教學大綱 Syllabus

1

Introduction: Conceptualizing Asian Cinema(s)

1. Ciecko, Anne Tereska. "Theorizing Asian Cinema(s)." In Anne Tereska Ciecko, ed. Contemporary Asian Cinema, pp 13-31.
2. Olivia Khoo. “Introduction: Theorizing Asian Cinema as a Regional Cinema.” In Asian Cinema: A Regional View, pp1-19.
3. Hamilton, Annette, ‘A national cinema in Cambodia?’, in Gaëtan Margirier and Jean-Pierre Giminez (eds), Le Cinéma d’Asie du Sud-Est /Southeast Asian Cinema, Lyons: Asia-Expo, 2013, pp. 68–73.

Screening: Golden Slumbers (Davy Chou, 2011), 96 min.

2

Nation, History, and Film

1. Berry, Chris, “From National Cinema to Cinema and the National,” Theorizing National Cinema. Eds. Vitali, Valentina and Paul Willemen, London: BFI, 2006, 148-157.
2. Willemen, Paul, “The National Revisited,” Theorizing National Cinema. Eds. Vitali, Valentina and Paul Willemen, London: BFI, 2006, 2-43.
3. Ciecko, Anne, “Festivalizations and Cultural Constructions of “Asian Cinema,” in The Routledge Companion to Asian Cinema, eds. Zhen Zhang, Shangjoon Lee, Debashree Mukherjee, Intan Paramaditha, 2024.

Screening: Good Men, Good Women (Hou Hsiao-Hsien, 1995), 108 min.

3

The Other from the East: Auteurs and Kaijus

1. Asian Cinemas: A Reader and Guide, section 1.
2. Kathe Geist. “Ozu and the Nation” in Theorizing National Cinema, pp. 114-128.
3. Mitsuhiro Yoshimoto, “National/International/Transnational: The Concept of Trans-Asian Cinema and the Cultural Politics of Film Criticism” in Theorizing National Cinema, pp. 254-261.
4. Andrew Higson. “The Limiting Imagination of National Cinema” in Transnational Cinema, pp. 15-26.

Screening: Shin Godzilla (Anno Hideaki, Higuchi Shinji, 2016), 120 min,

Clips:

Good Morning (Ozu Yasujiro, 1959), Godzilla (Ishiro Honda, 1954), Rashomon (Kurosawa Akira, 1950)

4

Transnational Kung fu Stardom

1. Asian Cinemas: A Reader and Guide, section 2 (chapter 6,7), section 7.
2. Lau, Dorothy. (2021). Mediating Action and Speech: Michelle Yeoh’s Star Discourse in Pan-Pacific Connections. 10.1007/978-981-16-0313-6_2.

Screening: Police Story III – Super Cop (Stanley Tong, 1992), 96 min.

Clips: Everything Everywhere All at Once, (Daniel Kwan, Daniel Scheinert, 2022),

Tomorrow Never Dies (Roger Spottiswoode, 1997), The Way of the Dragon (Bruce Lee, 1972), Once Upon a Time in China (Tsui Hark, 1991).

5

No Class: National Day

6

Women in Asian Cinema: Genre, Independent Filmmakers, Film Festivals

1. Intan Paramaditha, “Transnational Women’s Cinema in Southeast Asia,” in The Routledge Companion to Asian Cinema, eds. Zhen Zhang, Shangjoon Lee, Debashree Mukherjee, Intan Paramaditha, 2024.
2. Treglia, Laura, “From Myth to Cult: Tragic Heroes, Parady and Gender Politics in the 1960-1970s ‘Bad Girlds’ Cinema of Japan,” Guarné, Blai, Artur Lozano-Méndez, and Dolores P. Martinez, eds. Persistently Postwar: Media and the Politics of Memory in Japan. 1st ed. Berghahn Books, 2019, 103-121.
3. Treglia, Laura, “Star, Scorpion, and the Snowblood: Kaji Meiko’s multiplicities and the Japanese culture industry,” Japan Forum, 35:1, 2023, 32-53.

Screening: Marlina the Murderer in Four Acts (Mouly Surya, 1980), 90 min.

