Hong Kong Shue Yan University s1

Hong Kong Shue Yan University

Department of English Language & Literature

Master of Arts in Interdisciplinary Cultural Studies

Course Title: Hong Kong Cultural Production

Course Code: ENG 512

Number of Credits: 3

Duration in Weeks: 14

Contact Hours Per Week: Lecture (2 Hours)

Tutorial (1 Hour)

Pre-requisite(s): NIL

Prepared by: Ms. Maria CHAN

Course Description

This course examines Hong Kong cultural production in the areas of theatre, cinema and literature. Various cultural texts including cinematic and literary texts will be examined to explore the relationship between Hong Kong cultural production and Hong Kong cultural identity and analyses the nature and problems of Hong Kong cultural production. This course also provides an interdisciplinary analysis of globalization on Hong Kong culture. Emphasis will be placed on the complex nature of the global-local dynamics.

Course Outcomes, Teaching Activities and Assessment

Course Intended Learning Outcomes (ILOs) Upon completion of this course students should be able to: ILO1 identify key features and likely future of Hong Kong cultural production ILO2 critically evaluate the development of Hong Kong cultural production ILO3 analyse changes in local cultural industries and their relation with globalization ILO4 apply critical concepts in analysing cultural production ILO5 develop critical and creative thinking and writing through appreciation of cultural production

TLA1 Introduction of issues related to cultural production and critical concepts TLA2 Critical analysis of Hong Kong cultural production TLA3 Group discussion TLA4 Students’ presentations 2 TLA5 Review writing TLA6 Essay writing

AT1 Class participation and discussion Students have to read the articles / book chapters listed in the course outline before they come to class and take part in class discussion. AT2 Oral presentation Students have to go and watch a local production (a film/a play, different from that in AT3) and analyse it with one of the approaches introduced in this course. AT3 Reviews Students have to go and watch a local production (a film/a play different from that in AT2) and write a review of 1000 words. AT4 Essay Students have to critically examine one Hong Kong cultural production in an essay of 5000 words. The essay may develop on the ideas presented in AT2, together comments received from the classmates and teacher after the oral presentation.

Alignment of Course Intended Learning Outcomes, Teaching and Learning Activities and Assessment Tasks Course Intended Learning Outcomes ILO1 TLA1,2,3 ILO2 TLA1,2,3,4 ILO3 TLA1,2,3,4 ILO4 TLA3,4,5,6 ILO5 TLA3,4,5,6 3

Course Outline

Week 1 Introduction to issues in cultural production: What is cultural production? What are the factors affecting cultural industries? How can the global-local dynamics drive Hong Kong into the future?

Readings Bourdieu, Pierre. (1999). “Cultural Reproduction and Social Reproduction.” Modernity: Critical Concepts. Ed. Malcolm Waters. London: Routledge. pp. 351-68.

Erni, John Nguyet. (2001) “Like a Postcolonial Culture: Hong Kong Re-imagined.” Cultural Studies, 15 (3/4): 389-418.

Horkheimer, Max & Adorno, T. W. (1999). “The Culture Industry: Enlightenment as Mass Deception.” Modernity: Critical Concepts. Ed. Malcolm Waters. London: Routledge. pp. 292-313.

Lovell, Terry. (1994). “Cultural Production.” Cultural Theory and Popular Culture: A Reader. Ed. John Storey. New York: Pearson Longman. pp. 539-44.

Week 2 Kung Fu films: nationalism, localism and transnationalism Films: Bruce Lee, The Way of the Dragon, 1972 & Jackie Chan, Police Story, 1985 &1988

Readings Desser, David. (2005). “Making Movies Male: Zhang Che & the Shaw Brothers Martial Arts Movies, 1965-75.” Masculinities and Hong Kong Cinema. Eds. Pang, Lai Kwan & Wong, Day. Hong Kong: Hong Kong University Press. pp. 17-34.

