21st Century Literature Module - Philippine Christian University PDF

**Philippine Christian University** Sampaloc 1, Dasmariñas City, Cavite SENIOR HIGH SCHOOL S.Y. 2024-2025 **MODULE IN 21ST CENTURY LITERATURE FROM THE PHILIPPINES AND THE WORLD (GRADE 12)** **QUARTER 2 - WEEK 6 (NOVEMBER 4-8, 2024)** **LESSON 6: CREATIVE ADAPTATION OF A LITERARY TEXT** ![](me...

**Philippine Christian University** Sampaloc 1, Dasmariñas City, Cavite SENIOR HIGH SCHOOL S.Y. 2024-2025 **MODULE IN 21ST CENTURY LITERATURE FROM THE PHILIPPINES AND THE WORLD (GRADE 12)** **QUARTER 2 - WEEK 6 (NOVEMBER 4-8, 2024)** **LESSON 6: CREATIVE ADAPTATION OF A LITERARY TEXT**  **[Overview]** A literary text is considered a complete work of art. In the previous lessons, you could create a literary text representation by applying multimedia and ICT skills. This lesson will guide you on how to present your adaptation creatively and, more importantly, how to adapt a literary text. It will also lead you to conduct self-assessment and/or peer-assessment of the adaptation. To adapt means to transpose from one medium to another. It is the ability to make for or suitable by changing or adjusting. Modifying something to create a change in structure, function, and form produces a better adjustment. **[Course Learning Outcome]** *Second Quarter* 1. 2. 3.  **[Lesson Objectives]** At the end of this lesson, you are expected to: 1. Recognize the different levels of literary adaptation. 2. Produce creative adaptation of a literary text. 3. Value multimedia as an essential platform to show literature. 4. Do self- and or peer-assessment of the creative adaptation of a literary text, based on rationalized criteria, before the presentation. **[Essential Question]** Are you in favor of changing scenes to book adaptations? Why? **[Test Yourself]**  In the previous lesson, you were asked to analyze the text \"Exhalation\" by Ted Chiang. As you\'ve observed in each group\'s work, consider the following questions for your adaptation project: 1. Choose one group and share what you have observed on how they have convey the original themes and emotions in their adaptation 2. What creative elements, such as visuals, sound, or dialogue, enhanced the storytelling/ analysis/ interpreation? **[Study These Terms]** - Artful Adaptation -- concerned with finding balance between being true to its source material, and creating a film that can stand on its own work of art. - Conundrum -- an intricate and difficult problem. - Dyspeptic -- indigestion. - Formidable -- causing fear, dread or apprehension; tending to inspire awe or wonder. - Petulant -- insolent or rude in speech or behavior. - Play -- work of drama, usually consisting mostly of dialogue between characters and intended for theatrical performance rather than just reading language -- is often viewed as a vehicle of thought, a system of expression that mediates the transfer of thought from one person to another. Not just a medium to convey a message but the totality of message across. - Unceremoniously -- abrupt, rude.  **[Lesson Proper]** Let us review the lessons we tackled in our previous quarter regarding creative adaptation. Most literary works are usually the work of a single individual. The writer is the sole creator of his work and has complete control. An adaptation requires the cooperation of one or two or even more writers, several artisans, and techniques, working together as a team. It needs a production unit. *All these types of adaptations require the involvement of a specific type of writer:* - If a novel or short story is adapted for the stage, it needs to be written as a play. (Requiring a playwright) - It a play is rewritten as a story; it takes the shape of a novel or a short story. (Then, it calls upon a writer.) - It a text is adapted to an opera (operetta or musical), it is to be written as a libretto. (This necessitates a librettist.) - If an original work is adapted to film, then it is reworked as a scenario (by a screenwriter.) According to **Professor Phillips** of **National Chenghi University,** there are three levels of film adaptation based on literature. ***Levels of Film Adaptation*** As we define *[Literal Adaptation]*, what is written in literature will be exactly what is in the film. This level of adaptation is parallel to the idea of Wagner (1975), Transposition, and Watts (2020) Museum adaptation. It is concerned in preserving every possible detail of the book exactly how it exists in the book, just transferred to the film medium. In short, the film is the exact copy of the original text. Next level is *[Faithful Adaptation]*. It is similar to the idea of Wagner (Commentary) and Watts (Transformative) adaptation. This level seeks to accentuate the timelessness and universality of the works' messages and themes. The film follows the text, but has slightly altered elements. Most of the literary text appear. The next level of adaptation *is [Loose].