CURE2024 Taiwan New Cinema and Beyond: Authorship, Transnationality, Historiography 2018/19 Term 1

Home , A Brighter Summer Day, A City of Sadness, Blue Gate Crossing, Eat Drink Man Woman

Lecture: Wednesday 1:30 – 3:15 pm Venue: KKB 101 (梁銶琚樓)

Tutorial: Wednesday 3:30 – 4:15 pm Venue: KKB 101 (梁銶琚樓) and LSK 204 (李兆基樓)

Lecturer: Prof. LIM Song Hwee 林松輝 Email: [email protected] Office: Room 213 Leung Kau Kui Building Office tel: 39439872

Tutor: tbc Email:

1 AIMS

This module aims to familiarise students with the key works of the Taiwan New Cinema movement and its legacy beyond Taiwan and into the twenty-first century. It will explore not just the work of a wide array of film directors, but also the texts and the condition of their production, distribution, exhibition and consumption within a transnational framework, all of which impinge on the question of “national” film historiography. It will examine, in particular: the socio-political background of the emergence of the Taiwan New Cinema movement, its key directors and their works, the international context of their reception and the transnational nature of their production, and its legacy to date. It will provide students with an in-depth knowledge of the work of selected film authors and an awareness of the cinematic, cultural, and socio-political contexts in which they work, and enable students to analyse the work in relation to questions of transnationality and historiography.

LEARNING AND TEACHING ACTIVITIES

Teaching is by a weekly lecture and tutorial. Lectures will introduce key concepts and contextual background. Students will be expected to participate in discussions and to prepare for group presentations in tutorials.

Lectures will be delivered in English and Cantonese; group presentation and tutorial discussion can be conducted in English and/or Cantonese.

Tutorial plan: Please see separate document to be distributed in class.

ASSESSMENTS

• 10% - Class participation and attendance • 20% - Tutorial presentation • 70% - Written examination

Grade Descriptor

A Outstanding performance on all learning outcomes. A- Generally outstanding performance on all (or almost all) learning outcomes. B Substantial performance on all learning outcomes, OR high performance on some learning outcomes which compensates for less satisfactory performance on others, resulting in overall substantial performance. C Satisfactory performance on the majority of learning outcomes, possibly with a few weaknesses. D Barely satisfactory performance on a number of learning outcomes F Unsatisfactory performance on a number of learning outcomes, OR failure to meet specified assessment requirements.

2 SYLLABUS PLAN

Week 1 Taiwan Cinema Before “Taiwan New Cinema” Week 2 The “Taiwan New Cinema” Movement Week 3 Theories of Authorship Week 4 Authorship (I): Hou Hsiao-hsien Week 5 Authorship (II): Edward Yang Week 6 Authorship (III): Ang Lee Week 7 No classes – Public holiday Week 8 Authorship (IV): Tsai Ming-liang Week 9 Taiwan New Cinema as Soft Power Week 10 The Aural Turn Week 11 The Medial Turn Week 12 The Industrial Turn Week 13 The Affective Turn

SET TEXT

Yeh, Yueh-yu Emilie, and Davis, Darrell William (2005) Taiwan Film Directors: A Treasure Island. New York: Columbia University Press. 葉月瑜、戴樂為 (2016)《台灣電影百年漂流》，台北：書林。

GENERAL READING LIST on TAIWAN CINEMA

Berry, Chris, and Lu, Feii (eds.) (2005) Island on the Edge: Taiwan New Cinema and After. Hong Kong: Hong Kong University Press. Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese Filmmakers. New York: Columbia University Press. Davis, Darrell William, and Chen, Ru-shou Robert (eds.) (2007) Cinema Taiwan: Politics, Popularity and State of the Arts. London and New York: Routledge. Hong, Guo-Juin (2011) Taiwan Cinema: A Contested Nation on Screen. Basingstoke, Hampshire: Palgrave Macmillan. Lu, Tonglin (2007) Confronting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge University Press. Wicks, James (2015) Transnational Representations: The State of Taiwan Film in the 1960s and 1970s. Hong Kong: Hong Kong University Press. Wilson, Flannery (2014) New Taiwanese Cinema in Focus: Moving Within and Beyond the Frame. Edinburgh: Edinburgh University Press. Yip, June (2004) Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary. Durham: Duke University Press. 陳儒修 (1994) 台灣新電影的歷史文化經驗。台北：萬象。焦雄屏編著 (1988) 台灣新電影。台北：時報文化。焦雄屏編著 (2002) 台灣電影 90 新新浪潮。台北：麥田。 *焦雄屏著 (2018) 映像台灣。台北：蓋亞文化。 *盧非易 (1998) 台灣電影：政治，經濟，美學。台北：遠流。迷走，梁新華編 (1991) 新電影之死：從《一切為明天》到《悲情城市》。台北：唐山。迷走，梁新華編 (1994) 新電影之外／後。台北：唐山。

