In our experience teaching literature and film classes, many students use fidelity as the primary criteria for a successful adaptation, especially for a literary work being adapted to a feature length film. However, we’d argue that absolute fidelity is not only difficult, it’s unwise or unproductive for our students to overemphasize since much can be gained by appreciating and analyzing adaptations. Like translation, adaptation requires that the adaptor make choices that might lead to a shift in meaning. In other words, we know words don’t translate perfectly across languages; intended or parallel meaning doesn’t perfectly cross modes and media either. Helping students understand the impact of shifting modalities on meaning-making can be difficult for instructors. We are not alone in our concerns; many scholars similarly emphasize the need to help students move beyond solely focusing on fidelity (Cutchins; Domke, Weippert, and Apol; Hutcheon with O’Flynn; Sherry; Welsch). This is why we decided to make intentional pedagogical decisions in a course we collaborated on to help students move beyond concepts of fidelity to focus on the transformative power of adaptations in new modes and media.

In this essay, we share the Adapt You multimedia project we assigned in a 300-level undergraduate Literature and Film class. Through an integration of visual manipulation technologies, we invited students to explore how adaptation functions as a creative process and to identify with adaptation in new ways by characterizing themselves as the subjects. The Adapt You projects helped students move beyond analyzing adaptations to creating adaptations and, thereby, gaining a deeper understanding of how difficult it can be to remain faithful to an original copy of a text when changing mode and media. For example, Hennacee Kimmel1 worked from an original image (Figure 1) to produce an adapted version of herself.

Throughout the course she was prompted to reimagine herself through words, fonts, colors, and image filters. One of her visual adaptations is clearly still her, but definitely something different as well (Figure 2).

Hennacee characterized herself in the first picture (Figure 1) as “Hennacee” whom she describes as “the shy and quiet student who is careful with her words and always the picture of calm” and “the reserved woman who would rather bury her head in a book than debate and is always willing to keep the peace.” She then contrasts this with the second image (Figure 2), in which she refers to her self-adaptation as “Hen.” This version of herself is “comfortable with being outspoken and emotional,” a person who “dives head first [sic] into opportunities, taking control of the situation long before it can take control of her, no matter who she has to bulldoze over to get it.” She poetically sums up the two dual images of herself by concluding, “They are chaos and order sharing a mind, body, and soul.”

In this article, we are sharing pieces of student work and reflections from the Adapt You assignments as evidence of the project’s efficacy. This student feedback was not collected as part of a systematic study with IRB approval; however, we do have written permission from all the students cited in this article.

Because of our desire to challenge students to move beyond fidelity as the primary criteria for adaptations, we let students be amateurs in our course, allowing them to learn adaptation through a combination of analytical and creative assignments in our Adapt You project. We feel this project is a concerted effort towards altering students’ perceptions of adaptations via increased integration of digital technologies and creative assignments. It also continues pedagogical changes in the field of Adaptation Studies towards use of multimedia, emphasis on creativity, active learning, and a student-centered approach. 

Literature Review: Changing Pedagogies for Teaching Adaptation

Much scholarship about using adaptations in the classroom emphasizes using adaptations to support the teaching of other content or texts (e.g., Bondari; Cutchins; McParland; Phillips). Not surprisingly, adaptation scholars want students to learn about the practice, process, and theory of adaptation as well. While discussing how to move beyond “comparing and contrasting” when teaching adaptation, Ariane Hudelet suggests using applied theory. Hudelet makes explicit to students that the curriculum’s purpose is to provide “an understanding of the issues of adaptation in the English-speaking world,” “the close analysis of text and film,” and to contextualize texts in particular rhetorical situations that are themselves always “within a broad intertextual framework” (43). This approach, Hudelet argues, allows for a move away from adaptation studies as fidelity by broadening students’ perspectives while also framing real-word applications for students in the course.