* This term is complemented by Watts as also loose adaptation while Wagner stated it as analogy. These films would have lightly relied on the source texts. A film that keeps a few elements or some semblance of the premise of the book it's based. It lacks exact similarity to its source material. Still, for some, it can be an excellent movie. An additional level stated by Watts is the *[Artful Adaptation]*. This type of adaptation is most concerned with finding the balance between being faithful to its source material, and creating a film that can stand on its own as a work of art. It finds the essential elements of the book and interprets them in ways that are meaningful for the audience. In this part, language is necessary to convey the desired message to the audience. Now that you are able to remember the concepts above, please let yourself delve into one way to portray your adaptation. ***Video Presentation - Feature Film*** There are several ways to present your adaptation through multimedia, but the video is like on top of everywhere. Vlogging; Sales promo videos; Online video workshops; Facebook feeds; Youtube; Instagram; Facetime; Webinars; Tiktok; Up live, Feature film, and to name a few, these are some among the many wherein you should show yourself in the video presentation. Also, in literary adaptation to feature film. Adaptations have become the forefront in cinema. Today, feature films are based on all kinds of intellectual property, including video games, comic books, and literature. Adapting is a great way to involve yourself. But how will you do it? *These are some valuable pieces of advice for you to create your performance task.* 1. *Find a story to adapt-* Read a lot of short stories. Pick something that excites you, hunts or you can't stop thinking about, one that you connect with personally and think you can put a unique spin on. 2. *Please don't get too attached to the story but respect it-* It is a simple fact that some story elements will have to change to jump to the screen. By disconnecting from the original text, the screenwriter frees themselves of the obligation to maintain every detail. 3. *Think for screen*-The writer needs to take certain liberties to enliven all the senses and to meet production needs. In some cases, there may not be an exact translation. You may need to come up with a solution to get the message across. 4. *Focus on character-* Although you might not be able to explore the extent of your feature idea in short, you can explore your characters very deeply. Characterization and character in general can be conveyed far more quickly and effectively than plot through powerful imagery and short concise visual scenes. 5. *Show off your style-* One of the best opportunities is your ability to show off your personal and artistic style in a short film. ***Tips for video presentation*** There are three critical aspects to giving an excellent video presentation: 1. The Technicalities 2. What you say 3. How you say it 1\. ***The Technicalities*** a. An audio -- good microphone b. Eliminate ambient noise -- close window and make sure there are no disturbing noise c. Don't over worry about the camera -- just find a camera that isn't too old d. Lighting -- please be aware of the mood and scene you want to show e. Background -- not just a white wall f. Framing -- don't put yourself always at the center g. Camera height -- be careful of the angle 2\. ***What you say*** a. Preparation -- don't speak until you know exactly what it is you want to say b. Keep it short -- make your lines simple c. Have a point -- have a moment to what you are going to say d. Use a strong structure -- the content of your speech e. Simple words -- the presentation is not just for tongue twisters 3\. ***How you say it*** a. What you wear -- appropriate for the scene or event b. Consider a teleprompter -- if you can't memorize everything c. Be yourself -- be true and show your uniqueness d. Talk to the camera like it's your first date -- best behavior and make every effort e. Good posture -- project yourself f. Use your hands but not too much -- show gestures, facial expressions and body language g. Practice. Practice. Practice  Read the summary of the novel, **\"The Shadow of the Wind**\" by *Carlos Ruiz Zafón* In 1945 Barcelona, a second-hand bookseller, Mr. Sempere, takes his son Daniel to the Cemetery of Forgotten Books for the first time. The Cemetery is a secret library about which only the city's booksellers and literary figures know, that protects books at risk of fading away into oblivion in the real world. The young Daniel is