3 Honesty in Academic Work: A Guide for Students and Teachers

The Chinese University of Hong Kong places very high importance on honesty in academic work submitted by students, and adopts a policy of zero tolerance on academic dishonesty. While "academic dishonesty" is the overall name, there are several sub- categories as follows:

(i) Plagiarism (ii) Undeclared multiple submission (iii) Cheating in tests and examinations (iv) All other acts of academic dishonesty

Any related offence will lead to disciplinary action including termination of studies at the University. Everyone should make himself/herself familiar with the content of this website and thereby help avoid any practice that would not be acceptable: https://www.cuhk.edu.hk/policy/academichonesty/

English: https://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013- 14)/index_page2.htm 中文：https://www.cuhk.edu.hk/policy/academichonesty/Chi_htm_files_(2013- 14)/index_page2.htm

All student assignments in undergraduate and postgraduate programmes should be submitted via VeriGuide: https://academic.veriguide.org/academic/login_CUHK.jspx

4 WEEK 1 – 5th September 2018 TAIWAN CINEMA BEFORE “TAIWAN NEW CINEMA”

Required viewing: A Touch of Zen (King Hu, 1971) 俠女（胡金銓）

Required reading: *Taiwan Film Directors, “Introduction: Treasure Island”, and Chapter 1, “Parallel Cinemas: Postwar History and Major Directors”. 《台灣電影百年漂流》，導論「寶島台灣」及第一章「平行電影：戰後影史及重要導演」 Udden, James (2007) “Taiwan”, in Mette Hjort and Duncan Petrie (eds.), The Cinema of Small Nations, Edinburgh: Edinburgh University Press, pp. 144-159.

Further reading: Berry, Chris (2009) “Re-writing Cinema: Markets, Languages, Cultures in Taiwan”, in Fang-long Shih, Stuart Thompson and Paul-François Tremlett (eds.), Re-writing Culture in Taiwan, Abington, Oxon: Routledge, pp. 140-153. Farquhar, Mary (2003) “A Touch of Zen: Action in Martial Arts Movies”, in Chris Berry (ed.), Chinese Films in Focus: 25 New Takes, London: BFI Publishing, 167-174. Hong, Guo-Juin (2010) “Historiography of Absence: Taiwan Cinema Before New Cinema 1982”, Journal of Chinese Cinemas 4 (1): 5-14. Horng, Menghsin C. (2010) “Domestic Dislocations: Healthy Realism, Stardom, and the Cinematic Projection of Home in Postwar Taiwan”, Journal of Chinese Cinemas 4 (1): 27-43. Teo, Stephen (2007) King Hu’s A Touch of Zen. Hong Kong: Hong Kong University Press.

5 WEEK 2 – 12th September 2018 THE “TAIWAN NEW CINEMA” MOVEMENT

Required viewing: The Sandwich Man (Hou Hsiao-hsien, Zeng Zhuangxiang, Wan Ren, 1983) 兒子的大玩偶（侯孝賢，曾壯祥，萬仁） Recommended additional viewing: In Our Time (Ko I-cheng, Edward Yang, Chang Yi, 1982) 光陰的故事（柯一正，楊德昌，張毅）

Required reading: *Taiwan Film Directors, Chapter 2, “Challenges and Controversies of the Taiwan New Cinema”. 《台灣電影百年漂流》，第二章「台灣新電影的挑戰與爭議」 Tweedie, James (2013) “Chapter 4, The Urban Archipelago: Taiwan’s New Wave and the East Asian Economic Boom.” In The Age of New Waves: Art Cinema and the Staging of Globalization. Oxford: Oxford University Press, pp. 143-177.