In an English as a Foreign Language context, Sevgi Sahin and Laurence Raw prompt students to adapt texts as a way to both learn the text as well as help with their language learning. Dennis Cutchins similarly has students translate texts to a different language to see what is “lost” in the texts’ meaning (91). Although Cutchins emphasizes “loss” in this activity (91), something we find potentially problematic, he does also have students adapt backwards (moving from a film to a prose). Cutchins reflects:

As students try to adapt film to prose they come to realize that a filmmaker can communicate a great deal with a color, a glance, a bit of editing, an asynchronous sound, or a snippet of music. As with literature, many students come to appreciate good filmmaking as they attempt to novelize a cinematic text. This exercise also helps me counteract the knee-jerk “the book was better” reaction many students of literature have to adaptations. (92)

Cutchins’ exercise of “adapting backwards” therefore challenges students’ logocentric and aesthetic preconceptions regarding filmographic adaptations. Kamilla Elliott similarly argues that another way to study or teach the aesthetic of adaptation is to do adaptation “as a form of criticism—even theorization” (74). Thomas Leitch articulates twelve major fallacies in contemporary adaptation theory and argues that because of these misconceptions, a more rigorous theoretical approach is necessary (149). Some of the fallacies he describes are ones which we have noted among students’ perceptions in our literature and film course, such as misconceptions about differences between literary and filmographic texts, logocentrism, and viewing fidelity as the most important criteria for adaptation studies (150, 154, 161).

While framing their book, A Short History of Adaptation Studies in the Classroom, Deborah Cartmell and Imelda Whelehan argue that it is almost impossible to teach English Literature without being willing and able to talk about adaptations. They claim that although historically “the showing of films in literature classes was often stigmatized by academics and teachers” (2-3) that “today canonical status [...] is often bestowed in recognition of the number of films it [a work] has generated” (3). Important to Cartmell and Whelehan’s argument is their insistence that adaptations are eye-opening: “Removed from the need to foreground the novel as ur-text, students explore aspects previously uncharted, such as soundtracks, costumes, mise en scène, trailers, posters, games, music, tie-ins, book covers using film illustrations, casting, genre, intertextual references to earlier films, and popular forms; the list seems endless” (4-5). These possibilities mark a shift in the field of Adaptation Studies towards a mixed media approach for engaging students.

Some scholars propose that prompting students to remix content and media helps support active learning (e.g., Burwell; DeVoss and Ridolfo; Edwards; Lessig). Jamie Henthorn and Rochelle Rodrigo specifically argue that prompting students to remix films helps them better understand the formal elements of cinema taught in a traditional introduction to film studies course. College pedagogy scholars agree that active learning better facilitates student learning (e.g., Blumberg; Fink; Kalantzis and Cope; Weimer).

One thing literature, film, and adaptation scholars seem to agree on is the need for continued evolution of how adaptations are taught and studied; personalized active learning activities might help. As Robert Stam puts it, “In the age of the internet, [...] Adaptation Studies itself has to ‘adapt,’ [sic] if what we teach is to ‘still have meaning’ for our students” (n.p.). Implicit in Stam’s argument is the danger that, should Adaptation Studies’ pedagogies stagnate, teachers risk neglecting the question always on students’ minds: “so what?” Like Cutchins’s backwards adaptation, our activity is prompting students to experiment with adaptation so that they understand that different modes and media impact meaning making. By prompting students to adapt themselves, we make the “so what?” of understanding adaptation critical to their everyday lives. 

Adapt You: The Assignment(s)

The Adapt You assignment developed from when Rochelle Rodrigo (Shelley) first focused the 2019-20 winter session Literature and Film class on a single text: Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. As a general education course, it was important to select a text that students were likely to be excited to read. Shelley was originally choosing between Bram Stoker’s Dracula and Robert Louis Stevenson’s Jekyll and Hyde since both not only have a large number of adaptations from which to select, they continue to have adaptations made to this day. They also both fall in the public domain. Students can easily find cheap or free versions of the texts. However, compared to Stoker’s Dracula, Stevenson’s original Jekyll and Hyde text is a short read. For comparison, the Project Gutenberg 1995 version of Dracula is 290 pages in length, whereas Jekyll and Hyde is only 57 pages. Additionally, the winter session class Shelley originally taught the class in was a 3-week condensed course, making the choice of a shorter text more feasible for students to work with.