awestruck by the size and scope of the library, and the possibilities for learning it contains. When told he can choose a book to take home, he wanders the library and finds Julián Carax's The Shadow of the Wind, unsure if he's guided by "chance or its more flamboyant cousin, destiny." Daniel sees on the book jacket that Carax is a native of Barcelona, but even his father has never heard of the author. When they consult another bookseller, the wealthy and well-connected Gustavo Barceló, he tells them that while no one knows exactly who Carax is, his books are becoming increasingly valuable because they have a habit of disappearing. Barceló offers to buy the book, but Daniel declines. In order to examine it, Barceló invites Daniel to his house, where Daniel meets, befriends, and falls in love with Barceló's blind niece, Clara. In order to spend time around her, Daniel spends all his afternoons reading aloud to her in the apartment. His father, as well as the Barcelós' kindly maid, Bernarda, are skeptical of his overwhelming devotion to an adult woman he will never be with. Get the entire The Shadow of the Wind LitChart as a printable PDF. \"My students can\'t get enough of your charts and their results have gone through the roof.\" -Graham S. The Shadow of the Wind PDF Several years later, Daniel plans a sixteenth birthday party to which he invites Clara, but she never shows up. Upset, Daniel leaves the house to wander the city streets, where a terrifying stranger approaches him and demands to know where his copy of The Shadow of the Wind is. Daniel is worried that the stranger will hurt Clara, at whose house he left the novel, so he goes to retrieve it. Once in the apartment, he discovers Clara in bed with her music teacher, Adrian Neri, and feels incredibly betrayed. He brings the novel back to the Cemetery of Forgotten Books and hides it. Freed from his passion for Clara, Daniel has more time for the normal activities of adolescence, like spending time with his best friend, Tomás. He and his father also take on another employee for the bookshop, a homeless man named Fermín who turns out to be an excellent salesman and good at finding rare books. Daniel begins to investigate Julián Carax's past, visiting his childhood apartment building and pressing the caretaker and administrator for details about his family, as well as Nuria Momfort, the secretary of Carax's publisher, who says she doesn't know much about him. Meanwhile, a sinister police officer named Inspector Fumero turns up at the bookstore looking for Fermín, who was a political prisoner during the Spanish Civil War. Daniel encounters Tomás's older sister Bea at her university and is enthralled by her, even though as children they were enemies. She's engaged to a young fascist soldier named Pablo, but seems unexcited about the prospect of marriage and agrees to meet Daniel. On their evening together, Daniel tells her everything he's learned about Carax and shows her the Cemetery of Forgotten Books. He falls in love with her, although he knows her father would forbid a relationship with him. Needing his investigative talents, Daniel confides his growing obsession with Carax to Fermín, who's also interested. Fermín uncovers that Nuria was lying when she said she didn't know Carax well. On Fermín's initiative, they visit Carax's school, where they meet his old friend Father Fernando. The priest tells them that Carax grew up in an abusive home and was mentored by the wealthy and powerful Mr. Aldaya, who took an interest in him and paid his private school tuition. Carax was friends with Aldaya's son Jorge and fell in love with his daughter Penélope, even though this was forbidden by their different social classes. Javier Fumero, the son of the school's caretaker, was also in love with Penélope, and tried to kill Carax when he discovered their affair. Bea helps Daniel get inside the old Aldaya mansion, which her father's real estate company owns. She figures out that the house was built by an eccentric millionaire, Salvador Jausà, whose servant and lover Marisela poisoned him and killed his wife. For the rest of his life, Jausà remained convinced that Marisela's spirit lived in the house and tried various means of contacting it, giving the house its reputation for being cursed. Soon after, the Aldayas bought the house and moved in. After relating this tale, Daniel and Beatrice have sex in the house. On advice from Father Fernando, Daniel and Fermín visit the hospice where Penélope's devoted old governess Jacinta lives. Jacinta tells them that she's always been guided through life by Zacarías, a supernatural spirit who appears in her dreams and predicts what will happen in her life. He guided her to the Aldayas, and Jacinta considered Penélope a daughter. Jacinta