dans les histoires policières, en prenant comme exemple Le Petit vieux des Batignolles ou La Nuit du carrefour et en comparant le texte et le film.

3. Quelles techniques les cinéastes adoptent-ils pour représenter à l’écran les romans policiers, tout en donnant à leurs films un caractère personnel ?

Conseils si vous comparez deux choses – ici, un texte et un film – ne les traitez pas séparément (c’est-à-dire, n’organisez pas votre dissertation en deux parties dans lesquelles vous analysez d’une part le texte et d’autre part le film) ; il faut organiser vos paragraphes selon des idées et faire des comparaisons entre le texte et le film dans chaque paragraphe donnez à votre analyse une structure claire, avec une introducion et une conclusion il faut citer correctement les ouvrages que vous avez consultés et inclure une bibliographie (consultez le modèle mis en ligne sur le site de la BSL, que vous trouverez en cliquant sur les liens suivants : Library – Resource Guides – French – Research Skills Literature Search Techniques) révisez votre copie (l’orthographe, les accords et les 最新糖心Vlog grammaticales de base) avant de la rendre  

Presentation of Work
All written work handed in during the year should be clearly labelled with the student’s name and class and also with the name of the staff member for whom it is intended. It should be written on alternate lines (double spaced, if typed, and in a font size no less than 12), for greater clarity and to allow ample room for correction. For essay work, attention should be given to the correct setting out of quotations and bibliographical material. All assignments must be submitted with the appropriate cover sheet. This includes a statement on plagiarism policy that must be signed. This is a legal requirement and markers have the right to refuse to accept work which has not acknowledged the 最新糖心Vlog of Adelaide plagiarism policy.

Deadlines
For language and culture assignments, including essays, students are formally notified of deadlines well in advance. Assignments handed in after the due date will be penalised at the rate of 5% of the total mark per working day, up to a maximum of 5 working days, after which they will not be accepted at all (days go from mid-day to mid-day). These penalties will not apply, however, if an extension has been granted by the lecturer before the due date. Extensions will only be granted on medical grounds (medical certificate required) or in documented cases of hardship. Please note that under no circumstances will assignments be accepted for marking after the corrected work has been returned to students.

STUDENTS MUST HAND IN THEIR WORK BY MIDDAY OF THE DAY INDICATED TO THE SCHOOL OF HUMANITIES OFFICE (LEVEL 7, NAPIER BUILDING), WHERE IT WILL HAVE THE DATE OF SUBMISSION STAMPED ON IT.

Return of marked work
Marked work will generally be returned to students one or two weeks following submission. For work that is handed up at the end of semester, students should attach a stamped self-addressed envelope. School policy states that if no envelope accompanies the (end of semester) assignment, it will not be returned and it will be graded only. No comments will be provided.

Redemption
The Discipline wishes to give all students the chance to make up for any piece of work which, for whatever reason, is not up to their usual standard. This policy, however, must be adapted, in its detail, to the needs of each class. Given the frequency and the nature of short tasks or assignments such as lab exercises, comprehension tests or language exercises, it is not possible for students to redo and resubmit the piece of work in which their performance was unsatisfactory. This can also cause them to get behind, rather than move on to the next set of exercises and devoting their energies to mastering them.

Regarding longer assignments such as essays, a student who has failed and wishes to do the assignment again in order to obtain a pass mark of 50% (maximum) may do so. The onus is, however, on the student to make such a request.