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James, used to having her work massacred for the screen, generously said the film was a good story in its own right, and it was better to make a good film which had little to do with a book, than a bad film which followed the source faithfully. The reluctance of the writers Wells, Wyndham and James to identify their novels as science fiction perhaps indicates that science fiction, even more so than Dystopia, is not a respectable genre and is potentially even more open to mockery.
Dystopia, like its kindred genres of satire and science fiction, is often subversive and mischievous. It is often dismissed by some critics as unwholesome, adolescent and unworthy of serious study. If only to irritate such critics, Dystopia should be all the more readily embraced and relished. The close reading skills fostered by the activities in the Content section of this guide, and practised in analysing the set texts, should assist students in studying the texts they encounter in this component. Working through the Content section should contribute to the development of reading strategies that will enable students to formulate, test and articulate informed and personal responses to the texts they encounter in A level English Literature and beyond.
It is important to remind students that, even though the focus of this topic area is Dystopia, the fundamental questions they will ask when reading the set texts for this Component Who is writing? Who narrates? What are the contexts? Who is reading? How can this be interpreted…? Apply to all texts, regardless of period or genre. The activities below present students with a range of extracts from novels of the dystopian genre.
Not all of these activities are from set texts and some are from popular rather than literary fiction. Students might like to consider if there is any worthwhile distinction between these two terms: a student once told me that the former are books people actually like to read and which sell better than the latter. For example: do the British love Dystopia and tragedy because of our naturally pessimistic disposition, perhaps fostered by the weather? Arthur Miller noted that his tragedies were always better received in the United Kingdom than the United States, where they flew in the face of the optimism of the American Dream.
The extracts within the activities are intended to help students establish an informed basis from which to analyse the set texts. Students should be given the extracts to read carefully. They could work on them individually; discuss and annotate them in pairs or small groups; they can prepare the activities for class or for homework. Students should then respond to the questions by discussing them, by writing notes or full answers.
They should at some stage discuss their ideas with their peers and teachers, perhaps by bringing the ideas they have researched -individually or in groups - to whole class discussion. Students should be encouraged to look for connections between the extracts and the set texts they are studying. They should at some stage discuss their ideas with their peers and teachers, perhaps by bringing the ideas they have researched - individually or in groups - to whole class discussion. The activities within this section direct students to research ideas that will establish an informed understanding of the various contexts for the Dystopia set texts.
The activities might be tackled individually, in pairs or as a small group exercise. Individuals, pairs and groups should share their ideas with the whole class as a prelude to further discussion and as an aid to a deeper understanding. Activities 1, 2 and 3 Curriculum content activities consider the genre of Dystopia and its relationship with other genres: science fiction, satire, myth and moral fable. It has been argued that Dystopia is not really a separate genre at all, because it has so much in common with these other genres. Or does the labelling of these set texts as Dystopia help us to define and understand them more fully? What are the overlaps between Dystopia and other genres?
Analyse the style and nature of its satire: how subtle is it? What is the text attacking or criticising and how valid do you think those criticisms are? James identified The Children of Men as a moral fable rather than science fiction. Research the terms fable and moral fable. How would you define each of them? Research some examples of moral fable and present them to the class. Consider why readers or listeners might enjoy the form of a fable. Why might some readers or listeners prefer a fable to, for example, a lecture or sermon which makes the same moral points? What are the advantages of a fable here? Consider the five extracts above: to what extent is each a fable and what is the moral of each?
Having considered the three genres of science fiction, satire and moral fable, to what extent do you believe Dystopia to be a separate genre to each of these? Are there any other features of Dystopia which these genres do not share? Is it useful to consider Dystopia as a separate genre or is each dystopian text in fact part of another genre altogether? It has been argued that The Time Machine is a very flawed work. The Time Traveller tells the whole story to his dinner party guests, which stretches credulity for some readers. Could we really believe that someone could speak in such ordered, rhetorical Standard English for the equivalent of some ninety pages perhaps, two hours of real time to an entirely rapt audience of dinner party guests, none of whom expresses impatience or interrupts?