helped Penélope carry on a secret affair with Carax and explains that, with the help of Carax's best friend Miquel, they planned to elope to Paris. However, right before the elopement, Mr. Aldaya found out about the affair and learned that Penélope was pregnant. He had Jacinta locked in a mental asylum, and when she's finally released she can't find any trace of Penélope. On the way home, Daniel and Fermín run into Fumero, who beats up Fermín and warns them to stop looking into Carax's past. Daniel takes his friend to the Barceló apartment to recover and tells the whole story to Barceló, who agrees to help him investigate. The next day, Daniel returns to the Aldaya mansion for another rendezvous with Bea. She promises to call him the next day, but he doesn't hear from her for a week. When he finally calls the house, he realizes that her father has found out about their affair and is threatening to kill him. In order to find out what Nuria really knows, Daniel visits her and announces he knows she's been lying, but she won't tell him anything. That night, she is mysteriously murdered, and the newspapers claim that a known criminal matching Fermín's description committed the crime. Daniel's father finally realizes that he and Fermín have gotten themselves into trouble, and he reproaches Daniel for having a role in Nuria's death. Nuria's father gives Daniel a manuscript from her, which explains the truth about Carax. She met him in the 1930s and became his lover, even though he told her he would only ever love Penélope. She also met his friend Miquel, who fell in love with her, although she didn't reciprocate. Miquel and Nuria became lovers out of their mutual loneliness and obsession with Carax. Miquel told Nuria that Mr. Aldaya locked Penélope in her room for the duration of her pregnancy and forced her to give birth unassisted, after which she died. Miquel never told Carax this, because he knew it would upset him and he would try to fight Mr. Aldaya. Miquel spoke to Carax's mother, Sophie, who confessed that she had an affair with Mr. Aldaya long ago and that Carax and Penélope were brother and sister. Meanwhile Jorge, the only surviving member of the Aldaya family, sank into ruin. He fell in with Fumero, who used him as a pawn to entrap Carax and convinced him to duel with Carax in Paris, thereby driving Carax to kill Jorge and flee to Barcelona. When Nuria and Miquel heard about this from one of Carax's friends, they waited anxiously for him to arrive and then begin searching the city for him. One night, Miquel found him at the old Aldaya mansion, but the police were on their trail as well. Miquel took Carax's passport so that the police would shoot him instead, and was killed. Afterward Carax becomes lovers with Nuria again but searches the city for Penélope until he discovers that her body is buried in the crypt under the Aldaya house. In rage and grief, he burns down the publisher's warehouse that stores his books. In the fire, his facial features are burned and disfigured. He adopts an alter ego which he calls Laín Coubert, the name of the devil in one of his books. As Coubert, he tracks down and destroys all remaining copies of his work, as well as stealing to support himself and Nuria. Carax/Coubert discovers Daniel's copy of The Shadow of the Wind and admires the integrity he displays by refusing to give it up. As Daniel grows up, Carax keeps tabs on his activities, feeling that Daniel is like a young version of himself. After reading the manuscript, Daniel is determined to find Bea and fight for her. He visits her house, where Tomás says angrily that she's pregnant and has run away. Daniel finds her at the Aldaya mansion, where she's already met and befriended Carax. However, Fumero soon shows up and Daniel and Carax have to fight him, eventually impaling him on the arm of an angel statue in the garden. Daniel spends weeks in the hospital as a result of a gun wound sustained during the fight. Afterwards he marries Bea, who soon gives birth to a son named Julián. Ten years later, Daniel has settled down to run his father's bookshop with Bea's help. Carax has escaped to Paris and begun to write again under a new pseudonym. Fermín becomes the keeper of the Cemetery of Forgotten Books. In the last chapter, Daniel takes his own son to the Cemetery for the first time, just as his father brought him so many years ago. **[Summary]** Literary works are created by a single author, adaptations require the cooperation of multiple writers, artists, and techniques working together as a team. Specific types of writers needed for different adaptations were discussed: a novel or short story adapted for the stage requires a playwright, a play rewritten as a story needs a writer, a text adapted to an opera necessitates