1. Class Meetings - cms.lit.nagoya-u.ac.jp Syllabi (JACS).pdf · ² Hall, Stuart, ed. Representation. Cultural Representations and Signifying Practices. London: Sage, 1997. 6. Evaluation

202 Introduction to cultural theory (Fall 2016)

**The following is a draft syllabus, which will be revised as necessary**

Instructor: Kristina IWATA (kristina.iwata*at*lit.nagoya-u.ac.jp; Rm 221)

1. Class Meetings Friday, 3rd period (beginning 10/7), Rm 131

2. Course Registration The course is open to all undergraduate students of the Japan-in-Asia Cultural

Studies program as well as to NUPACE students. It will mostly be taught in English

but reading responses and seminar papers may be submitted in Japanese as well.

**The following is a draft syllabus, which will be revised as necessary.

3. Course Description

This course is a general introduction to cultural studies and theory. Knowledge of

theoretical approaches, analytical techniques, and interpretive strategies

commonly used in the interdisciplinary field of cultural studies will enable

students to understand culture not only as a “way of life”, but as a contested site

for human discourse and action.

4. Course Content

Students will learn to “read” culture by looking at theoretical and literary texts,

visual images and film. We will discuss definitions of culture and related concepts

such as identity, hybridity, translation, power, representation, gender/sexuality.

Special attention will be given to concepts that are key to Japanese studies,

including orientalism, exoticism, and so-called discourses of Japaneseness

(nihonjinron). This introductory course will be a combination of lecture and

seminar. The goal is to will equip students with a set of tools to critically analyze

(representations of) culture through close reading, and build a foundation for

further study in more advanced courses.

5. Textbooks & Reference Materials All weekly readings will be made available as PDFs, etc.

Additionally, the following books are recommended:

² Barker, Chris. Cultural Studies. Theory and Practice. 3rd edition. Los Angeles: Sage, 2008.

² Hall, Stuart, ed. Representation. Cultural Representations and Signifying Practices. London:

Sage, 1997.

6. Evaluation Evaluation is based on in-class participation; reading responses; oral presentation; term

paper.

ü Minimum attendance 80%

2016Fall“Japan-in-Asia”CulturalStudiesProgram

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SYLLABUS: INTRODUCTION TO ASIAN CINEMA CULTURE

Course Description & Objective This survey course aims to introduce to the students' the diverse dimensions and especially the recent development of contemporary Asian cinema culture(s) mainly through approaching their most visible regional and worldwide presence and influence at, for instance, international film festivals and markets. Importantly, we would situate our study of film culture at the conjuncture of cinéphile culture, national/regional film industries and business, and the global institution of art cinema, within the larger socio-cultural context across Asian societies that has been drastically changing since 1989. Although the lecture is basically structured in the classic format of national cinema, in each section we would also underscore the dynamics of transnational cinema by looking at the importance and role of film festivals and similar entities. Through this unusual journey, the students are encouraged to rethink and debate on crucial issues related to the film cultures and film movements across Hong Kong, Taiwan, the People’s Republic of China, South Korea, Japan and Southeast Asian countries such as the Philippines, Malaysia and Indonesia. Hopefully this course would shed light on advanced studies in film studies, area studies, gender studies, urban culture and sociology. Course Prerequisites This is a lecture of film studies. It is open to students who have demonstrated certain interest and background knowledge in cinema studies, and have the competency in reading and analyzing cinematic texts in English. Preferably we welcome students whose written and spoken English abilities are adequate enough for them to participate in presentations and to write short essays and so forth. Course Approach: ✚Lectures, screenings, discussions/presentations and oral/written analyses. Under the academic guidance and facilitation of the lecturer, students are expected to critically

Lecture Period/Location: Tuesday 2nd Period★ 10：30--12：00

School of Letters, Lecture Room 131

Lecturer: MA Ran/馬然

Email: [email protected]

Office Location: School of Letters, Rm 224

Office Hours: by email appointment

Lecture Blog:nu2016introafc.blogspot.jp/ [we update PDFed readings and important notice here]


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evaluate theories and arguments from their readings and learn to apply the concepts and theories in film analysis. It is also expected that the students could communicate (not mechanically reciting) their ideas effectively via discussions and presentations as well as in writing assignments.

✚ Film-viewing underlines your study flow of the seminar. Screenings will 1) take place

as part of the weekly class, or 2) the lecturer will book the classroom for film-viewing as

extra to the weekly course plan; 3) assigned to the students for self-study. For students

who cannot make the scheduled group screenings for good reasons, they are urged to

loan the DVDs from the lecturer or at the local video-shops.

Notes for Auditing Students: This course welcomes auditing students, nevertheless it must be made clear that any

auditing student should try to keep full attendance and fully participate the classroom

activities as the registered students do; unsatisfactory performance on auditing

students would be immediately reported to the university office of academic affairs at

any stage of the semester. We also engage with a wide spectrum of films, and when

there is no in-class screenings, we expect the students to loan/watch films either from

the library or from the lecturer to facilitate their study.

Evaluation: 10% Attendance 15% contribution to class discussion/presentation 15% take-home quiz/project 30% Reading Journal Assignments (15%x2) 30% Final Paper NOTE: Three absences, including in-class screenings without proper

evidence provided equals FAIL Note on Plagiarism: Plagiarism: A writer who presents the ideas of words of another as if they were the writer’s own (that is, without proper citation) commits plagiarism. Plagiarism is not tolerable in this course or at Nagoya University. You should avoid making quotes or drawing on figures from nowhere—you must provide sources of reference for quotation and/or citations you use in the paper. This applies to images and media clips as well. Failure to observe this would risk being charged of plagiarism.


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[All assignments/papers will be checked with professional software] Course Assignments: Reading Journal Assignment: Due Dates TBA (submission via Email) Students are expected to submit 2 reading journals (300 words, in WORD document; via email) reflecting upon their reading progress in the previous month. Take Home Quiz: Due Dates TBA Final Paper: Due Date TBA. 1000~1500 words. (If you wish, you can go over the word limit.) Details and writing samples will be offered later.

NOTE: We have certain standard for academic writing in English. It would be really helpful if you take courses in academic writing and find a native-speaker consultant to check your writings. For self-study, a perfect instruction on writings for East Asian studies courses could be found here: http://writingproject.fas.harvard.edu/files/hwp/files/writing_in_east_asian_studies.pdf

SCHEDULE OF CLASSES

WEEK 1 OCT 4 INTRODUCTION

Required Readings

(for the whole semester):

Corrigan, Timothy. A Short Guide to Writing About Film. 9th. ed. New York: Longman

2014

WEEK 2 OCT 11 ASIAN CINEMA CULTURE—BETWEEN THE NATIONAL

AND THE TRANSNATIONAL I

Required Readings

Chen Kuan-Hsing, “Introduction,” Asia As Method: Toward Deimperialization, Duke

University Press, 2010, p1-16

Crofts, Stephen. “Reconceptualizing National Cinema/s”, in Theorising National Cinema,

edited by Valentina Vitali and Paul Willemen, BFI Publishing, London, 2006. P44-58


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Dissanayake, Wimal. “Introduction: Nationhood, History and Cinema Reflections On

The Asian Scene”, in Colonialism And Nationalism In Asian Cinema, edited by Wimal

Dissanayake, Indiana University Press, 2004

WEEK 3 OCT 18 ASIAN CINEMA CULTURE—BETWEEN THE NATIONAL

AND THE TRANSNATIONAL II

Required Readings

Berry, Chris. 2014, “Transnational Culture in East Asia and the Logic of Assemblage”,

Asian Journal of Social Science, Volume 41, Issue 5, p453 – 470

Higbee, Will, Lim, Song Hwee. “Concepts Of Transnational Cinema: Towards A

Critical Transnationalism In Film Studies”, Transnational Cinemas, Volume 1, Number 1,

January 2010, pp. 7-21(15).