Those who believe The Time Machine to be a very flawed novel may go on to argue that its influence on literature and popular culture is greater than its worth as a novel in its own right. This activity explores this premise. Research the film version of The Time Machine. How does the film version of The Time Machine change the narrative into an exciting adventure film for such an audience? Look at the portrayal of the Eloi and the Morlocks in the film : how successfully are each portrayed? If the Morlocks serve the indolent Eloi, presumably they have evolved in accomplished hair-stylists. It was common practice to adapt television programmes into films in the s, s and s. Television was also black and white until colour came to BBC 2 in Dr Who and the Daleks is a cheap and cheerful film for children which loses the thoughtfulness of the original television series and novel.
It does, however, rely heavily on The Time Machine — both the film and the original novel — for its narrative shortcuts and imagery. What links — similarities and differences — can you find between the Terry Nation and H. Wells texts? Consider the development of The Time Machine as a text from the novel, to the film, to Dr Wh o and the Daleks and, as a bonus activity, to the film in which the Morlocks talk. From its origins in literary novels like Brave New World and Nineteen Eighty-Four , Dystopia has developed into a mainstream genre or theme in popular culture: novels, television and films.
Teen fiction in particular — a relatively new phenomenon — has enthusiastically embraced Dystopia. Research some examples of dystopian fiction in popular culture: for example, in the teenage fiction of The Hunger Games and The Maze Runner and their film spin offs. Consider why the dystopian genre should be considered so appealing to teenage readers and audiences in particular. What are the supposed features of the teenage psyche that might make it especially receptive to dystopian ideas?
Research one text in particular: a novel, a film, a television series. Analyse how that text presents the dystopian themes and tropes we expect for the genre and consider how your chosen text departs from the genre. Present your findings to your class as a talk, illustrated with extracts or clips from your chosen text. Whilst every effort is made to ensure the accuracy of the content, OCR cannot be held responsible for any errors or omissions within these resources. We update our resources on a regular basis, so please check the OCR website to ensure you have the most up to date version. Delivery guides are designed to represent a body of knowledge about teaching a particular topic and contain: Content: a clear outline of the content covered by the delivery guide; Thinking Conceptually: expert guidance on the key concepts involved, common difficulties students may have, approaches to teaching that can help students understand these concepts and how this topic links conceptually to other areas of the subject; Thinking Contextually: a range of suggested teaching activities using a variety of themes so that different activities can be selected that best suit particular classes, learning styles or teaching approaches.
And they had brick for stone, and slime had they for mortar. Research the genre of science fiction. How might it be defined? Some critics argue that science fiction is more defined by its technological hardware and imagery rather than any other feature. What sort of hardware might be included here? Are all science fiction texts identified by their hardware and imagery, do you think? How might the hardware and imagery of science fiction differ from that of, say, fantasy novels? Science fiction as a genre is subdivided into many categories, for example, steampunk, sci-fi and science fiction. Find out what these different categories are and see if you can discover more sub-categories: how would you define them? Research, read and present to the class some texts for each of these definitions, whether prose, film or television.
Serious readers of science fiction insist on calling it science fiction : popular science fiction for the masses, often film and television, is sci-fi. Three of the writers of our extracts denied that their novels were science fiction. What do you think each of these writers might have meant by each of these classifications scientific romance; logical fantasy; moral fable? Why else might they have been keen that their work was not labelled as science fiction? Jane Austen wrote that one half of the world cannot understand the pleasure of the other.
Many critics, readers and viewers consider science fiction childish and silly. As Dystopia is linked to science fiction, they might also consider Dystopia silly and, like science fiction, unworthy of serious critical consideration. How valid are these views of Dystopia and science fiction, do you think? Give reasons for your answer. What features of science fiction do you believe are shown in the five texts considered so far? Critics have demonstrated that there is an overlap in genre between Dystopia and satire.
Some critics have argued that satire is inevitably cynical: it finds the basest possible motives for human beings, posits a negative view of human nature and does not believe in goodness or virtue. How justified do you think these criticisms are and to what extent are they justified by the texts you have researched? Does a negative criticism in literature always envisage a positive alternative? We also accept payment through. PayPal is one of the most widely used money transfer method in the world. It is acceptable in most countries and thus making it the most effective payment method. We offer free revision in case you are not satisfied with the order delivered to you. For such an order you are expected to send a revision request and include all the instructions that should be followed by the writer.
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