Further Reading Berry, Chris and Lu, Feii (2005) “Introduction”, in Chris Berry and Feii Lu (eds.), Island on the Edge: Taiwan New Cinema and After, Hong Kong: Hong Kong University Press, pp. 1-12. Hong, Guo-Juin (2011) Taiwan Cinema: A Contested Nation on Screen. Basingstoke, Hampshire: Palgrave Macmillan. Chapter 4, “A Time to Live, A Time to Die: New Taiwan Cinema and Its Vicissitudes, 1982-1986”, pp. 107-137. Lu, Tonglin (2011) “Taiwan New Cinema and Its Legacy,” in Song Hwee Lim and Julian Ward (eds.), The Chinese Cinema Book, London: BFI and Basingstoke, Hampshire: Palgrave Macmillan, pp. 122-130. Yip, June (2004) Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary. Durham: Duke University Press. Chapter 2, “Toward the Postmodern: Taiwanese New Cinema and Alternative Visions of Nation”, pp. 49- 68.

6 WEEK 3 – 19th September 2018 THEORIES OF AUTHORSHIP

Required viewing: 《侯孝賢畫像》Portrait of Hou Hsiao-hsien (奧利弗．阿薩亞斯/Olivier Assayas, 1997)

Required reading: Buscombe, Edward (1981) “Ideas of Authorship.” In John Caughie (ed.) Theories of Authorship. London: Routledge and Kegan Paul, pp. 22-34. Grant, Catherine (2000) “www.auteur.com?” Screen 41 (1): 101-108.

Further reading: Andrew, Dudley (2000) “The Unauthorized Auteur Today.” In Robert Stam and Toby Miller (eds.) Film and Theory: An Anthology. Malden, Mass., USA, and Oxford, UK: Blackwell Publishers, pp. 20-29. Gerstner, David, and Staiger, Janet (eds.) (2003) Authorship and Film. New York: Routledge. Grant, Berry Keith (ed.) (2008) Auteurs and Authorship: A Film Reader. Malden, MA: Blackwell Publishing. Lim, Song Hwee (2007) “Positioning Auteur Theory in Chinese Cinemas Studies: Intratextuality, Intertextuality and Paratextuality in the Films of Tsai Ming- liang”, Journal of Chinese Cinemas 1 (3): 223-245. Sarris, Andrew (2009) “Notes on the Auteur Theory in 1962.” In Leo Braudy and Marshall Cohen (eds.) Film Theory and Criticism: Introductory Readings. New York and Oxford: Oxford University Press, 7th edition, pp. 451-454. Wexman, Virginia Wright (ed.) (2003) Film and Authorship. New Brunswick: Rutgers University Press. Wollen, Peter (2009) “The Auteur Theory.” In Leo Braudy and Marshall Cohen (eds.) Film Theory and Criticism: Introductory Readings. New York and Oxford: Oxford University Press, 7th edition, pp. 455-470.

7 WEEK 4 – 26th September 2018 AUTHORSHIP (I): HOU HSIAO-HSIEN

Required viewing: A Time to Live, A Time to Die (Hou Hsiao-hsien, 1985) 童年往事（侯孝賢） Recommended additional viewing: Three Times (Hou Hsiao-hsien, 2005) 最好的時光（侯孝賢）

Required reading: *Taiwan Film Directors, Chapter 4, “Trisecting Taiwan Cinema with Hou Hsiao-hsien”, pp. 133-176. 《台灣電影百年漂流》，第四章「侯孝賢三分台灣電影」 Udden, James (2009) No Man an Island: The Cinema of Hou Hsiao-hisen. Hong Kong: Hong Kong University Press. Chapter 2, “Hou and the Taiwanese New Cinema”, pp. 49-85. [Note: second edition, 2017]