Lim, Song Hwee. “Transnational Trajectories in Contemporary East Asian Cinemas”,

in East Asian Cinemas: Regional Flows and Global Transformations, edited by Vivian P. Y.

Lee, Palgrave Macmillan UK, 2011, pp15-32

WEEK 4 OCT 25

Screening: Ugetsu (雨月物語), Dir. Kenji Mizoguchi, 1953, 96min

WEEK 5 NOV 1 SCREENING JAPAN I—TOUR DE FORCE OF THE MAESTROS

Required Readings

Needham, Gary. “Japanese Cinema and Orientalism”, in Asian Cinemas: A Reader And

Guide, edited by Dimitris Eleftheriotis & Gary Needham, Honolulu: University of

Hawaii Press, 2006, p.8—16

Tezuka, Yoshiharu. “Chapter 2: Internationalization Of Japanese Cinema: How Japan

1stReadingJournalDueonOct26WEDNESDAY,5pm


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Was Different From The West And Above Asia Before Globalization”, Japanese Cinema

Goes Global: Filmworkers' Journeys, University of Hong Kong Press, 2011, p25-74

WEEK 6 NOV 8 SCREENING JAPAN II—THE POST-STUDIO ERA

Required Readings

Cazdyn, Eric. “Japanese Film Without Japan: Toward A Nondisciplied Film Studies”,

The Oxford Handbook Of Japanese Cinema, edited by Miyao Daisuke, Oxford University

Press, 2014

David Scott Diffrient, “From Three Godfathers to Tokyo Godfathers: Signifying Social

Change in a Transnational Context”, in Leon Hunt and Wing-Fai Leung, eds., East

Asian Cinemas: Exploring Transnational Connections on Film (I.B. Tauris), 2008, 153-171.

Wada-Marciano, Mitsuyo. “Introduction” & p 51-61, Japanese Cinema in the Digital Age,

University of Hawaii Press, 2013

Homework Viewing:

Tokyo Godfathers (東京ゴッドファーザーズ), Dir. Satoshi Kon, 2003

Homework Viewing: Raise the Red Lantern (大紅燈籠高高掛), dir. Zhang

Yimou, 1991

(English subtitled version available at YouTube)


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WEEK 7 NOV 15 SCREENING CHINA I—STARTING/ENDING WITH THE

FIFTH GENERATION?

Required Readings

(for week 7 &8)

Zhang, Yingjin. “Directors, Aesthetics, Genres: Chinese Postsocialist Cinema,

1979-2010”, in A Companion To Chinese Cinema, edited by Zhang Yingjin, Blackwell

Publishing 2012, p57-74

(for week 7)

Yang, Mayfair Mei-hui. "Of Gender, State Censorship, and Overseas Capital: An

Interview with Chinese Director Zhang Yimou." Public Culture 5.2 (1993): 1-17.

Yiu-Wai, Chu. "The Importance Of Being Chinese: Orientalism Reconfigured In The

Age Of Global Modernity." Boundary 2 35.2 (2008): 183-206.

Week 8 Nov 22 SCREENING CHINA II—FROM UNDERGROUND TO

INDEPENDENT, AND TO DV-MADE CHINA

Required Readings

Breaster, Yomi. “From Urban Films To Urban Cinema: The Emergence Of A Critical

Concept” in A Companion To Chinese Cinema, edited by Zhang Yingjin, Blackwell

Publishing 2012, p346-358

Zhang, Zhen & Angela Zito. “Introduction”, Zhang, Zhen, and Angela Zito, eds.

DV-made China: Digital Subjects and Social Transformations After Independent Film.

Nov 17th THURSDAY

Special Screening: Summer Palace（颐和园） , Dir. Lou Ye, 2006

Time: 6:30pm /Venue: Rm 131


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University of Hawai, 2015.

Zhang, Yingjin. “Thirdscapce Between Flows And Places: Chinese Independent

Documentary And Social Theories Of Space And Locality,” in The Oxford Handbook Of

Chinese Cinemas, edited by Carlos Rojas & Eileen Cheng-yin Chow, Oxford University

Press, 2013, p320-342

Secondary Readings

Huang, Yiju. "By Way of Melancholia: Remembrance of Tiananmen Square Incident in

Summer Palace." Asian Cinema 21.1 (2010): 165-178.

WEEK 9 NOV 29 ABOUT TAIWAN NEW CINEMA AND ITS AFTERLIFE

Required Readings

Harrison, Mark. 2009. “How To Speak About Oneself: Theory and Identity In Taiwan”,

in Cultural Studies and Cultural Industries in Northeast Asia: What a Difference a Region

Makes. Hong Kong University Press, Hong Kong, pp. 51-70.

Wilson, Flannery.2014.“Introduction” & “Charting the Course: Defining the Taiwanese

Cinematic ‘Tradition’” New Taiwanese Cinema in Focus: Moving Within and Beyond the

Frame. Edinburgh University Press

Nov. 24th THURSDAY

Special Screening: Flowers of Taipei: Taiwan New Cinema (光陰的故事-台灣新

電影), Dir. Chinlin Shien, 2014, 109min

2ndReadingJournalDueonNov30WEDNESDAY,5pm


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WEEK 10 DEC 6 Screening: Election 2 (黑社會以和為貴), Dir. Johnnie To, 2006,

93min

WEEK 11 DEC 13 HONG KONG CINEMA FROM POST-1997 TO THE UMBRELLA

REVOLUTION

Required Readings

Abbas, Ackbar. “The New Hong Kong Cinema and the ‘Déjà Disparu’”, Discourse Vol.