a librettist, and an original work adapted to film involves a screenwriter. There are three levels of film adaptation based on literature were learned, according to Professor Phillips. The first level is Literal Adaptation, where the film follows the book exactly, preserving every detail. The second level is Faithful Adaptation, which closely follows the text but makes some changes, retaining most of the literary content. The third level is Loose Adaptation, where the film relies lightly on the source text, keeping a few elements or the premise but lacking exact similarity to the original. Additionally, Watts\' level of Artful Adaptation was mentioned, which balances being faithful to the source material while creating a film that can stand on its own as a work of art. **[Assessment:]** Performance Task 2 **I. Directions:** Choose an exciting scene or important moments from the novel \"The Shadow of the Wind\" to create a short trailer that shows what the story is about. 1. Your trailer should have three parts: - introduce the main characters and where the story takes place; - build some suspense by hinting at the main problem; - end with a strong hook that makes people want to know more. 2. Make sure to include dialogue and visuals that show the emotions of the characters and the excitement of the story. You can use music and sound effects to make it more interesting, and consider adding title cards with important information. 3. Aim for your trailer to be about 1 to 2 minutes long, and be creative with your editing to make a fun and engaging preview that will grab your audience\'s attention! ***Trailer Assessment Rubric (100 points)*** +-------------+-------------+-------------+-------------+-------------+ | **Criteria* | **Excellent | **Good** | **Fair** | **Needs** | | * | ** | | | | | | | | | **Improveme | | | | | | nt** | +-------------+-------------+-------------+-------------+-------------+ | ***Knowledg | Shows a | Shows a | Shows a | Shows | | e/Content** | deep and | good | basic | limited | | * | accurate | understandi | understandi | understandi | | | understandi | ng | ng | ng | | ***(30 | ng | of the | of the | of the | | points)*** | of the | literary | literary | literary | | | literary | piece with | piece but | piece with | | | piece. The | only minor | misses | major | | | trailer | errors or | several key | errors or | | | captures | missed | details. | misundersta | | | the main | details. | *(8-15)* | ndings | | | themes and | *(16-23)* | | *(1-7)* | | | key | | | | | | elements | | | | | | well. | | | | | | | | | | | | *(24-30)* | | | | +-------------+-------------+-------------+-------------+-------------+ | ***Skills/A | Effectively | Uses | Uses | Struggles | | pplication* | uses | concepts | concepts | to use | | ** | concepts | from the | from the | concepts | | | and ideas | literary | literary | from the | | ***(30 | from the | piece well, | piece in a | literary | | points)*** | literary | but with | basic way, | piece | | | piece in | some errors | with | correctly, | | | the | or less | noticeable | with major | | | trailer. | clear | errors and | errors or | | | Connections | connections | unclear | weak | | | between the |. | connections | connections | | | literary | |. |. | | | work and | *(16-23)* | | | | | the trailer | | *(8-15)* | *(1-7)* | | | are clear | | | | | | and | | | | | | well-execut | | | | | | ed. | | | | | | | | | | | | *(24-30)* | | | | +-------------+-------------+-------------+-------------+-------------+ | ***Presenta | Presents | Presents | Presents | Presents | | tion*** | information | the trailer | the trailer | the trailer | | | clearly, | clearly, | in a | unclearly, | | ***(20 | | but with | somewhat | with | | points)*** | coherently, | minor | clear | significant | | | and | issues in | manner, but | problems in | | | | organizatio | with | organizatio | | | engagingly, | n, | noticeable | n, | | | using | engagement, | problems in | engagement, | | | effective | or | organizatio | or | | | | communicati | n, | communicati | | | communicati | on. | engagement, | on. | | | on | *(11-15)* | or | | | | techniques | | communicati | *(1-5 )* | | | | | on. | | | | *(16-20)* | | | | | | | | *(6-10 )* | | +-------------+-------------+-------------+-------------+-------------+ | ***Creativi | Demonstrate | Shows some | Shows | Lacks | | ty*** | s | originality | limited | originality | | | high | and | originality | and | | ***(20 | originality | creativity | , | creativity, | | points)*** | and | in the | with a more | using a | | | creativity | adaptation, | predictable | standard | | | in adapting | with a few | or | and | | | the | new ideas. | conventiona | unoriginal | | | literary | | l | approach to | | | piece. | *(11-15 )* | adaptation. | adaptation. | | | Shows