Further reading: Berry, Chris (2006) “From National Cinema to Cinema and the National: Chinese- language Cinema and Hou Hsiao-Hsien’s ‘Taiwan Trilogy’”, in Valentina Vitali and Paul Willemen (eds.), Theorising National Cinema, London: BFI Publishing, pp. 148-157. Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese Filmmakers. New York: Columbia University Press. “Hou Hsiao-hsien with Chu T’ien-wen: Words and Images”, pp. 234-271. Bordwell, David (2005) Figures Traced in Light: On Cinematic Staging. Berkeley, Los Angeles and London: University of California Press. Chapter 5, “Hou, or Constraints”, pp. 186-237. Inter-Asia Cultural Studies (2008) Special issue on Hou Hsiao-hsien, Vol. 9, No. 2. Neri, Corrado (2008) “A Time to Live, A Time to Die: A Time to Grow”, in Chris Berry (ed.), Chinese Film in Focus II, London: BFI and Basingstoke, Hampshire: Palgrave Macmillan, pp. 212-218. Reynaud, Bérénice (2002) A City of Sadness. London: BFI Publishing. Yeh, Emilie Yueh-yu (2005) “Poetics and Politics of Hou Hsiao-hsien’s Films”, in Sheldon H. Lu and Emilie Yueh-yu Yeh (eds.) Chinese-Language Film: Historiography, Poetics, Politics, Honolulu: University of Hawaii Press, pp. 163- 185.

8 WEEK 5 – 3rd October 2018 AUTHORSHIP (II): EDWARD YANG

Required viewing: The Terrorizers (Edward Yang, 1986) 恐怖份子（楊德昌） Recommended additional viewing: Yi Yi: A One and a Two (Edward Yang, 2000) 一一（楊德昌）

Required Reading: *Taiwan Film Directors, Chapter 3, “Navigating the House of Yang”, pp. 91-131. 《台灣電影百年漂流》，第三章「楊德昌屋間導覽」 Chang, Yvonne Sung-sheng (2005) “The Terrorizer and the Great Divide in Contemporary Taiwan’s Cultural Development”, in Chris Berry and Feii Lu (eds.), Island on the Edge: Taiwan New Cinema and After, Hong Kong: Hong Kong University Press, pp. 13-25.

Further reading: Anderson, John (2005) Edward Yang. Urbana and Chicago: University of Illinois Press. Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese Filmmakers. New York: Columbia University Press. “Edward Yang: Luckily Unlucky”, pp. 272-295. Chang, Yvonne Sung-sheng (2005) “Twentieth-Century Chinese Modernism and Globalizing Modernity: Three Auteur Directors of Taiwan New Cinema”, in Laura Doyle and Laura A. Winkiel (eds.), Geomodernisms: Race, Modernism, Modernity, Bloomington: Indiana University Press, pp. 133-150. Jameson, Fredric (1994) “Remapping Taipei”, in Nick Browne et al (eds.), New Chinese Cinemas: Forms, Identities, Politics, Cambridge: Cambridge University Press, pp. 117-150. Li, David Leiwei (2003) “Yi Yi: Reflections on Reflexive Modernity in Taiwan”, in Chris Berry (ed.), Chinese Films in Focus: 25 New Takes, London: BFI Publishing, pp. 198-204. Lu, Tonglin (2002) Confronting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge University Press. Chapter 4, “Melodrama of the City”, pp. 116-154.

9 WEEK 6 – 10th October 2018 AUTHORSHIP (III): ANG LEE

Required viewing: Eat Drink Man Woman (Ang Lee, 1994) 飲食男女（李安） Recommended additional viewing: Lust, Caution (Ang Lee, 2007) 色，戒（李安）

Required reading: *Taiwan Film Directors, Chapter 5, “Confucianizing Hollywood: Films of Ang Lee”, pp. 177-216. 《台灣電影百年漂流》，第五章「儒化好萊塢：李安的電影」 Dariotis, Wei Ming and Fung, Eileen (1997) “Breaking the Soy Sauce Jar: Diaspora and Displacement in the Films of Ang Lee”, in Sheldon Hsiao-peng Lu (ed.), Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, pp. 187-220.