16, No. 3 (Spring 1994), pp. 65-77

Laikwan Pang (2002) “Masculinity in Crisis: Films of Milkyway Image and Post-1997

Hong Kong Cinema”, Feminist Media Studies, 2:3, 325-340, DOI:

10.1080/1468077022000034826

Lo Kwai-cheung & Pang Lai-kwan, “Hong Kong: Ten Years After Colonialism”,

Postcolonial Studies, Vol. 10, No. 4, pp. 349356, 2007

WEEK 12 DEC 20 Screening: The Host, Dir. Bong Joon-ho, 2006, 119min

WEEK 13 DEC 27 THE RENAISSANCE OF KOREAN CINEMA AND ITS GLOBAL

AUTEURS

Kim Kyung Hyun, “Virtual Landscapes: Sopyonje, The Power Of Kangwon Province,

And The Host”, Virtual Hallyu: Korean Cinema of the Global Era, Duke University Press,

2011, p1-54

Lee Sang-joon. “Introduction”, Hallyu 2.0: The Korean Wave in the Age of Social Media

(Perspectives On Contemporary Korea), edited by Lee Sang-Joon & Abe Mark Nornes,

University of Michigan Press, 2015


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WINTER BREAK: DEC 28-JAN 7

WEEK 14 JAN 10TH A GLIMPSE INTO THE SOUTHEAST ASIAN

INDEPENDENT CINEMA

Baumgartel, Tilman. “Introduction: Independent Cinema in Southeast Asia,” &

“Imagined Communities, Imagined Worlds: Independent Film from Southeast Asia in

the Global Mediascape” in Southeast Asian Independent Cinema, edited by Tilman

Baumgartel, Hong Kong University Press, 2012, p1-12 & p21-32

Valerio, Elvin Amerigo, “Defining the Aesthetics of Philippine Independent Cinema:

An Interview with Brillante Mendoza,” Asian Cinema, Vol. 22 Issue 2, 2011

WEEK 15 JAN 16 THESIS WORKSHOP

Dec 22nd Thursday

Special screening: the Captive, Dir. Brillante Mendoza, 2012

TIME: 6:30pm/ Venue: Rm. 131

3RDReadingJournalDueonJAN11WEDNESDAY,5pm

FALL 2016 Global-30 "Japan-in-Asia Cultural Studies" Program

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SYLLABUS: ASIAN FILM HISTORY BEFORE 1945

Lecture Period/Venue: Thursday, 2nd Period 10:30 - 12:00/文学部 131 [School of Letters Rm 131]

Lecturer: MA Ran/马然 Office Location /mail: School of Letters, Room 224/[email protected]

Office Hours: by email appointment

Course Blog: nuafh2016.blogspot.jp/ [readings and other course-related materials/notifications would be updated on

the course blog] Course Description & Objective

By figuratively dividing the film history in Asia into two stages, namely the pre and

post World War II periods, we shall start our two-part survey on Asian film history

with this particular course, in which the highlight is directed to early cinemas from

East Asia. In positioning the survey of films within the socio-historical exigencies and

cultural context of Japan, China (Taiwan & Hong Kong) and Korea before and during

World War II, this course offers the students an opportunity to engage with the early

cinemas and their evolvement from the perspective of social history and discourses of

modernities in this region. Students are expected to acquire the basic knowledge on

early cinemas in Asia, and learn to analyze films in relation to certain socio-cultural

issues that became significant during the timeframe under examination. This course

comprises a combination of screenings, lectures, and discussions. Students must

complete the reading assignments prior to each session.

Course Prerequisites This is a lecture of film studies. It is open to students who have demonstrated certain interest and background knowledge in cinema studies, and have the competency in reading and analyzing cinematic texts in English. Preferably we welcome students whose written and spoken English abilities are adequate enough for them to participate in presentations and to write short essays and so forth. Course Approach: ✚ Lectures, screenings, discussions/presentations and oral/written analyses. Under


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the academic guidance and facilitation of the lecturer, students are expected to critically evaluate theories and arguments from their readings and learn to apply the concepts and theories in film analysis. It is also expected that the students could communicate (not mechanically reciting) their ideas effectively via discussions and presentations as well as in writing assignments.

✚ Film-viewing underlines your study flow of the seminar. Screenings will 1) take

place as part of the weekly class, or 2) the lecturer will book the classroom for

film-viewing as extra to the weekly course plan; 3) assigned to the students for

self-study. For students who cannot make the scheduled group screenings for good

reasons, they are urged to loan the DVDs from the lecturer or at the local video-shops.

Evaluation:

25% Participation & Contribution to Discussion/Presentation

30% Reading Journals (x3)

10% Take Home Project/Group Presentation

35% Final Paper

NOTE: Three absences, including those for in-class screenings without

proper evidence provided equals FAIL

Course Assignments:

Reading Journals: Due Dates see class schedule/ Requirements TBA. Students will

discuss and/or compare designated film(s) and write a 300~500-word film journal as

an analytical essay (NOT a summary of plot). Late submission will NOT be accepted.

A more detailed explanation will be given later.

Final Paper: Due Date & Requirements TBA 1,500~2,000 words. (If you wish, you can

go over the word limit.)

Students will be required to analyze one Asian film in regards to its historical

relationship to, and its difference from the films and their contexts we have discussed

for this course. Please engage with at least two readings or texts from the required or

supplementary reading/viewing lists. It should include a bibliography and use the

Chicago Manual of Style citation style. Topic of the paper followed by one paragraph


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of justification and two essay references should be submitted and discussed at the

Thesis Workshop.

Note on Plagiarism: Plagiarism: A writer who presents the ideas of words of another as if they were the writer’s own (that is , without proper citation) commits plagiarism. Plagiarism is not tolerable in this course or at Nagoya University. You should avoid making quotes or drawing on figures from nowhere—you must provide sources of reference for quotation and/or citations you use in the paper. This applies to images and media clips as well. Failure to observe this would risk being charged of plagiarism. [All assignments/papers will be checked with professional software]

SCHEDULE OF CLASSES

WEEK 1/OCT 6TH INTRODUCTION: EARLY CINEMAS IN (EAST) ASIA, MAPS AND TIMELINES Screening: the Frightful Era of Kurama Tengu [鞍馬天狗恐怖時代], Dir. Teppei Yamaguchi, 38 min, 1928; Jiraiya the Hero[豪傑児雷也], Dir. Makino Shozo, 20min, 1921

I. EARLY CINEMAS ACROSS EAST ASIA 1. EARLY JAPANESE CINEMA: BENSHI & PERIOD FILMS Week 2/Oct 13th Lecture and Discussion Required Readings: Richie, Donald, A Hundred Years Of Japanese Film, Kodansha International, revised edition, 2005, p 17-32 High, “the Dawn of Cinema in Japan”: 23-57 Reference Readings: J. L. Anderson, “Japanese Swordfighters and American Gunfighters”, Cinema Journal, Vol. 12, No. 2 (Spring, 1973), pp. 1-21


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2. Accounts of Early Chinese Cinema I：From Peking to Shanghai Week 3/Oct 20th Screening: Searching for Brodsky【尋找布洛茨基】, Dir. Liao Gene-fon, 2009 Week 4/Oct 27th Lecture & Discussion Required Readings

Jay, Leyda. Dianying/Electric Shadows, 15-59

Zhang Yingjin, “Cinema and National Traditions 1896-1926”, Chinese National Cinema, p13-22

Huang Xuelei & Xiao Zhiwei, “Shadow Magic and the Early History of Film Exhibition in China", The Chinese Cinema Book, eds. Song Hwee-lim & Julian Ward, Palgrave& Macmillan, 2011 p47-55