In designing the winter session class and looking for freely available film adaptations, Shelley found the movie poster for the 1931 film Dr. Jekyll and Mr. Hyde (https://www.imdb.com/title/tt0022835/mediaviewer/rm560841216/?ref_=tt_ov_i). The poster shows a close up of Dr. Jekyll on the left, depicted as a white man wearing a suit and top hat. A close-up image of the monstrous looking Hyde is placed behind Jekyll. Jekyll's face is turned so that he is starting to look over his shoulder at Hyde. The image of Hyde is covered with an olive green filter. The olive green filter slides over half of Jekyll's face. Juxtaposing the close-up shots of the two characters, the poster explicitly emphasizes the duality theme and narrative arc in Jekyll and Hyde. The olive green shading over the face of the Hyde character was an artistic move that can be easily replicated with filters in image editing software. Taking an image, cutting it out from the background, flipping its perspective, and then combining the two pieces back into the same image is also relatively easy with contemporary image editing software. Therefore, the content and style of the poster would be easy for 21st century students to reproduce with images of themselves. In other words, the student would visually adapt themselves.

The University of Arizona is an Adobe Creative Campus; Shelley likes prompting students to play with these technologies for their own learning as well as alternative educational practices (e.g., using multimedia to learn parallel to using writing with activities like brainstorming and journaling). The initial idea of Adapt You was for students to develop their own flipped Jekyll-&-Hyde-style image like that in the 1931 poster. In adapting themselves students would experience making the rhetorical choices to present different versions of themselves as a text as a way to help understand the complexity of adapting any text.

After the initial implementation of the Adapt You assignment in the short, three-week winter session, Shelley revised and developed additional prompts to include more opportunities for students to connect the creative adaptation of themselves to course content and learning. Most of the prompts, discussed in detail below, asked students to explore different aspects of themselves and to make connections to the course content about adaptation, usually with requests for direct quotes from the recent readings.

The 7.5-week fall 2021 iteration of the Adapt You assignment, co-taught by Shelley and Larissa Runyan, included ten activities:

1. 1. Introduction: This is a typical student introduction assignment post in a digital environment. In our assignment, we asked the students to post a profile picture of themselves that approximates Dr. Jekyll from the poster (the one wearing the top hat with his face slightly turned to the right and his eyes looking back towards the left).
2. 2. Project Work Space: Students created a specific folder in the course shared Google Drive space to store course photographs, activities, and reflections.
3. 3. Crop & Flip J&H Profile Pic (Appendix A): Students prepared their profile picture for editing by cropping out the background and then flipping the image so it faced the same way as the Hyde from the poster.
4. 4. Alter Hyde Profile Pic #1, #2, and #3 (Appendix B): Students used different functionality in three Adobe programs (Lightroom, Photoshop, and Illustrator) to adapt their image. Usually they played with color, lighting, hue, and saturation plus enjoyed exploring and applying different filters. Especially in these image editing assignments, we also taught students to think about file naming conventions and storage processes when generating and working with a number of media artifacts. For example, our submission guidelines and rubric would include instructions like: “submit the image file ‘LastName-Hyde-Photoshop1’ saved as a PNG file and uploaded to your Gdrive folder.”
5. 5. Contrast Who You Are vs. What You Do (Appendix C): This assignment asked students to label themselves using only nouns and only verbs. We also prompted them to read about the meaning of colors and to associate some of the nouns and verbs with colors. Although we didn’t expect it, some of our college students were not attentive to distinguishing between nouns, verbs, and adjectives. In future versions of the assignment, we’ll continue to better emphasize things like, “be sure you list nouns such as, ‘I am a teacher/mother/dog owner’ and verbs like, ‘I teach/love/clean’ versus adjectives such as, ‘I am good, helpful, supportive,’ etc." Although we suggested students search the internet for noun and verb lists, in a revision, we would likely directly link to example lists.
6. 6. Qualify Yourself with Adjectives & Values: Students were prompted to label themselves with adjectives and values. This assignment also prompted them to read about fonts and then apply some to the descriptors. In future assignments, we will prompt students to write a few sentences about why they selected the specific colors (in the noun and verb activity above) and fonts as a way to continue pushing their individualized meaning-making process.
7. 7. Write Your Obituary: We asked students to discuss how they wanted to be remembered and how others would remember them. Specifically, we asked students for:
1. a. Obituary By You: If you died tomorrow, how would you want people to remember you? What do you want your legacy to the world, or to your part of the world, to be? List at least four (4) things for which you want to be remembered. For each item, briefly describe why you want to be remembered for this thing. Add two pictures of yourself that you would want included. Why these two pictures?
2. b. Obituary By a Friend or Family Member: If you died tomorrow, how do you think a friend or family member might remember you (try to pick someone who might see you differently than your listing above)? Pick and name a specific friend or family member (you can say “mother” or “uncle” or “best friend” instead of using a name). List at least two (2) things you think that the friend or family member would focus on while writing an obituary about you. Consider reaching out and asking them. Be sure to discuss why you think your family member would focus on these topics.
   Note: Many students responded well to this assignment, but others found it morbid to consider writing an obituary (especially in fall 2021 while we were still in the middle of the COVID pandemic). In future versions of the assignment, we intend to offer alternative ways for students to think about the assignment.2
8. 8. Final Submission: As a final project, students combined the adapted images (to somewhat parallel the 1931 poster), wrote up two radically different descriptions of themselves, and then reflected on the entire activity. Specifically, we asked them to:
1. a. Combine Images: Watch the following Photoshop resources to guide you into combining two of your profile images: work with layers and combine images. Your final J&H style duality image, with two opposite facing profile images with different editing needs to be one final image (not two!). You can use your original, non-edited image as one of these two facing profiles
2. b. Write: In the discussion board, post your J&H style duality image and a final “introduction” that presents two versions of yourself. Compose your written introduction in a way that makes sense to you; just make sure it is clear there are two different versions of you (and/or two radically different ways of describing you). Make sure the image is posted in the discussion post, not only as an attachment.
3. c. Reflect: Below your introduction, type “LEARNING REFLECTION.” Use what you learned this semester about adaptation, with an emphasis on what you read in Linda Hutcheon’s and Siobhan O’Flynn’s A Theory of Adaptation3 to analyze and reflect upon your adaptation. In your reflection, add details from your Adapt You project (both earlier assignments and the final decisions you made for this submission). Include at least three quotations from Hutcheon (from at least two different chapters); be sure to use MLA in-text citation format.