Further reading: Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese Filmmakers. New York: Columbia University Press. “Ang Lee: Freedom in Film”, pp. 324-361. Dilley, Whitney Crothers (2007) The Cinema of Ang Lee: The Other Side of the Screen. London: Wallflower. Chapter 5, “Globalisation and Cultural Identity in Eat Drink Man Woman”, pp. 71-82. [Note: second edition, 2014] Lee, Haiyan (2010) “Enemy under My Skin: Eileen Chang’s Lust, Caution and the Politics of Transcendence”, PMLA 125 (3): 640-656. Shih, Shu-mei (2007) Visuality and Identity: Sinophone Articulations Across the Pacific. Berkeley: University of California Press. Chapter 1, “Globalization and Minoritization”, pp. 40-61. Wei, Ti (2005) “Generational/Cultural Contradictions and Global Incorporation: Ang Lee’s Eat Drink Man Woman”, in Chris Berry and Feii Lu (eds.), Island on the Edge: Taiwan New Cinema and After, Hong Kong: Hong Kong University Press, pp. 101-112.

WEEK 7 – 17th October 2018 No classes (Public holiday 中元節)

10 WEEK 8 – 24th October 2018 AUTHORSHIP (IV): TSAI MING-LIANG

Required viewing: Vive L’amour (Tsai Ming-liang, 1994) 愛情萬歲（蔡明亮） Recommended additional viewing: Goodbye, Dragon Inn (Tsai Ming-liang, 2003) 不散（蔡明亮）

Required Reading: *Taiwan Film Directors, Chapter 6, “Camping Out with Tsai Ming-liang”, pp. 217-248. 《台灣電影百年漂流》，第六章「和蔡明亮一起坎普」 Martin, Fran (2003) “Vive L’amour: Eloquent Emptiness”, in Chris Berry (ed.), Chinese Films in Focus: 25 Takes, London: BFI, pp. 175-182.

Further reading: Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese Filmmakers. New York: Columbia University Press. “Tsai Ming-liang: Trapped in the Past”, pp. 362-397. Betz, Mark (2006) “The Cinema of Tsai Ming-liang: A Modernist Genealogy”, in Maria N. Ng and Philip Holden (eds.), Reading Chinese Transnationalisms: Society, Literature, Film, Hong Kong: Hong Kong University Press, pp. 161-172. Chan, Kenneth (2007) “Goodbye, Dragon Inn: Tsai Ming-liang’s Political Aesthetics of Nostalgia, Place, and Lingering.” Journal of Chinese Cinemas 1 (2): 89-103. Journal of Chinese Cinemas (2007) Special issue on Tsai Ming-liang, Vol. 1, no. 2. _____ (2011) Special issue on Tsai Ming-liang, Vol. 5, no. 2. Lim, Song Hwee (2006) Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawaii Press. Chapter 5, “Confessing Desire: The Poetics of Tsai Ming-liang’s Queer Cinema”, pp. 126- 152. Ma, Jean (2010) Melancholy Drift: Marking Time in Chinese Cinema. Hong Kong: Hong Kong University Press. Chapter 3, “The Post-Classical Art Film”, pp. 73-94, and Chapter 4, “The Haunted Movie Theater”, pp. 95-122. Rehm, Jean-Pierre, Olivier Joyard, and Danièle Rivière. 1999. Tsai Ming-liang. Paris: Dis Voir.

11 WEEK 9 – 31st October 2018 TAIWAN NEW CINEMA AS SOFT POWER

Required viewing: 紀錄片《光陰的故事：台灣新電影》（謝慶鈴, 2014） Recommended additional viewing: 紀錄片《白鴿計劃》（蕭菊貞，2002）英文片名 Our Time, Our Story 收錄於 Criterion 版楊德昌電影 A Brighter Summer Day（牯嶺街少年殺人事件）DVD 紀錄片《我們這樣拍電影》（蕭菊貞，2015）DVD 未發行，參蕭菊貞編著（2016）《我們這樣拍電影》，台北：大塊文化。

Required Reading Lim, Song Hwee (2013) “Taiwan New Cinema: Small Nation with Soft Power”, in Carlos Rojas and Eileen Cheng-yin Chow (eds.), The Oxford Handbook of Chinese Cinemas. New York: Oxford University Press, pp. 152-169. Voci, Paola, and Luo Hui (2018) “Screening China’s soft power: Screen cultures and discourses of power”, in Paola Voci and Luo Hui (eds.), Screening China’s Soft Power. Abingdon, Oxon: Routledge, pp. 1–18. Available online: https://books.google.com.hk/books?id=tUc4DwAAQBAJ&printsec=frontcover&s ource=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