Reference Readings Kirk Denton’s OSU webpage, “a Brief History of Chinese Film” [http://people.cohums.ohio-state.edu/denton2/courses/c505/temp/history/history.html] Film for Discussion: Lai Man-wai, Father of Hong Kong Cinema, Dir. Choi Kai-kwong, 2001

Week 5 NOV 3 National Holiday: No Class

3. Accounts of Early Chinese Cinema II：Shadow Play in Context Week 6/Nov 10th Lecture & Discussion

★Film Journal No.1 due on Oct 31st, 5pm via Email on 2 films: Laborer’s Love「勞⼯工之愛情」, Dir. Zhang Shichuan, 1922; Never Weaken,

Dir. Harold Lloyd, 1921[available at YouTube] (details to be given later)


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Required Readings Victor Fan, “From the Shadow Play to Electric Shadows”, Electric Shadows: A Century Of Chinese Cinema, eds. James Bell, BFI, 2014, p8-15


Reference Readings Zhen, Zhang, Amorous History of the Silver Screen, 89-117

II. EVOLVEMENT AND TRANSFORMATION: THE 1930s-40s 1. Fallen Woman of Shanghai

Week 7/Nov 17th Screening The Goddess「神⼥女」，Dir. Wu Yonggang, 1934, 76 min

Week 8/Nov 24st Lecture & Discussion Required Readings Kristine Harris, “The Goddess: Fallen Woman of Shanghai,” in Chris Berry, ed. Chinese Films in Focus II

[for Week 7 to Week8]

Tony Rayns, “The Second Generation”, Electric Shadows: A Century Of Chinese Cinema, eds. James Bell, BFI, 2014, p16-27


2. Mizoguchi’s Fallen Women Week 9/Dec 1st

★Film Journal No.2 Due on Dec 2nd, 5pm via email on 1 film: Centre Stage「阮玲⽟玉」, Dir. Stanley Kwan, 1992, 118 min Screening of this film: Nov 21st (Monday) Rm 131, 4:30pm~


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Required Readings Kirihara, Donald. “Sisters Of Gion”. Patters of Time: Mizoguchi and the 1930s. Madison,WI: University of Wisconsin Press, 1992, p116-136 David Bordwell & Kristin Thompson, Film History: An Introduction (3rd edition), MdGraw Hill Higher Education, 2010, p226-228

3. Empire and Colonialism: Filmmaking in Manchuria and Korea I Week 10/Dec 8th Screening: Suchow Night 「蘇州の夜 (1941), dir. Hiromasa Nomura, 1941 Week 11/Dec 15th Lecture & Discussion Required Readings Michael, Baskett. The Attractive Empire: Transnational Film Culture in Imperial Japan, p1-12, 72-84 Li, Jie. “A National Cinema for A Puppet State: The Manchurian Motion Picture Association”, The Oxford Handbook of Chinese Cinemas. Edited by Carlos Rojas and Eileen Chow. , Oxford University Press, 2013, p79-97 Sookyeong, Hong. “Between Ideology and Spectatorship: The “Ethnic Harmony” of the Manchuria Motion Picture Corporation, 1937–1945”, Cross-Currents: East Asian History and Culture Review, Volume 2, Number 1, May 2013, p114-135

Homework Viewing: Sisters of the Gion [祇園の姉妹], dir. Kenji Mizoguchi, 1936 (available at

YouTube with English subtitle)


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4. Empire and Colonialism: Filmmaking in Manchuria and Korea II Week 12/Dec 22nd Screening: Dear Soldier, Dir. Bang Han-joon, 1944

Dec 28th-Jan 7th Winter Break

Week 13/Jan 12th Lecture & Discussion Required Readings Baskett，Michael. The Attractive Empire: Transnational Film Culture in Imperial Japan, 84-105 Yecies, BM & Shim, AG. “Collaborative Film Production Under Japan’s War-preparation System, 1937-1945”, Korea’s Occupied Cinemas, 1893-1948, 115-140 Yecies, BM & Shim, AG, “Lost Memories of Korean Cinema: Film Policy During Japanese Colonial Rule, 1919-1937”, Asian Cinema, Fall/Winter 2003, 14(2)

Week 14/Jan 19th Group Presentation (details TBA) Week 15/Jan 26th Thesis Workshop

★Film Journal No.3 due on Jan 8th, 5pm via Email on 2 films: Suchow Night & Dear Soldier


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FILMOGRAPHY the Frightful Era of Kurama Tengu, Dir. Teppei Yamaguchi, 1928 Centre Stage, Dir. Stanley Kwan, 1992, 118 min Dear Soldier, Dir. Bang Han-joon, 1944 The Goddess，Dir. Wu Yonggang, 1934 Searching for Brodsky, Dir. Liao Gene-fon, 2009 Laborer’s Love, Dir. Zhang Shichuan, 1922 Lai Man-wai, Father of Hong Kong Cinema, Dir. Choi Kai-kwong, 2001 Never Weaken, Dir. Harold Lloyd, 1921 Sisters of the Gion, dir. Kenji Mizoguchi, 1936 Suchow Night (1941), Dir. Hiromasa Nomura, 1941 Reading List: Anderson, Joseph and Donald Richie. The Japanese Film: Art and Industry, expanded ed. Princeton, NJ: Princeton University Press. 1982 Electric Shadows: A Century of Chinese Cinema, eds. James Bell, BFI, 2014 High, Peter B. “the Dawn of Cinema in Japan”, Journal of Contemporary History Vol. 19 No.1:23-57,1984 Jay, Leyda. Dianying: An Account of Films and the Film Audience in China, Cambridge: MIT Press, 1972 Michael, Baskett. The Attractive Empire: Transnational Film Culture in Imperial Japan, Honolulu: University of Hawai'i Press, 2008 Poshek, Fu. Between Shanghai and Hong Kong: The Politics of Chinese Cinemas, Stanford, Calif.: Stanford University Press, 2003 Yecies, BM & Shim, AG. Korea’s Occupied Cinemas, 1893-1948, Routledge, 2011


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Richie, Donald, A Hundred Years Of Japanese Film, Kodansha International, revised edition, 2005 Zhen, Zhang, Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937. Chicago, Ill: University of Chicago Press, 2005. Further Readings: Daw-Ming, Lee. Historical Dictionary of Taiwan Cinema, Scarecrow Press,2012 Gerow, Aaron. Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship: 1859-1925. Berkeley: University of California Press. 2010 Kirihara, Donald. Patters of Time: Mizoguchi and the 1930s. Madison,WI: University of Wisconsin Press, 1992 Kristine, Harris. “The Goddess: Fallen Woman of Shanghai,” in Chris Berry, ed. Chinese Films in Focus II, Basingstoke [England]; New York : BFI/Palgrave Macmillan, 2008 Leo T. S. Ching, Becoming “Japanese”: Colonial Taiwan and the Politics of Identity Formation. Berkeley and Los Angeles: University of California Press, 2001 Leo, Ou-fan Lee. Shanghai Modern: The Flowering Of A New Urban Culture In China, 1930-1945. Cambridge, Mass. : Harvard University Press, 1999. Paul, Fonoroff. “A Brief History of Hong Kong Cinema”, Renditions. 29/30 (Spring and Autumn 1988), 293-308

Poshek Fu, Between Shanghai and Hong Kong: the Politics of Chinese Cinemas, Stanford University Press, 2003,p1-50


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Yecies, BM & Shim, AG, “Lost Memories of Korean Cinema: Film Policy During Japanese Colonial Rule, 1919-1937”, Asian Cinema, Fall/Winter 2003, 14(2), 75-90. Yingchi, Chu, Hong Kong Cinema: Coloniser, Motherland and Self, London; New York : Curzon, 2003.