Larissa taught the course again, autonomously this time, in summer 2022. She developed an additional prompt and swapped it out for one of the multimedia adaptation assignments. She specifically prompted students to create a film score or playlist about themselves and their dual personality (Appendix D). 

Although the Write Your Obituary assignment existed in the first iteration of the assignment, after assigning it a year-and-a-half into the pandemic, some of the students initially critiqued the assignment as insensitive. We immediately emphasized that the point was to write in a known genre where folks introduced others. Also, we suggested alternative genres like receiving awards and familiarizing an audience with an author prior to a performance. We were delightfully surprised at the number of students who appreciated the reflective act of the obituary assignment. Liam Johnson used the reflection portion of the assignment to help articulate how and why the assignment was useful:

Obituaries often also involve the process of retelling the story of the person who passed. If “storytelling is the art of repeating stories,” then it only makes sense for an obituary writer to repeat the stories that gave them an understanding of the subject of the obituary (Hutcheon 2). We repeat what we find relatable so readers can relate to the deceased. It is all rooted in the human want for understanding.

As a specific genre, the obituary is very precise and useful for the overall Adapt You assignment; however, when we teach it again we plan to better frame the assignment and have alternative activities available. First we will make sure students understand the specific purpose of the assignment (to have others write about you) and then provide a few examples of genres that would work besides the obituary like retirement speeches, award inductions, or wedding toasts. Larissa changed the framing of the assignment in her summer 2022 iteration of the course by labeling it as “Write Your Legacy” to evoke more positive associations with the obituary genre. In next versions, we plan to add real life examples of individuals’ legacies linked from the assignment prompt.