new | | | | | | and | | *(6-10 )* | *(1-5 )* | | | interesting | | | | | | ideas. | | | | | | | | | | | | *(16-20 )* | | | | +-------------+-------------+-------------+-------------+-------------+ Performance Task 3 ***II. Directions***: All trailers will be posted in Google Classroom or presented in class. The teacher will assign groups for assessment. Use the checklist below to evaluate the trailers effectively. Checklist Rubric (Total Score: 50) ================================== +-----------------+-----------------+-----------------+-----------------+ | **Criteria** | **Description** | **Yes** | **No** | | | | | | | | | **(5)** | **(3)** | +-----------------+-----------------+-----------------+-----------------+ | | The product | 4-5 | 1-3 | | | fulfills all | | | | | specified | | | | | requirements | | | +-----------------+-----------------+-----------------+-----------------+ | ***Well-organiz | The product is | 4-5 | 1-3 | | ed*** | well-structured | | | | | and logically | | | | | organized | | | +-----------------+-----------------+-----------------+-----------------+ | ***Accurate and | The product is | 4-5 | 1-3 | | thorough*** | accurate and | | | | | provides | | | | | thorough | | | | | coverage of the | | | | | topic | | | +-----------------+-----------------+-----------------+-----------------+ | ***Creative and | The product | 4-5 | 1-3 | | original*** | displays | | | | | creativity and | | | | | originality | | | +-----------------+-----------------+-----------------+-----------------+ | ***Presented | The product is | 4-5 | 1-3 | | competently*** | presented in a | | | | | competent | | | | | manner | | | +-----------------+-----------------+-----------------+-----------------+ | ***On time*** | The product is | 4-5 | 1-3 | | | completed and | | | | | submitted on | | | | | time | | | +-----------------+-----------------+-----------------+-----------------+ | ***Free of | | 4-5 | 1-3 | | errors*** | | | | +-----------------+-----------------+-----------------+-----------------+ | ***Includes all | The product | 4-5 | 1-3 | | components*** | includes all | | | | | required | | | | | components | | | +-----------------+-----------------+-----------------+-----------------+ | ***High | The product is | 4-5 | 1-3 | | quality*** | of high quality | | | | | in terms of | | | | | content and | | | | | presentation | | | +-----------------+-----------------+-----------------+-----------------+ | ***Engaging*** | The product is | 4-5 | 1-3 | | | engaging and | | | | | captures the | | | | | audience's | | | | | interest | | | +-----------------+-----------------+-----------------+-----------------+ **[Learning Resources]** Gutierrez-Ang, J. (2016). *Literature: 21st century Philippine & world literature*. Mindshapers Co.Kroll, N. (2015). How to adopt your feature idea into a short film. *PremiumBeat*. Flesher, F. (2019). How to adopt a short story into a feature film. *InFocus Film School*.  Sonaike, K. (2020). 19 video presentation tips to help you give a great presentation. *Great Speech Co.*  Adaptation. (n.d.). Krishnapatria, K. (n.d.). The adaptation of literary source: SlideShare. Watts, R. (2020). What do we want in a literary adaptation Phillips, B. (2014). Levels of adaptation of literature. The shadow of the wind by Carlos Ruiz Zafón plot summary. (n.d.) *LitCharts*.  **[Supplemental Readings and Materials]** Read the supplemental materials to gain more understanding of the main ideas of "The Shadow of the Wind" by Carlos Ruiz Zafón exploring the possible interpretations of the discussed issues. These materials will help you engage more critically with the story, enhancing your analysis of its literary and philosophical aspects. +-----------------------+-----------------------+-----------------------+ | **Prepared by:** | **Checked by:** | **Approved by:** | +=======================+=======================+=======================+ | **Chiu, Ivory Glenn | **Maurene Regine A. | **Maria Beatriz | | C.** | Reyes, CSPE, LPT.** | B.Sico, MM.** | | | | | | Cordero, Christine | | | | Suzette S. | | | | | | | | **Dizon, Julie Ann | | | | A.** | | | | | | | | **Elizalde, Enelyn | | | | M.** | | | | | | | | **Guiruela, Mylene | | | | G** | | | | | | | | **Lacson, Marjorie | | | | C.** | | | | | | | | **Liwanag, Lea S.** | | | | | | | | **Patam, Paulene S.** | | | | | | | | **Ruiz, Kate B** | | | | | | | | **Tiozon, Daisy D.** | | | | | | | | **Villafuerte, Leah | | | | C.** | | | +-----------------------+-----------------------+-----------------------+ | | Subject Lead Teacher, | Principal | | | English 12 | | +-----------------------+-----------------------+-----------------------+ | Subject Teachers | | | +-----------------------+-----------------------+-----------------------+