Further reading: Chitty, Naren (2017) ‘Introduction’, in N. Chitty, L. Ji, G. D. Rawnsley, and C. Hayden (eds.) The Routledge Handbook of Soft Power. Abingdon, Oxon and New York, NY: Routledge, pp. 1–6. Chua, Beng Huat (2012) Structure, Audience and Soft Power in East Asian Pop Culture. Hong Kong: Hong Kong University Press. Nye, Joseph S., Jr. (2004) Soft Power: The Means to Success in World Politics. New York: Public Affairs. 王耿瑜編 (2015) 《光陰之旅：台灣新電影在路上》。台北：台北市文化局。 Zhang, Yingjin (2018) “Afterword: Shifting perspectives on soft power and Chinese Screens”, in Paola Voci and Luo Hui (eds.), Screening China’s Soft Power. Abingdon, Oxon: Routledge, pp. 252–60.

12 WEEK 10 – 7th November 2018 THE AURAL TURN

Required viewing: Flight of the Red Balloon (Hou Hsiao-hsien, 2007) 紅氣球的旅行（侯孝賢） Recommended additional viewing: Café Lumière (Hou Hsiao-hsien, 2003) 咖啡時光（侯孝賢）

Required Reading Lim, Song Hwee (2014) “The Voice of the Sinophone.” In Audrey Yue and Olivia Khoo (eds.) Sinophone Cinemas. Basingstoke, Hampshire: Palgrave Macmillan, pp. 62-76. Shingler, Martin (2006) “Fasten Your Seatbelts and Prick Up Your Ears: The Dramatic Human Voice in Film.” Scope: An Online Journal of Film & TV Studies 5 (June). Available online: http://www.nottingham.ac.uk/scope/documents/2006/june- 2006/shingler.pdf.

Further reading: Bloom, Michelle E. (2016) Contemporary Sino-French Cinemas: Absent Fathers, Banned Books, and Red Balloons. Honolulu: University of Hawaii Press. See chapter 3. Dargis, Manohla (2008) “Another Balloon Over Paris, With Lives Adrift Below”, The New York Times (April 4), http://movies.nytimes.com/2008/04/04/movies/04ball.html. Hoberman, J. (2008) “Flight of the Red Balloon Soars.” Village Voice (1 April). http://www.villagevoice.com/2008-04-01/film/floating-life/. Lupke, Christopher (2016) The Sinophone Cinema of Hou Hsiao-hsien: Culture, Style, Voice, and Motion. Amherst, New York: Cambria Press. McKibbin, Tony (2006) “Situations over Stories: Café Lumière and Hou Hsiao- Hsien.” Senses of Cinema (June). http://www.sensesofcinema.com/contents/06/39/cafe_lumiere.html Udden, James (2009) No Man an Island: The Cinema of Hou Hsiao-hisen. Hong Kong: Hong Kong University Press. Conclusion, “Hou in the New Millennium”, pp. 163- 185. [See second edition, 2017]

13 WEEK 11 – 14th November 2018 THE MEDIAL TURN

Required viewing: Journey to the West (Tsai Ming-liang, 2014) 西遊（蔡明亮） Recommended additional viewing: Visage (Tsai Ming-liang, 2009) 臉（蔡明亮）

Required Reading Dercon, Chris (2002) “Gleaning the Future.” Vertigo 2 (2). https://www.closeupfilmcentre.com/vertigo_magazine/volume-2-issue-2- spring-2002/gleaning-the-future/. Lim, Song Hwee (2017) “Walking in the City, Slowly: Spectacular Temporal Practices in Tsai Ming-liang’s ‘Slow Walk, Long March’ Series”, Screen 58 (2): 180-196.

