East Asian Cinema

Course Syllabus 2014 YONSEI INTERNATIONAL SUMMER SCHOOL

East Asian Cinema

CREDIT INSTRUCTOR Daniel O’Neill

OFFICE OFFICE HOURS

TIME TBA CLASSROOM LOCATION TBA

E-MAIL [email protected] * Please leave the fields blank which haven’t been decided yet.

[COURSE INFORMATION]

This course explores the aesthetic and political ambitions of contemporary East Asian horror. While the theoretical speculations have taken American and European films as their models, they seem unprepared for the vibrant horror films emerging from East Asia. Our goal for the course is to better understand the cinematic style of East Asian horror films, their stock figures and COURSE DESCRIPTION & GOALS conventions as well as their critical potential.

The course consists of 1) lecture (including film discussion) and 2) film screening. It is mandatory for students to attend both lecture and screening. Students are also expected to participate in film discussion actively.

PREREQUISITE N/A

 Attendance of both lecture and film screening is required. Classroom participation is a part of your overall grade. Read the assigned articles of the week before coming to class. Also, formulate comments on films.  Weekly film review assignment is designed to facilitate discussion in the COURSE REQUIREMENTS following week. Review should be a short one paragraph-long critical entry on film or assigned reading of the week. In addition, students should also formulate few questions related to film. You must bring your hardcopy of the review to class for submission.  Final Paper (approximately 8-10 pages.)

Attendance and Participation (30%) Weekly Film Reviews (30%) GRADING POLICY Final Paper (40%)

Course Syllabus 2014 YONSEI INTERNATIONAL SUMMER SCHOOL

TEXTS & REFERENCES Course Reader will be made available

Associate Professor Daniel O'Neill received his Ph.D. from the Department of East Asian Languages and Cultures at Yale University in 2002. At UC Berkeley, INSTRUCTOR’S PROFILE he teaches courses in Japanese literature, East Asian cinema and popular culture. His research interests include the novel in comparative perspective, global modernisms, visual culture and critical theory.

[WEEKLY SCHEDULE] * Your detailed explanation would be very helpful for prospective students to get a pre-approval for credit-transfer from their home university in advance. COURSE MATERIAL & WEEK (PERIOD) WEEKLY TOPIC & CONTENTS REFERENCE ASSIGNMENTS

Film: Kairo (Kurosawa Apocalyptic Visions: Kiyoshi, 2001) “The Imagination of Disaster” 1 Monster Flicks: Film: Gojira (Ishirô Honda, “The Bomb, Hirohito, and History” 1954)

Nuclear Narratives: Film: Akira (Ôtomo “Godzilla and Japanese Sci- Katsuhiro, 1988) Fi/Horror/Fantasy” 2 Horror of Postwar: Film: Tetsuo: The Iron Man “The Japanese Imagination of Disaster (Tsukamoto Shinya, 1989) from Godzilla to Akira”

Post/Human Narratives: Film: Kwaidan (Kobayashi “Mapping the Post/Human” Masaki, 1964) 3 Ghosts and Cinema: Film: Rouge (Stanley “National-Cultural Phantasms and Kwan, 1987) Modernity’s Losses” Course Syllabus 2014 YONSEI INTERNATIONAL SUMMER SCHOOL

COURSE MATERIAL & WEEK (PERIOD) WEEKLY TOPIC & CONTENTS REFERENCE ASSIGNMENTS

Spectral Time: “The Ghost Film as Historical Film: R-Point (Kong Su- Allegory” chang, 2004) 4 Historical Trauma: Film: Audition (Takashi “Creating a National Cinema: The Miike, 2000) South Korean Experience”

Film: Sympathy for Lady Body Horror: Vengeance (Park Chan- “The Break-up of the National Body” 5 Revenge Narratives: wook, 2005) “Horror as Critique” Film: Film: Dumplings (Fruit Chan, 2004)

Film: The Eye (Oxide Pang Postcolonial Horror: “Culture in a Space of Disappearance” Chun, 2002) 6 Transnational Horror: Film: Tale of Two Sisters “The Pan-Asian Outlook” (Kim Ji-woon, 2003)