Clips: Lady Snowblood (Fujita Toshiya, 1973), Female Prisoner #701 (Ito Shunya, 1972)

7

Queering Asia [Taiwan, Hong Kong, Singapore, Malaysia, Indonesia, Thailand]

1. Yue, Audrey. "Queer Asian Cinema and Media Studies: From Hybridity to Critical Regionality." Cinema Journal 53, no. 2 (2014): 145-151.
2. Berry, Chris. "Asian Values, Family Values: Film, Video, and Lesbian and Gay Identities." Journal of Homosexuality 40.3-4(2001): 211-231.
3. Hong, Guo-Juin. “Anywhere but Here: The Postcolonial City in Tsai Ming-Liang’s Taipei Trilogy.” In Taiwan Cinema: A Contested Nation on Screen. By Guo-Juin Hong, 159–181. New York: Palgrave Macmillan, 2011.
4. Khoo, Olivia. “Queer Asian Cinema, Female Authorship and the Short Film Format.” In Asian Cinema: A Regional View, 77–94. Edinburgh University Press, 2021.

Screening: Rebels of the Neon God (Tsai Ming-liang, 2015), 106 min.

Clips: Walk Walk (Tan Pin-Pin, 2023), Memories of My Body (Garin Nugroho, 2018), Tropical Malady (Apichatpong Weerasethakul, 2004), TBA

8

Indigenous Voices

1. Grewal, A. (2016). Contested Tibetan landscapes in the films of Pema Tseden. Journal of Chinese Cinemas, 10(2), 135–149.
2. Berry, Chris. (2016). Pema Tseden and the Tibetan road movie: space and identity beyond the ‘minority nationality film.’ Journal of Chinese Cinemas, 10(2), 89–105.
3. Barnet, Robert, “DV-made Tibet: Domestic Videos, Elite Films, and the Work of Pema Tseden,” in Zhen, Zhang and Angela Zito. DV-Made China: Digital Subjects and Social Transformations after Independent Film. University of Hawai'i Press, 2015, pp119-162.
4. Sterk, Darryl. (2014). Ironic indigenous primitivism: Taiwan’s first ‘native feature’ in an era of ethnic tourism. Journal of Chinese Cinemas, 8(3), 209–225.
5. Berry, Chris. “Taiwan’s Ingidenous Peoples and Cinema: From Colonial Mascot to Fourht Cinema?,” Positioning Taiwan in a Global Context. Eds. Bi-yu Chang and Pei-yin Lin.  London: Routledge, 2019.

Screening: Tharlo (Pema Tseden, 2015), 138 min.

Clips: The Search (Pema Tseden, 2009), Old Dog (Pema Tseden , 2011), Finding Sayun (Laha Mebow, 2011), Dear Rice Wine, You are Defeated (Mayaw Biho, 1998)

9

From Cultural Criticism to Urban Generation

1. Asian Cinemas: A Reader and Guide, section 1.
2. Zhang, Zhen, “Intrduction: Bearing Witness: Chinese Urban Cinema in the Era of ‘Transformation’(Zhuanxing).” In The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century, ed. Zhen Zhang (Durham: Duke UP, 2007) : 1-20.
3. Voci, Paola. "Quasi-Documentary, Cellflix and Web Spoofs: Chinese Movies' Other Visual Pleasures." Senses of Cinema 41 (Oct.-Dec. 2006).

Screening: Xiao Wu (Jia Zhangke, 1998), 108 min.

Clips: Yellow Earth (Chen Kaige, 1984),

Disorder (Huang Weikai, 2008), Unknown Pleasures (Jia Zhangke, 2002), Beijing Bastards (Zhang Yuan, 1993), Suzhou River (Lou Ye, 2000)

10

Continuation of a New Wave? Realism, Intimacy, and Politics in the Fallen City

1. Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018.
2. Chu, Yiu-Wai, “Will Out Time Come? Ann Hui’s Fallen City,” in Main Melody Films: Hong Kong Directors in Mainland China, Edinburgh, 2022; online edn.
3. Zhang, Yingjin, “7 Cinema and national/regional cultures, 1979-89” in Chinese National Cinema, New York: Routledge, 2004, 225-258.
4. Stringer, Julian. “Boat People: Second Thoughts on Text and Context.” In Chris Berry ed., Chinese Films in Focus: 25 Takes (BFI, 2003): 15-22.

Screening: Our Time Will Come (Ann Hui, 2017), 133 min.

Clips: Boat People (Ann Hui, 1982), The Postmodern Life of My Aunt (Ann Hui, 2007), Cops and Robbers (Alex Cheung, 1979), Jumping Ash (Po-Chih Leong, Josephine Siao, 1976)

11

Korean New Wave and Transnational Screen Connections

1. Lee, Hyangjin, “South Korea: Film on the Global Stage,” Contemporary Asian Cinema, 182-192.
2. Kim, Soyoung, “From Cine-mania to Blockbusters and Trans-cinema: Reflections on Recent South Korean Cinema” in Theorising National Cinema, pp. 186-201.