The negative response to the fall 2021 obituary Adapt You assignment also emphasized the potential problem with assigning Jekyll and Hyde in general, but specifically in prompting students to use it as a framing text for exploring their own personalities. Jekyll and Hyde, and most of the adaptations, squarely fit into the horror genre and highlight, and sometimes valorize, dark and violent tendencies of some people. However, this clear duality provided the perfect framework for prompting students to adapt themselves to learn about adaptation. Focusing on the duality theme in Jekyll and Hyde allowed us to introduce the idea that students had multiple versions of themselves. We were always sure to remind them that they did not need to categorize aspects of themselves into good or evil. Instead, we tried to prompt students to think about the different ways they “perform” themselves in different circumstances and contexts (Goffman). The “nouns, verbs, adjectives, and values” assignments were perfect examples of this multitude. For example, student Pat Felix claimed to be the following depending on his context:

1. • Resilient
2. • Loving
3. • Smart
4. • flexible

Pat also labeled some of his core values that informed his choices:

1. • Curiosity
2. • Service
3. • Motivation
4. • Integrity

He then reflected afterward that his personality and character had “many dimensions.” As a result of focusing on multiple selves throughout the course, several students responded very positively to the obituary assignment, particularly Liam Johnson. He emphasized in his reflection post that the assignment forced him to be less self-critical and more uplifting. As a result, he decided regularly implementing the obituary’s self-reflection would be helpful for his mental well-being.

Student Learning

Based on their reflection, we feel the Adapt You assignment was a success in helping students expand their understanding of a “good” adaptation being more than just something that is faithful to the original. Below we explore how some students emphasized that fidelity was impossible and others explored how different adaptations included different rhetorical situations, usually with a shift in purpose and audience. For some the assignment helped them to synthesize their learning throughout the course. Finally, some students talked about their growth and change as individuals.  

When reflecting on some of the specific media adaptation assignments, students started to explicitly understand pure fidelity of translation was impossible. Amelia Davis wrote, “What I’ve learned so far is that visuals can be different than words, and how I interpret the words will be different in other people’s eyes.” And Olivia Miller reflected on nuance and complexity: “There are hundreds of descriptors that can be used to explain myself as a whole,[sic] I cannot be captured in just fifteen. There is no way to create an adaptation of myself that encapsulates myself as a person in a way that honors myself completely, because there are too many complexities that can only be found in the original copy.” Pushing students to work through different media opened up their imaginative possibilities. In the Final Adapt You Submission and Reflection, Amelia Davis shared, “When adapting myself, I used pictures, words, fonts, obituaries, etc. There was so much more to add to my original [introduction] just by looking at myself through a different medium.” Numerous students reflected that just as looking at themselves through different mediums changed their perceptions of themselves, they became more aware through the course that each viewer would have her own interpretation of their adaptation. As Emma Garcia put it,  “A different version of us exists inside of every person we meet.”

The Adapt You assignments also helped students understand that adaptations are not just about shifting media, but usually also include a shift in the rhetorical situation of the text. Isabelle Robinson stated that “Context, and our study of it, also played an important role in created [sic] my project. I had to ask myself, what is the context behind each version of yourself? [sic]” Mia Perez added the concept of audience as a consideration:

Through this project, I was able to become an adapter of and for myself, and I was able to understand how adaptations could be considered from an adapter’s point of view as well as an audience’s point of view: “each mode of engagement involves what we might call a different ‘mental act’ for its audience... which is something that an adapter must take into account when transcoding.” (Hutcheon 130)

Isabelle Robinson excitedly realized she gets to embody multiple roles in her adaptation; she claims “By directly participating in the adaptation, I am experiencing it from multiple perspectives. I am both the audience, performer, director and editor.”

By generating their own adaptation and specifically adapting what they know best—themselves—students were more deeply engaged with the course concepts. Merlin C. Wittrock describes generative learning as follows:

comprehension and understanding result from the processes of generating relations both among concepts and between experience or prior learning and new information. The teaching of comprehension involves the process of leading learners to construct these two types of relations across concepts and between prior learning and new information. This active generative process is quite different from the process of getting learners to store information for reproduction on lists. (532)

Specifically, the Adapt You assignment guided students to generate connections between the course content, themselves, and the new versions of themselves they produced through different media and constrained formats. As Mia Perez reflects, the Adapt You project immersed her in active learning:

The whole process of representing myself through different media relates to Hutcheons [sic] idea of immersion levels and the type [sic] of work and responses involved in the process and product of adaptation: “What these distinctions among media and modes point to is an obvious difference in how we become immersed in an adapted story—physically, intellectually, and psychologically” (Hutcheon 133).