601 Critical analysis of modern Japanese literature (Fall 2016)

—Love, longing, and desire in modern Japanese literature—



1. Class Meetings Friday, 2nd period (beginning 10/7), Rm 131

2. Course Registration The course is open to undergraduate students (2nd year and above), graduate and

NUPACE students with a background in literary studies. It will mostly be taught in

English but reading responses and seminar papers may be submitted in Japanese as

well.

3. Course Description “Love” at first sight appears as an obvious concept, but in reality it has undergone

radical changes over time and differs depending on the cultural context. This course

explores representations of love, longing, and desire in modern Japanese culture

and literature. Following a brief excursion to pre-modern understandings of love

and tracing its translation into a modern, westernized notion, we ask how love has

been conceptualized in relation to sexuality, gender, marriage, and the modern

nation state. In particular, we will discuss the (literary) representation of themes

such as romantic love, postwar pure love, homosexual love, prostitution, love

suicide, parental love, and more.

4. Course Content While our focus will be on (translated) works of modern literature, we will make

excursions to the pre-modern era and also read texts that look at “love” from a

historical, sociological and/ or anthropological perspective. All literary texts (but

none of the research papers) read are available in Japanese as well. This course is

not a lecture but a reading-intensive seminar the learning outcome of which

depends on your preparation and active participation in class.

5. Textbooks & Reference Materials No textbook is required for this course. All weekly readings will be made available

in English as PDFs, etc. Additionally, the following books are recommended:

² McLelland, Mark. Love, sex, and democtracy in Japan during the American Occupation. NY:

Palgrave Macmillan, 2012.

² Ryang, Sonia. Love in modern Japan: its estrangement from self, sex, and society. London,

NY: Routledge 2006.

² Yokota-Murakami, Takayuki. Don Juan East / West. On the problematics of comparative

literature. NY: State University of NY Press, 1998.

6. Evaluation Participation 20%; Summaries & Reading responses 20%; Presentation/Discussion Leader 30%;

Term Paper 30%; Minimum attendance 80%.

Nathan Hopson (Fall 2016, NU)

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622 Japanese Culture and East Asia 1. Date and Time Wed 1st period (8:45~10:15).

2. General Description This is an introduction to the formation of modern and contemporary Japanese

culture(s) in the context of East Asian histories and cultures.

3. Course Content This is a discussion-based seminar on Japanese culture(s). It is topical, covering themes including: gender, music and film, television, and consumer (pop) culture.

Each week, you will be responsible for reading all of the readings and for submitting a précis on at least one. This is preparation for class discussion (participation is part of your grade) and for a final project, described separately.

Additionally, you will lead discussion at least once, and present (5-10”) on your final project in the second half of the semester. Course Site

https://www.coursesites.com/s/_622F16 All course materials and communication will be conducted through the site.

You must enroll ASAP. Use the code “sparklemuffin” (no quotes) when prompted.

Schedule

The following is a tentative schedule. It will be revised based on student enrolment.

Wk 1: Introduction Wk 2~10: Japanese Culture(s) and East Asia Wk 11~12: Presentations

Wk 13: Wrap-up Wk 14: TBA


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Assignments

The work in this course is not limited to reading and discussion. You will need

to, at the very least: 1. Lead discussion at least once

• Discussion leaders will be assigned in advance, and will meet with me

for about one hour prior to class (by appointment) to prepare. Specifics will vary according to student enrolment, but you will work with at least one partner. Guidelines provided separately.

2. Produce a final project • You may write a traditional seminar research paper (10-15 pages; 15-25

for grad students), but I would prefer that you propose a creative

project taking advantage of your unique talents and interests. Write an app, make a movie, curate an exhibit online or off, build a model, etc. Group projects are encouraged (coauthored papers are not, in

principle). Guidelines provided separately. 3. Make a presentation of a “draft” version of your final project

• Present your work to the class at the end of the term. Specifics will

vary according to student enrolment. Guidelines provided separately. 4. Submit précis weekly

• A précis is a kind of academic summary, different from a summary of

the piece itself. It is a tightly focused summary of the argument expressed by a piece of academic writing. Guidelines provided separately.


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4. Textbook No textbook is required for this class. All readings will be provided electronically as PDFs, etc., or reserved at the library. Reading topics are listed

in the Reading section at the conclusion of this syllabus.

5. Reference Materials To supplement your knowledge of Japanese history as needed, I recommend the library’s electronic copy of: • Tsutsui, William M. 2009. A Companion to Japanese History. Chichester:

Wiley-Blackwell.

6. Evaluation Participation 10% Weekly précis 25% Discussion leader 10%

Presentation 15% Project 40%

For reference, be aware that B is “good.” Impress me and you get an A, disappoint me and you’re looking at a C at best. Summary: “A” = exceptional. “B” = good. “C” = meh. Anything else = trouble.

Email me a picture/video of a sparklemuffin to earn bonus points.


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7. Readings 1. Getting it Right, Getting it Wrong

• Greenfield, Karl Taro. “Otaku: the Incredibly Strange Mutant Creatures

Who Rule the Universe of Alienated Japanese Zombie Computer Nerds (Otaku to You),” Wired 1.1 (1993): 66-69.

• La Barre, Weston. 2002. “Professor Widjojo Goes to a Koktel Parti.” In

Distant Mirrors: America as a Foreign Culture, edited by Philip R. DeVita and James D. Armstrong, 3rd ed., 32–36. Belmont, CA: Wadsworth/Thomson Learning.

• Sherriff, Patrick. “How to Write About Japan.” Medium, October 23, 2015. • “87% of Gaijin ‘Totally Get’ Japan in Less Than Two Months.”

NAGMAG: Nagoya’s Magazine. Accessed December 17, 2015.

2. Appropriation and Authenticity

• Hjorth, Larissa. “Odours of Mobility: Mobile Phones and Japanese Cute

Culture in the Asia-Pacific.” Journal of Intercultural Studies 26, no. 1–2 (February 1, 2005): 39–55.

• Watson, James L., ed. 1997. Golden Arches East: McDonald’s in East Asia.