Further reading: Balsom, Erika (2013) Exhibiting Cinema in Contemporary Art. Amsterdam: Amsterdam University Press. Fujishima, Kenji (2014) Review of Journey to the West. Slant Magazine, 17 April. http://www.slantmagazine.com/film/review/journey-to-the-west-2014 Lim, Song Hwee (2014) Tsai Ming-liang and a Cinema of Slowness. Honolulu: University of Hawaii Press. 中文版《蔡明亮與緩慢電影》，臺北：臺大出版中心，2016. Rees, A. L. (2011) “Expanded Cinema and Narrative: A Troubled History.” In A.L. Rees, Duncan White, Steven Ball and David Curtis (eds.) Expanded Cinema: Art, Performance, Film. London: Tate Publishing, pp. 12-21. Schoonover, Karl (2012) “Wastrels of Time: Slow Cinema’s Laboring Body, the Political Spectator, and the Queer.” Framework 53 (1): 65-78. Uroskie, Andrew V. (2014) Between the Black Box and the White Cube: Expanded Cinema and Postwar Art. Chicago: The University of Chicago Press.

14 WEEK 12 – 21st November 2018 THE INDUSTRIAL TURN

Required Reading Lim, Song Hwee (2011) “Speaking in Tongues: Ang Lee, Accented Cinema, Hollywood”, in Lúcia Nagib, Chris Perriam and Rajinder Dudrah (eds.), Theorizing World Cinema, London: I.B. Tauris, pp. 129-144. Naficy, Hamid (2001) An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton and Oxford: Princeton University Press. Chapter 1, “Situating Accented Cinema.”

Further reading: Braester, Yomi (2005) “Chinese Cinema in the Age of Advertisement: The Filmmaker as a Cultural Broker.” The China Quarterly 183: 549-564. Chan, Kenneth (2012) “‘Asia’ as Global Hollywood Commodity.” In Cynthia Lucia, Roy Grundmann, and Art Simon (eds.). The Wiley-Blackwell History of American Film, volume 4. Oxford, U.K. and Malden, MA: Wiley-Blackwell, pp. 406-426. Corrigan, Timothy (1990) “The Commerce of Auteurism: A Voice without Authority.” New German Critique 49: 43-57. Marchetti, Gina (2009) “Hollywood and Taiwan: Connections, Countercurrents, and Ang Lee’s Hulk”, in Tan See-Kam, Peter X Feng and Gina Marchetti (eds.), Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora, Philadelphia: Temple University Press. McCarthy, Todd (1997) Review of The Ice Storm. Variety (May 24). http://www.variety.com/review/VE1117329736/. Pidduck, Julianne (2006) “The Transnational Cinema of Ang Lee”, in Dimitris Eleftheriotis and Gary Needham (eds.), Asian Cinemas: A Reader & Guide, Edinburgh: Edinburgh University Press, pp. 393-403.

15 WEEK 13 – 28th November 2018 THE AFFECTIVE TURN

Required viewing: Blue Gate Crossing (Yee Chih-yen, 2002) 藍色大門（易智言） Recommended additional viewing: Cape No. 7 (Wei Te-sheng, 2008) 海角七號（魏德聖）

Required Reading Harding, Jennifer, and Pribram, E. Deidre (2009) “Introduction: The Case for a Cultural Emotion Studies.” In Emotions: A Cultural Studies Reader, edited by Jennifer Harding and E. Deidre Pribram. London and New York: Routledge, pp. 1-23. 郭力昕 (2009) <「海角熱」退燒之後──台灣電影的格局與未來>，收錄於《2009 台灣電影年鑑》，台北：財團法人國家電影資料館，頁 53-57。

Further reading: Ahmed, Sara (2014) The Cultural Politics of Emotion, 2nd edition. Edinburgh: Edinburgh University Press. Chiu, Kuei-fen, Ming-yeh T. Rawnsley, and Gary D. Rawnsley (eds.) (2017)Taiwan Cinema: International Reception and Social Change. Abingdon, Oxon: Routledge. Leys, Ruth (2011) “The Turn to Affect: A Critique.” Critical Inquiry 37 (3): 434-472. Seigworth, Gregory J., and Gregg, Melissa (2010) “An Inventory of Shimmers.” In Melissa Gregg and Gregory J. Seigworth (eds.) The Affect Theory Reader. Durham and London: Duke University Press, pp. 1–25. Stewart, Kathleen (2007) Ordinary Affects. Durham and London: Duke University Press.