Therefore, the Adapt You assignment not only allowed students to use multiple media as a way to explore their understanding of themselves and the course content; the final assignment prompted them to put everything they learned together and allowed students to generate their own connections between themselves and the course.

Learning changes people. Whether we’re saying it just changes their minds or how they understand the world, or we acknowledge the physical changes associated with growing and connecting axons and dendrites in the brain, learning is change. Our student Karina Nicolakis submitted this final adaptation image:

We appreciate that she not only played with color and textual filters but also size and perspective; she produced and claimed a different self. Sophia Wright, another student, claimed  in her final reflection “I am a walking adaptation, and I change myself to the environment I’m in.” We also liked how Emma Garcia not only embraced adaptation as change, but also change as something beneficial: “Change is the pleasure of an adaptation, and my thoughts and feelings are always changing.[...] I feel like I discovered a lot about myself, and I am much more comfortable being any version of myself.” These comments marked a shift away from students feeling a need to be a stagnant “authentic” or “real” self. Instead, students implied that the process of self-adaptation is situational, beneficial, and has powerful results for how they perceive themselves and others. Hennacee Kimmel summed this up by writing in her final reflection:

this [the work of making self-adaptations] also [m]akes me feel more comfortable with change in real life interactions as well. I feel more accepting of my friends and family changing, of myself changing, because I can appreciate now that it is us adapting. We all have different sides that we show at different times but it doesn't mean that they are not still us.

By focusing on themselves, and embracing the fluidity of their own experiences, students had the ultimate “so what?” moment–appreciating all of the different ways adaptations shift and change and circulate in the world. 

Based on a number of comments and media submissions like those by Karina, Liam, Pat, and Emma, we’re confident that the Adapt You assignment helped students both learn and change, and that these were positive experiences. More importantly, students definitely moved beyond the idea that “a good adaptation is a faithful adaptation.” Prompting students to adapt themselves across a variety of genres, modes, and modalities, in which most were amateurs, is a pedagogical adaptation of Costas Constandinides’s call for acknowledging para-adaptation studies, or engagement with amateur produced adaptations. Students demonstrated through the process of adapting themselves that adaptation is not simply a translation. Adaptation calls upon creators to emphasize particular facets most useful for their modality, context, audience, and genre. Also, students observed that even within a particular modality or genre, a multiplicity of possibilities is available for engaging the audience with the “spirit of the work.”

Appendices

Appendix A: Crop & Flip Your J&H Profile Pic

1. • Purpose: Crop your profile pic to start make your J&H adaptation image. Learn some basic functions in Adobe Photoshop.
2. • Estimated Time: 30-75 minutes

Read & View

1. • required: ENGL300: Photoshop Crop & Flip (6 minutes)
2. • optional:
1. • Get to Know Photoshop
2. • Change the Image Size
3. • Crop and Straighten a Photo to Improve Composition
4. • Save a Photo in the Best Format for Your Needs
3. • FYI:Adobe Photoshop Tutorials
4. You can always Google, search on YouTube, or search Adobe's help files for additional help.
5. TIP: When I watch instructional videos, I usually hit play and then go to the right corner of each video to speed it up. You can always hit pause or rewatch it!

Crop & Flip

1. First, crop yourself out of your J&H profile image so that it is just your head with no background. Export and save this as a .PNG file. Title the file: "LASTNAME_Cropped_Profile."
2. Second, make a copy of your cropped pic. Go ahead and flip it on the horizontal access. Label that image "LASTNAME_Base_Hyde_Profile." Save it as a "Photoshop file."
3. Make sure you keep multiple copies of this safe. You'll now have the regular image of you facing one way, and you'll be making Hyde images facing the other way.
4. Suggestion: I'd start a file on your computer where you keep all your images (include the original that you don't edit). Over the course of the class, you'll be making a lot of versions of this image.

Submit

1. Submit the following three files to your personalized Adapt You Project folder:
1. • original profile pic titled: "LASTNAME_Original_Profile"
2. • cropped w/no background profile pic titled: "LASTNAME_Cropped_Profile"
3. • flipped profile photoshop file titled: "LASTNAME_Base_Hyde_Profile"
4. Copy & paste the URL of your Adapt You project folder into the D2L submission area.