Stanford, CA: Stanford University Press. Ch 1, 5. 3. “Japanese Culture,” Visions Old & New: Old

• Nakane, Chie. Japanese Society. University of California Press, 1972. ("3: Overall Structure of the Society," 90-107)

• Okakura, Kakuzō. The Book of Tea. NY: Duffield & Co. 1-25.

• Umesao, Tadao. An Ecological View of History: Japanese Civilization in the World Context. Translated by Harumi Befu. Melbourne: Trans Pacific Press, 2003. 47-61.

4. “Japanese Culture,” Visions Old & New: New?

• Azuma, Hiroki. Otaku: Japan’s Database Animals. Translated by Jonathan

E. Abel and Shion Kono. Minneapolis: University of Minnesota Press, 2009. 3-24.


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• Kataoka, Masato. 1997. “Hunting and Gathering the Past.” Look Japan 43 (496): 39.

• Morris-Suzuki, Tessa. 1995. “The Invention and Reinvention of ‛Japanese

Culture’.” The Journal of Asian Studies, 759–80. Optional

o Fawcett, Clare. 2001. “Archaeology and Japanese Identity.” In

Multicultural Japan: Palaeolithic to Postmodern, edited by Donald Denoon, Mark Hudson, Gavan McCormack, and Tessa Morris-Suzuki, 60–77. Cambridge University Press.

o Hudson, Mark. 2003. “Foragers as Fetish in Modern Japan.” Senri Ethnological Studies, no. 63: 263–74.

5. Gender

• Louie, Kam. “Popular Culture and Masculinity Ideals in East Asia, with Special Reference to China.” The Journal of Asian Studies 71, no. 04

(November 2012): 929–43. • Miller, Laura. “Those Naughty Teenage Girls: Japanese Kogals, Slang,

and Media Assessments.” Journal of Linguistic Anthropology 14, no. 2

(December 1, 2004): 225–47. • Wai-hung Yiu, and Alex Ching-shing Chan. “‘Kawaii’ and ‘Moe’--Gazes,

Geeks (Otaku), and Glocalization of Beautiful Girls (Bishōjo) in Hong

Kong Youth Culture.” Positions 21, no. 4 (Fall 2013): 853–84. Optional

• Suzuki, Nobue. 2005. “Filipina Modern: ‘Bad’ Filipino Women in

Japan.” In Bad Girls of Japan, edited by Laura Miller and Jan Bardsley, 159–74. NY: Palgrave Macmillan.

• Tanaka, Keiko. “Japanese Women’s Magazines.” In The Worlds of

Japanese Popular Culture: Gender, Shifting Boundaries and Global Cultures, edited by Dolores Martinez, 110–32. Cambridge: Cambridge University Press, 1998.


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6. Nature and Rural Japan

• Schnell, Scott. 2008. “The Rural Imaginary: Landscape, Village, Tradition.” In A Companion to the Anthropology of Japan, 201–17. Blackwell

Companions to Anthropology 5. Malden, MA: Blackwell Publishing. • Shirane, Haruo. 2012. Japan and the Culture of the Four Seasons: Nature,

Literature, and the Arts. Columbia University Press. 1-24.

• Walker, Brett L. Toxic Archipelago: A History of Industrial Disease in Japan. University of Washington Press, 2010. 71-108.

7. Food

• Bestor, Theodore. 2000. “How Sushi Went Global.” Foreign Policy, no. 121 (Nov/Dec): 54–63.

• Sakamoto, Rumi, and Matthew Allen. 2011. “There’s Something Fishy about That Sushi: How Japan Interprets the Global Sushi Boom.” Japan Forum 23 (1): 99–121.

• Wu, David Y. H. “Cultural Nostalgia and Global Imagination: Japanese Cuisine in Taiwan.” In Re-Orienting Cuisine: East Asian Foodways in the Twenty-First Century, edited by Kwang-ŏk Kim, 108–28. Food, Nutrition,

and Culture 3. New York: Berghahn Books, 2015. 8. Music and Film

• Atkins, E. Taylor. “Can Japanese Sing the Blues?: ‘Japanese Jazz’ and the Problem of Authenticity.” In Japan Pop!: Inside the World of Japanese Popular Culture, edited by Timothy J Craig, 27–59. Armonk, NY: M.E.

Sharpe, 2000. • Manabe, Noriko. “Representing Japan: ‘national’ Style among Japanese

Hip-Hop DJs.” Popular Music 32, no. Special Issue 01 (January 2013): 35–

50. • Ashkenazi, Michael. “Food, Play, Business, and the Image of Japan in

Itami Juzo’s Tampopo.” In Reel Food: Essays on Food and Film, edited by

Anne Bower, 27–40. New York; London: Routledge, 2004.


7/8

9. Pop Culture and Consumerism

• Allison, Anne. “Portable Monsters and Commodity Cuteness: Pokémon as Japan’s New Global Power.” Postcolonial Studies 6, no. 3 (November

2003): 381–95. • Allison, Anne. “Sailor Moon: Japanese Superheroes for Global Girls.” In

Japan Pop!: Inside the World of Japanese Popular Culture, edited by Timothy

J Craig, 259–78. Armonk, NY: M.E. Sharpe, 2000. • Iwabuchi, Kōichi. 2002. “‘Soft’ Nationalism and Narcissism: Japanese

Popular Culture Goes Global.”Asian Studies Review 26 (4): 447–69.

• Ko, Yu-Fen. “Consuming Differences: ‘Hello Kitty’ and the Identity Crisis in Taiwan.” Postcolonial Studies 6, no. 2 (July 1, 2003): 175–89.

Optional

• Ching, Leo. 1994. “Imaginings in the Empires of the Sun: Japanese Mass Culture in Asia.” Boundary 221 (1): 198–219.

• Iwabuchi, Kōichi. 1994. “Complicit Exoticism: Japan and Its Other.” Continuum: Journal of Media & Cultural Studies 8 (2): 49–82.

• Iwabuchi, Koichi. 2002. “Nostalgia for a (Different) Asian

Modernity: Media Consumption of ‘Asia’ in Japan.” Positions: East Asia Cultures Critique 10 (3): 547–73.

• Shim, Doobo. 2011. “Hybridity and the Rise of Korean Popular

Culture in Asia.” Kyoto Review of Southeast Asia, no. 11 (March) 10. TV Dramas

• From: Feeling Asian Modernities: Transnational Consumption of Japanese TV Dramas, edited by Koichi Iwabuchi, Hong Kong University Press, 2004.

• Iwabuchi, Koichi. “Introduction: Cultural Globalization and Asian Media

Connections.” 1–22. • And one of the following:

• Ko, Yu-Fen. “Traveling With Japanese TV Dramas: Cross-Cultural

Orientation and Flowing Identification of Contemporary Taiwanese Youth.” 129–54.


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• Lee, Dong-Hoo. “Cultural Contact With Japanese TV Dramas: Modes of Reception and Narrative Transparency.” 251–74.

• Maclachlan, Elizabeth, and Geok-lian Chua. “Defining Asian

Femininity: Chinese Viewers of Japanese TV Dramas in Singapore.” 155–76.