Shin, Jeeyoung. "Globalization and New Korean Cinema." in Chi-Yun Shin and Julian Stringer, eds. New Korean Cinema (New York: New York UP, 2005): 51-63.

Screening: Oldboy (Park Chan-wook, 2003), 120 min.

Clips: Memories of Murder (Bong Joon-ho, 2003), Peppermint Candy (Lee Chang-dong, 2000)

12

Pan-Asian Horror Tradition, Transnational Production

1. Contemporary Asian Cinema, intro. & chap 1, pp. 1-31. & chap. 4.
2. Ingawanij, May Adadol, “Nang Nak: Thai bourgeois heritage cinema,” Inter-Asia Cultural Studies, 8:2, 180-193. 
3. Adam Knee. “Thailand Haunted: The Power of the Past in the Contemporary Thai Film” in Horror International, pp. 141-59.
4. Stephen Crofts, “Reconceptualizing National Cinema/s” in Theorising National Cinema, pp. 44-58.
5. Shin, Chi-Yun. “The Art of Branding: Tartan ‘Asia Extreme’ Films.” In Horror to the Extreme: 85-100.

Screening: Nang Nak (Nonzee Nimibutr, 1999), 100 min.

Clips: Three (Nonzee Nimibutr, Kim Ji-woon, Peter Chan, 2002), Double Vision (Chen Kuo-fu, 2002)

13

Performing Identity: New Waves in Southeast Asia

1. Contemporary Asian Cinema,  chaps. 6 & 7.
2. H. Misbach Yusa Biran. “The History of Indonesia Cinema at a Glance.” In Film in South East Asia; Views from the Region, pp. 211-252.
3. Benjamin McKay. “Auteur-ing Malaysia: Yasmin Ahmad and Dreamed Communities.” In Glimpses of Freedom: Independent Cinema in Southeast Asia, pp. 107-120.
4. Benedict Anderson. Imagined Communities: Reflections on the Origin and Spread of Nationalism (excerpts). 
5. Benedict Anderson. Specter of Comparisons: Nationalism, Southeast Asia, and the World (excerpts).

Screening: Opera Jawa (Garin Nugroho, 2006), 120 min, Sept (Yasmin Ahmad, 2005), 104 min, or Talentime (Yasmin Ahmad, 2009), 120 min.

Clips:

The Three Sisters (Bu Wan Cang, 1957), Tiga Dara/Three Maidens (Usmar Ismail, 1957)

14

Hybridity in Films: Case in the Philippines

1. Contemporary Asian Cinema, chap. 2.
2. Asian Cinemas, chap 5.
3. José B. Capino. Dream Factories of a Former Colony: American Fantasies, Philippine Cinema, chap. 6.

Screening: Kinatay (Brilliante Mendoza, 2009), 105 min.

Clips: TBA

15

Titillation in the House: Trans-Asian/national Melodrama

1. Oh, Se-Mi, “The Cat’s Cradle: Middle-Class Optics of Desire in Kim Ki-Young’s The Housemaid,” Transgression in Korea: Beyond Resistance and Control, edited by Juhn Y. Ahn, University of Michigan Press, 2018, 123–38. 
2. Lee, Yun-Jong,“Woman in Ethnocultural Peril: South Korean Nationalist Erotic Films of the 1980s,” The Journal of Korean Studies (1979-), vol. 21, no. 1, 2016, 101–35.
3. Klein Christina, “Bong Joon-ho's Parasite as a Remake of Kim Ki-young's The Housemaid,” in The Routledge Companion to Asian Cinema, eds. Zhen Zhang, Shangjoon Lee, Debashree Mukherjee, Intan Paramaditha, 2024.
4. Teo, Stephen, “The Melodramatic Mode in Asian Cinema,” in The Routledge Companion to Asian Cinema, eds. Zhen Zhang, Shangjoon Lee, Debashree Mukherjee, Intan Paramaditha, 2024.

Screening: The Housemaid (Kim Ki-young, 1960)

Clips: The Housemaid (Im Sang-soo, 2010), The Handmaiden (Park Chan-wook, 2016), Parasite (Bong Joon Ho, 2019), Love for Share (Nia Dinata, 2006)

16

Presentation of Research Project

5-10 min presentation of the final research project.

17

 Flexible week

 Capstone Self-learning.

18

 Flexible week

 Capstone Self-learning.