Rubric (7 points)

1. • URL of individualized Adapt You project folder in D2L
2. • original profile pic
1. • titled: "LASTNAME_Original_Profile"
3. • cropped w/no background profile pic saved as a .PNG file
1. • titled: "LASTNAME_Cropped_Profile"
4. • flipped profile pic saved as a "Photoshop" file
1. titled: "LASTNAME_Base_Hyde_Profile"

Appendix B: Alter Hyde Profile Pic #1 (Adapt You)

1. • Purpose: Learn some tips and tricks in Photoshop as well as start to deveop some altered profile pictures of yourself (i.e. start making versions of your own personal Hyde)
2. • Estimated Time: 1.5-3 hours

Set Up

1. Go to your Adapt You project Gdrive folder and start a folder within your folder. Title the new folder: LASTNAME Hyde Pics.

Read & View

1. Go watch a few videos on how to usePhotoshop (I usually hit play and then go to the right corner of each video to speed it up.You can always hit pause or rewatch it!)

1. • Get to know Photoshop
2. • Apply filters (focus on video #1 "Browse the Filter Gallery")
3. • Adjust the image quality (focus on videos #3 "Adjust Hue & Saturation" & #4 "Learn About Adjustment Layers")

Edit

1. You'll want to make a new copy of your "LASTNAME_Base_Hyde" Photoshop file.


2. Use what you learned in the Photoshop help videos to make at least three (feel free to make and share more) altered Hyde images of yourself. Consider using the noun, verb, and color brainstorming activity to inspire some of your adaptations.


3. Export each final image as PNG files (again, you don't want the background).  Label each picture file: LastName-Hyde-Photoshop1; LastName-Hyde-Photoshop2 (so it's the number at the end of each file).

Review

1. Go to your group's Hutcheon Chapter 1 PowerNotes project. Quickly review the content and notes from Hutcheon Chapter 1.

Reflect

1. Go to your "Brainstorm" Adapt You document. At the top of the document, type DD7HW3 Reflection. Reflect upon your thinking and actions for both the DD6HW3 and DD7HW3 Adapt You activities. How is completing these activities, trying to imagine yourself through different formats and constraints, helping you to understand adaptation? In your reflection, reference at least one concept and/or quote from Hutcheon Chapter 1 (be sure to use MLA in-text citation style in your reflection).

Submit

1. Upload the three images in your Gdrive Adapt You Hyde Pics folder. Copy and paste the URL of your Gdrive Adapt You Hyde Pics folder into the D2L assignment area.


2. Copy and paste the URL of your "Brainstorm" Adapt You document into the D2L assignment area.


3. NOTE: You are submitting two different URLs!

Rubric (11 points)

1. 1. Gdrive Adapt You Hyde Pics folder URL submitted to D2L assignment area
2. 2. "Lastname Hyde Pics" folder located in your Adapt You project Gdrive folder
3. 3. "LastName-Hyde-Photoshop1" saved as a PNG file and uploaded to your Gdrive folder
4. 4. "LastName-Hyde-Photoshop2" saved as a PNG file and uploaded to your Gdrive folder
5. 5. "LastName-Hyde-Photoshop3" saved as a PNG file and uploaded to your Gdrive folder
6. 6. "Brainstorm" Adapt You document URL submitted to D2L assignment area
7. 7. "DD7HW3 Reflection" title at the top of the document.
8. 8. Reflection discusses work from DD6HW3
9. 9. Reflection discusses work from DD7HW3
10. 10. Reflection connects to concept or content in Hutcheon Chapter 1.
11. 11. Reference to Hutcheon Chapter 1 uses MLA in-text citation style.

Appendix C: Contrast Who You Are vs. What You Do (Adapt You)

1. • Purpose: Explore different ways to describe yourself.
2. • Estimated Time: 30-45 minutes

Set Up

1. Got to your "Brainstorming" document in your Adapt You shared Gdrive folder. At the top of the document type "DD6HW3: Contrast Who You Are vs. What You Do (Adapt You)." 