FALL 2016 SEMINAR: CINEMA AND PRACTICE Global-30 "Japan-in-Asia Cultural Studies" Program

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SEMINAR SYLLABUS: CITY, URBAN CULTURE AND CINEMA IN CONTEMPORARY ASIA

Lecturer: MA Ran ([email protected]) Class: Thursday 5th Period, 16:30~18:00

Place: School of Letters, Room 131 Office/Hour: School of Letters Rm 224, appointment via email

SEMINAR BLOG: 2016NUCITY.BLOGSPOT.JP [readings and other course-related materials, notifications would be updated at

the course blog] Description & Objectives: In this fast-changing, ever globalizing world, the life and existence of human beings are to great extent defined by the urban condition they are enmeshed within and struggling with. This graduate-level seminar attempts to survey major urban issues and cultural topics in modern societies by engaging with a wide spectrum of cultural texts drawn from films, literary works as well as architecture; in case studies, particular attention is paid to the social context and cities in Asia. City will not only be simply explored as the theme or ambience featured in these texts, following our adventure of “entering” the city, with the socio-historical dimensions of urban space theoretically surveyed, we shall direct our attention to the urbanites and their mental life. A critical journey of wandering in the city as flâneur and encountering other strangers would lead us into the “invisible city” as interwoven with fear, desire, memory, and dream. Finally, the seminar will position the study of urban culture within the heated discourses and debates on globalization. Departing from observations upon Asian metropolises, students are expected to debate and discuss cinematic texts in relation to the urban condition of local, regional and global scales. Through the seminar, students will learn to approach and critique the cultural space of cities by utilising key concepts drawn from various theoretical perspectives such as cultural studies, visual culture and sociology. Course Approach: ✚Lectures, screenings, discussions/presentations and oral/written analyses. Under the academic guidance and facilitation of the lecturer, students are expected to critically evaluate theories and arguments from their readings and learn to apply the concepts and theories in film analysis. It is also expected that the students could communicate (not mechanically reciting) their ideas effectively via discussions and presentations as well as in writing assignments.


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✚Film-viewing underlines your study flow of the seminar. Screenings will 1) take

place as part of the weekly class, or 2) the lecturer will book the classroom for

film-viewing as extra to the weekly course plan; 3) assigned to the students for

self-study. For students who cannot make the scheduled group screenings for

good reasons, they are urged to loan the DVDs from the lecturer or at the local

video-shops. Evaluation: 10% Attendance 20% Contribution to class discussion/presentation 20% Reading Journal Assignment (x2) 10% In-class Quiz/Take-home Essay 30% Final Paper N O T E : T h r e e a b s e n c e s , i n c l u d i n g i n - c l a s s s c r e e n i n g s , w i t h o u t p r o p e r e v i d e n c e p r o v i d e d e q u a l s F A I L Course Assignments: Reading Journal Assignment: Due on Nov.30th (Wed)/Dec 27th(Tue) 5pm, via email For November and December, students are expected to submit one reading journal assignment reflecting upon their reading progress in the previous month (till the date of the submission). They are required to review, evaluate and even critique concepts and arguments by referring to both the required and reference readings (from the previous month) and write a 500-word journal. Details will be offered later in class. Final Paper: Due Date & other details TBA

Take Home Project: Due Date & other details TBA Note on Plagiarism: Plagiarism: A writer who presents the ideas of words of another as if they were the writer’s own (that is, without proper citation) commits plagiarism. Plagiarism is not tolerable in this course or at Nagoya University. You should avoid making quotes or drawing on figures from nowhere—you must provide sources of reference for quotation and/or citations you use in the paper. This applies to images and media clips as well. Failure to observe this would risk being charged of plagiarism. [All assignments/papers will be checked with professional software]


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SCHEDULE OF CLASSES

WEEK 1/OCT 6TH INTRODUCTION：OBJECTIVES; TOPICS; APPROACH; ASSIGNMENTS Screening (part): Sans Soleil, Dir. Chris Marker, 1983 I. THE CITY IN PERSPECTIVE: THE DISAPPEARING, THE

INVISIBLE AND THE HAUNTING WEEK 2/OCT 13TH READING SESSION: CITY AS CULTURAL TEXT Required Reading Donald Richie, Tokyo: A View of the City, London, England: Reaktion Books, 1999,11-16 Roland Barthes, “the Eiffel Tower” Walter Benjamin, “Paris, the Capital of the Nineteenth Century”, 1935 WEEK 3/OCT 20TH ARRIVING IN THE CITY: SPACE, EVENT AND CINEMA Required Reading Yomi Braester, “Arriving in the City; Touring the City; Watching the City”, Cinema at the City’s Edge: Film and Urban Networks in East Asia. Yomi Braester, James Tweedie, eds., Hong Kong University Press: 2010. Mark Shiel. “Cinema and the City in History and Theory”, Cinema and the City: Film and Urban Societies in a Global Context, ed. Tony Fitzmaurice and Mark Shiel, 2001 Reference Reading Bernard Tschumi, “Six Concepts”, Architecture and Disjunction, Cambridge, Mass.: MIT Press, 1996.227-259 Film for discussion: Sans Soleil, Dir. Chris Marker, 1983 (also refer to Tokyo-ga, Dir. Wim Wenders, 1985)

THE DISAPPEARING CITY: RUINS & MONUMENTS I


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Week 4/Oct 27th Screening: Hiroshima Mon Amour , Dir. Alain Resnais, 1959

Week 5 NOV 3 National Holiday: No Class

Week 6/Nov 10th Seminar Session Required Readings Mercken-Spaas, Godelieve “Destruction and Reconstruction in Hiroshima, Mon Amour”, Literature/Film Quarterly, 1980 Vol. 8, No. 4, p244-250 James Tweedie, “Walking in the City”, The Age Of New Waves: Art Cinema And The Staging Of Globalization, Oxford University Press, 2013, p83-128 Moses, John W., “Vision Denied in Night and Fog and Hiroshima Mon Amour”. Literature Film Quarterly. 1987, Vol. 15 Issue 3, p159. 5p.

