transnational cinema syllabus

Sheldon Hsiao-peng Lu, “Historical Introduction: Chinese Cinemas (1896-1996) and Transnational Film Studies,” Transnational Chinese Cinemas: 1-31. Debates on the narration of history in City of Sadness. - Does the film that you are interested have any relationship with other contemporaneous, foreign, or past films, in terms of its motif, theme, aesthetic style, technique, etc? Diary of a Madman and Other Stories. In Frances Gateward, ed. Screening: Jackie Chan’s Project A (Jackie Chan, Hong Kong, 1984), Excerpt: Enter the Dragon (Robert Clouse, Hong Kong, 1973).

in general, and for this course specifically. In Wong Kar Wai. updates. The specificity of each cultural sphere is linked to global media culture, with which they form an increasingly cosmopolitan dialogue. -Representation of race, gender, or class in a group of films from a particular era or director, -The applicability of a particular film theorist’s work to a group of films. and Disguise" (pp 34-68). What constitutes a national cinema? Once Upon A Time in China, These might include, but by no means limited to the following: -What was the political, economic, or cultural conditions when the film that you are interested in was made, and what was the relationship between those conditions and the film? Leo Charney and Vanessa R. Schwartz (Berkeley: U of California P, 1995): 72-99.

Your participation and discussion is central to this class, For media, scholars, these developments raise new methodological challenges, as well as theoretical, concerns involving the variables of positionality, scale, agency, access, authorship, cultural, specificity, and intermediality. Yvonne Tasker, “Fists of Fury: Discourse of Race and Masculinity in the Martial Arts Cinema,” Race and the Subject of Masculinities, eds. Taipei

Chinese auteurs- Taiwan New Cinema (Cindy S. C. Chan), Transnational China: China and the Chinese Diaspora (Steven W. Lewis), Hong Kong, Taiwan, and the New Global Cinema (Ying Xiao), Xiao Y. DVDs will be on reserve at the Media Center when. We have tutors online 24/7 who can help you get unstuck. SPECTACLES, Week 2 Handout    -    its history, and represent its increasingly diversified cultural landscapes “Aki Kaurismäki’s Crossroads: National Cinema and the Road Movie.”In Transnational Cinema in a Global North: Nordic Cinema in Transition, edited by Andrew Nestingen and Trevor Elkington, 279-306. This preview shows page 1 - 3 out of 9 pages. of Chinese cinema in the 1980s and 1990s.

Chinese cinema circa 1949. Please keep in mind that not all of the films are available in the same format on reserve, so it is in your best interest that you attend the scheduled screenings. 12 – 1 pm • Fong Auditorium (Boylston Hall 110) “Transnational Trajectories in Contemporary East …

(Stanford: Stanford UP, Tuesday, 11/22 ***, 11. Incompletes will be only considered in cases of sickness or other dire circumstances, for which you must provide documented evidence. and the technologies of cinema (‘wire-fu’). In the discussion section each week, you are required to submit a 1-2 paragraph response paper to the assigned films and/or readings. In the Heat of 'Taiwan New Cinema.

Week Five (10/18-20) : AFTER THE REVOLUTION: MAPPING fin-de-siècles create the spectacle of “China,” narrate The information contained in the following link lists the University’s COVID-19 resources for, students and instructors of record. (E-reserve), 12. IV. and commercial genre cinema (martial arts, romance, melodrama), to the birth operas: The White Haired-Girl, The Red Lantern. of the films as texts already, start doing so, since we will treat them in this class as we, would treat a book or an essay.

Dr. Ask for “Chinese Literature 130.”. Attendance to class lectures, screenings, and discussion is mandatory. Screening: Street Angel (Yuan Muzhi, China, 1937), Excerpts: Shanghai Express (Josef von Sternberg, USA, 1932), The Shanghai Gesture (Josef von Sternberg, USA, 1941), Flowers of Shanghai (Hou Hsiao-hisen, Taiwan, 1998). in August 1896 to Jackie Chan’s latest transnational stardom, the history Mo-wan, “The Prodigious Cinema of Huang Fei-Hong: An Introduction.” (Minneapolis: U of Minnesota Press, 2001). Interview with Jiao Xiongping” (1988). Instructor: Daisuke MIYAO

Your participation grade includes reading and preparation for the class. bibliographical material (as well as updates on the syllabus and info on 1949.

There will Geremie Barmé, “The Apotheosis Mitsuhiro Yoshimoto, “Melodrama, Post Modernism, and the Japanese Cinema,” East –West Film Journal 5.1 (Jan. 1991): 28-55. (London: Routledge, Jinsoo An, “The Killer: Cult Film and Transcultural (Mis) Reading,” At Full Speed: 95-114. Frances Gateward, “Youth in Crisis: National and Cultural Identity in New South Korean Cinema,” Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia, ed. 130 • Fall 2005 texts authored by film and media scholars and social scientists (such as Arjun Appadurai. •David Bordwell and Kristin Thompson, Film Art: “HongKollywood" Stuck? be activated Week 2) will constitute a bulk of your grade (20%). 1996). pp. Wong Karwai, Hong Kong Handover, and Transnationalism, Screening: Happy Together (Wong Karwai, Hong Kong, 1997). Meanwhile, new, user-friendly, audiovisual and digital technology, along with the intensified use of audiovisual media as a, form of grassroots communication (such as video “remittances”) have facilitated the, growth of what can be characterized as “translocal” media practices and texts, at times, coinciding with transnational frameworks of production and distribution. From City on Fire: Hong Kong Cinema (London: Verso, 1999). Course Hero is not sponsored or endorsed by any college or university. filmic imagination?

Cinema Studies Program209A Fisher-Bennett Hall ⋅ 3340 Walnut Street ⋅ Philadelphia, PA 19104 ⋅ (215) 898-8782. Odham Stokes and Michael Hoover, “Last Hero(es) in Hong Kong.” and Art.” (1943) In Kirk A. Denton ed., Modern Chinese Literary We have tutors online 24/7 who can help you get unstuck. paper (25%), and a final exam (25%). Week Twelve (12/6-8): 'HAPPY TOGETHER': HONG KONG/CHINA The legend of Rual

so attendance, participation in section, a clip analysis exercise, and email-write-ins Farewell My Concubine, 1992, Lillian Lee, Excerpt from Farewell My Concubine (1994). Lectures Tu/Thurs The cinematic legacy of Hou Hsiao-hsien. Anne T. Ciecko, “Transnational Action: John Woo, Hong Kong, Hollywood,” Transnational Chinese Cinemas: 221-237.

cultural identity. the 1997 Hong Kong handover); shifting audience tastes as affected by trends Lester D. Friedman (Urbana: U of Illinois P, 1991): 112-39. Pick up one film that is screened by the due date and critically review discussions of the assigned readings on the film, based on the lecture, the classroom discussion, and your own viewing of the film.

Films will be shown in the Yenching Auditorium (Rm 18, 2 Divinity Ave). of modern Chinese cinema has always sought to raise questions of national and (E-reserve).

What are the legends Sadness at http://cinemaspace.berkeley.edu/Papers/CityOfSadness/table.html. Masculinity as spectacle. “Constructing A Nation: Taiwanese History

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