Brainstorm

1. As an alternative introduction to you, label yourself using nouns and verbs. In this assignment, list fifteen (15) nouns and fifteen (15) verbs you could use to describe yourself. Be sure you list nouns like "I am a teacher/mother/dog owner" and verbs "I teach/love/clean" versus adjectivals like I am "good, helpful, supportive, etc." Lots of elementary teachers have made lovely lists of nouns and verbs. Try Googling for "nouns" or "verbs" lists you might use to search for the perfect nouns and verbs.

Read

1. Read about meanings associated with different colors:
1. • Color Meanings, The Power and Symbolism of Colors
2. • Color Meaning and Psychology (be sure to scroll down past the poster)
3. • Colors Around the World

Associate

1. Associate colors with at least 4 of the nouns and another 4 verbs.

Submit

1. Copy and paste the URL for your "Brainstorming" Gdoc in the D2L assignment area.

Rubric (8 points)

1. 1. Brainstorming Adapt You Gdoc URL submitted in D2L
2. 2. "DD6HW3: Contrast Who You Are vs. What You Do (Adapt You)" title at the top of the document
3. 3. 8 nouns
4. 4. 4 color associations to nouns
5. 5. 7 more nouns
6. 6. 8 verbs
7. 7. 4 color associations to verbs
8. 8. 7 more verbs

Appendix D: Create a Film Score or Playlist (Adapt You)

1. • Purpose: to apply information about sound and theme in creating adaptations
2. • Estimated time: 1 hour

Review

1. Take a look back at Headrick's "Theme" and "Rieder's "Formal Elements of Film: The Big Four."  Pay particular attention to what the writers say about theme and sound respectively. You will need a quote from one of these two pieces for the activity below.


2. Also, spend some time listening to soundtracks or film scores for films you enjoy or adaptations of J&H. Notice that soundtracks and film scores may be more like "playlists" for movies or that they may include sounds from the movie's action intended to represent particular actions, themes, locations, settings, etc.


3. Here's some other examples you can look at:
1. • People's favorite movie soundtracks
2. • The soundtrack for the 2005 version of Pride and Prejudice
3. • First example of a playlist for a D&D character
4. • Second example of a playlist for a D&D character (notice this one has more songs for giving events/storyline reminders to the person performing the character)

Create

1. Create your own film score or soundtrack based on the self-exploration you have done in the previous due dates. Your film score/soundtrack might look like the following:


1. • It could focus on conveying thematic aspects of your dual personality
2. • It could include elements like a film score intended to set up a story about your dual self (example: soundtrack of a person running to characterize a chase scene and/or feelings of fear)
3. • It may include noises particular to a specific location for an imagined movie (example: street noise)
4. • It could include recordings you made (but this is definitely not required)
2. The main idea here is to apply what you've learned about either theme or sound in a creative manner intended to add to your self-adaptation project for this course.


3. Playlists can be created on whatever music service you choose; just make sure I can access and listen to them for grading purposes. Here are some options:


1. • Creating a playlist on YouTube
2. • Creating a playlist on Spotify

Reflect

1. Go to your “Brainstorm Adapt You” document. At the top of the document, type DD6HW3 Reflection (note: it might be a good idea to put your playlist URL in this document for future reference as well).


2. In your reflection, write about your thinking and actions for this Adapt You activity. Describe how you selected your songs/soundtracks/sounds. What methods did you use to come up with ideas for songs or sounds? What did you see as the theme(s) of your playlist? Did your playlist correspond to an imagined narrative involving your dual self or to thematic ideas primarily? Make sure to include your reasoning behind the songs you chose and to include at least one concept and/or quote from Headrick or Rieder (be sure to use MLA in-text citation style in your reflection).

Rubric (12 points)

1. • Playlist URL submitted in d2l
1. • Playlist includes 6 separate songs (1 point each)
2. Brainstorming "Adapt You" URL submitted in d2l
1. • "DD6HW3 Reflection" title typed at top of document
2. • Reflection includes process of putting together playlist (how you picked songs)
3. • Reflection includes reasoning behind playlist songs chosen
4. • Reflections includes one (1) quote from Headrick and/or Rieder
5. • Quote is cited per MLA 9 style