WEEK 7/NOV 17TH THE DISAPPEARING CITY: RUINS & MONUMENTS II Required Reading

Sheldon H. Lu, “Tear Down The City: Reconstructing Urban Space In Contemporary Chinese Popular Cinema and Avant-Garde Art”, The Urban Generation: Chinese Cinema And Society At The Turn Of The Twenty-First Century, eds. Zhang Zhen, 2007 Film for discussion: 100 Flowers Hidden Deep, Dir.:Chen Kaige (available at YouTube); Shower, Dir. Zhang Yang, 1999

Reference Reading

SCREENING Shower, Dir. Zhang Yang, 1999

Nov 14th (Monday), Venue: Rm 131, Time: 4:30pm~


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Wu Hung, “Ruins, Fragmentation, and the Chinese Modern/postmodern”, Making History: Wu Hung on Contemporary Art, Blue Kingfisher, 2009, p59-66

INVISIBLE CITY: DREAM, DESIRE & MEMORY I

WEEK 8/NOV 24ST Screening Goodbye Dragon Inn, Dir. Tsai Ming-liang, 2003, 82min

WEEK 9/DEC 1ST SEMINAR SESSION: CASE STUDY OF TSAI MINGLIANG’S FILMS Required Reading: Kenneth Chan. “Goodbye Dragon Inn: Tsai Ming-Liang’s Political Aesthetics Of Nostalgia, Place, And Lingering”, Journal of Chinese Cinemas, Vol No.1 Issue 2, 2007

“Leaving The Cinema: Metacinematic Cruising in Tsai Ming-liang’s Goodbye, Dragon Inn”, Jump Cut: A Review of Contemporary Media, Jump Cut, No. 50, spring 2008

WEEK 10/DEC 8TH INVISIBLE CITY: DREAM, DESIRE & MEMORY II

Required Reading: Georg Simmel: “The Metropolis and Mental Life”, 1903 Ackbar Abbas, “Affective Spaces in Hong Kong/Chinese Cinema”, Cinema at the City’s Edge: Film and Urban Networks in East Asia. Yomi Braester, James Tweedie, eds., Hong Kong University Press: 2010.

SCREENING 2046 , Dir. Wong Kar-wai, 2004

Dec 5th (Monday), Venue: Rm. 131, Time: 4:30pm~

SCREENING Double Vision , Dir. Chen Kuo-fu, 2002, 113min

Dec 12th (Monday), Venue: Rm 131, Time: 4:30pm~


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WEEK 11/DEC 15TH HAUNTING CITIES: THE UNCANNY AND THE GHOSTLY Required Readings Dudley Andrew, “Ghost Towns”, Cinema at the City’s Edge: Film and Urban Networks in East Asia. Yomi Braester, James Tweedie, eds., Hong Kong University Press: 2010. Freud, “Uncanny”, 1919 Tweedie, James. in “Morning In The New Metropolis: Taipei And The Globalization Of City Film,” Cinema Taiwan: Politics, Popularity And State Of The Arts, edited by Darrell William Davis and Ru-shou Robert Chen, Routledge, 2007,p116-130 Film for discussion: Double Vision , Dir. Chen Kuo-fu, 2002, 113min II. ENCOUNTERS: FLÂNEUR AND STRANGER WEEK 12/DEC 22ND FLÂNEUR AND DÉRIVE: ROAMING IN THE CITY Required Readings Walter Benjamin, “On Some Motifs on Baudelaire” Linda Chiu-Han Lai, “Whither The Walker Goes: Spatial Practices And Negative Poetics In 1990s Chinese Urban Cinema”, The Urban Generation: Chinese Cinema And Society At The Turn Of The Twenty-First Century, eds. Zhang Zhen, 2007 Reference Reading Marshall Berman, “Baudelaire: Modernism in the Streets” Thomas, Mcdonough. “the derive and Situationist Paris”, Situacionistas/Situationists: Arte, Politica, Urbanismo/Art, Politics, Urbanism Homework Viewing: Suzhou River, Dir. Lou Ye, 2000

Dec 28th-Jan 7th Winter Break WEEK 13/JAN 12TH STRANGERHOOD IN THE METROPOLIS


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Required Readings Georg Simmel, “the Stranger” Also available online at: http://midiacidada.org/img/O_Estrangeiro_SIMMEL.pdf Homework Viewing: Stranger than Paradise, Dir. Jim Jarmusch, 1984

BORDER TRANSGRESSED: MINORITY, DIASPORA AND REFUGEE Week 14/Jan 19th Screening: Old Dog , dir. Pema Tseden, 2013 Week 15/Jan 26th Lecture + Seminar Session: Required Readings Berry, Chris. 2016, “Pema Tseden and the Tibetan Road Movie: Space and Identity beyond the ‘Minority Nationality Film’”, Journal of Chinese Cinemas, pp. 89-105., 10.1080/17508061.2016.1167334 Frangville, Vanessa. 2016, “Pema Tseden’s The Search: The Making Of A Minor Cinema”, Journal of Chinese Cinemas, pp.106-119, http://dx.doi.org/10.1080/17508061.2016.1167335 FILMOGRAPHY: 100 Flowers Hidden Deep, Dir.:Chen Kaige (available at YouTube) 2046, Dir. Wong Kar-wai, 2004 Goodbye Dragon Inn, Dir. Tsai Ming-liang, 2003 Hiroshima Mon Amour, Dir. Alain Resnais, 1959 Old Dog, dir. Pema Tseden, 2013 Sans Soleil, Dir. Chris Marker, 1983 Shower, Dir. Zhang Yang, 1999 Stranger than Paradise, Dir. Jim Jarmusch, 1984 Suzhou River, Dir. Lou Ye, 2000 READING LIST Ackbar Abbas, Hong Kong: Culture and the Politics of Disappearance. Georg Simmel, On Individuality and Social Forms. Tony Fitzmaurice and Mark Shiel, eds. Cinema and the City: Film and Urban Societies in a Global Context, 2001


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Yomi Breaster & James Tweedie. eds. Film and Urban Networks in East Asia. Hong Kong University Press: 2010. Walter Benjamin, Charles Baudelaire, A Lyrical Poet in the Era of High Capitalism. FURTHER READINGS Frances Guerin and Roger Hallas. eds. The Image and the Witness: Trauma, Memory and Visual Culture, 2007 Italo Calvino, Invisible Cities, 2002 Jenny Kwok Wah Lau eds. Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia. Philadelphia: Temple University Press, 2003 Malcolm Miles, et.al.. eds, The City Culture Reader. London; New York: Routledge, 2000 Roland Barthes, The Empire of Signs.

901 Graduate Seminar: Literary theory and practice IV (Fall 2016)



1. Class Meetings Friday, 5th period (beginning October 7), Rm 131

2. Course Registration The course is open to all graduate students as well as NUPACE students. It will

mostly be taught in English but all participants should have some understanding of

Japanese and ideally be able to follow discussions in both languages. Reading

responses and seminar papers can be submitted in either language.

3. Course Description The course aims to deepen graduate students’ understanding of research

approaches to the study of modern an contemporary Japanese literature, as well

as related fields.

4. Course Content This graduate seminar will examine a broad range of topics in modern literature

and related fields. The course is designed to give maximum support to students

and aims to familiarize them with critical and theoretical approaches useful for

their specific research projects.

This is a reading-intensive course the outcome of which depends on your

preparation and active discussion in class. Assignments will depend on the class

size but are likely to include short writing assignments, presentations and panel

discussions. Students are expected to write a final research paper of 20-25 pages.

5. Textbooks & Reference Materials No textbook is required for this course. All readings will be made available as PDFs,

etc.

6. Evaluation TBA. An attendance rate of at least 80% is mandatory for all students.

Documents

1. Class Meetings - cms.lit.nagoya-u.ac.jp Syllabi (JACS).pdf · ² Hall, Stuart, ed. Representation. Cultural Representations and Signifying Practices. London: Sage, 1997. 6. Evaluation