Wong, Day. (2005). “Women’s Reception of Mainstream Hong Kong Cinema.” Masculinities and Hong Kong Cinema. Eds. Pang, Lai Kwan & Wong, Day. Hong Kong: Hong Kong University Press. pp. 239-60.

Week 3 Hero films: pre-Hollywood vs Hollywood films Films: John Woo, A Better Tomorrow, 1986 & Face/Off, 1997 Readings Choi, Wai Kit. (2005). “Post-Fordian Production and the Re-appropriation of Hong Kong Masculinity in Hollywood.” Masculinities and Hong Kong Cinema. Eds. Pang, Lai Kwan & Wong, Day. Hong Kong: Hong Kong University Press. pp. 199-221.

Week 4 The Colonial Experience Film: Wayne Wong, Chinese Box, 1997

Readings: Alter, Iska. (2002) “Chinese Box Gender Hong Kong.” New Asia Academic Bulletin. 18: 101-9.

Cheung, Esther. (2002). “Reading the Hong Kong Trauma in Wayne Wong’s Chinese 4

Box.” New Asia Academic Bulletin. 18: 85-99.

Luk, Thomas. (2002) “Hong Kong as City/Imaginary in The World of Suzie Wong, Love is a Many Splendored Things and Chinese Box.” New Asia Academic Bulletin. 18: 73-82.

Week 5 Future of Hong Kong films Readings: Emilie Yeh. (2010). “The Deferral of Pan-Asian: Critical Appraisal of Film Marketization in China,” Reorienting Global Communication. Eds. Curtin, Michael & Shah, Hemant. Urbana: University of Illinois Press, pp. 183-200.

Week 6 Play: The French Kiss Readings Li, Santayana. (2012). Journey to Home. Trans. Gigi Chang. Hong Kong: Hong Kong University Press.

Week 7 Play: Murder in San Jose Readings. Chong, Candace (2011). Murder in San Jose. Trans. Margaret Cheung. Hong Kong: Hong Kong Arts Festival Society.

Week 8 Adaptation: The Two Gentlemen of Guangdong’s Midsummer Nightmare on the Fifteenth Night Readings Chan, Rupert. The Two Gentlemen of Guangdong’s Midsummer Nightmare on the Fifteenth Night

Week 9 Novel Readings Chan, Rupert. (2011). Chocolate’s Brown Study in the Bag. Hong Kong: Proverse Hong Kong.

Week 10 Short Stories Readings XiXi. Marvels of a Floating City and other stories.

Week 11 Poems Readings Ho, Louise. (2006). Hongkong Poems. Tubingen: Stauffenburg Verlag.

Kerr, Douglas. (2010). “Louise Ho and the Local Turn: The Place of English Poetry in Hong Kong.” Hong Kong Culture: Word and Image. Ed. Kam, Louie. Hong Kong: Hong Kong University Press. pp.75-96

Week 12 Students’ Presentations

Week 13 Students’ Presentations 5

Week 14 Recapitulation

Academic Honesty You are expected to do your own work. Dishonesty in fulfilling any assignment un- dermines the learning process and the integrity of your university degree. Engaging in dishonest or unethical behaviour is forbidden and will result in disciplinary action, specifically a failing grade on the assignment with no opportunity for resubmission. A second infraction will result in an F for the course and a report to University officials. Examples of prohibited behaviour are: Cheating – an act of deception by which a student misleadingly demonstrates that s/he has mastered information on an academic exercise. Examples include:  Copying or allowing another to copy a test, quiz, paper, or project  Submitting a paper or major portions of a paper that has been previously submitted for another class without permission of the current instructor  Turning in written assignments that are not your own work (including home- work)  Plagiarism – the act of representing the work of another as one’s own without giving credit.  Failing to give credit for ideas and material taken from others  Representing another’s artistic or scholarly work as one’s own  Fabrication – the intentional use of invented information or the falsification of research or other findings with the intent to deceive To comply with the University’s policy, the term paper has to be submitted to VeriGuide.

Resources

Primary texts Chan, Rupert. (2011). Chocolate’s Brown Study in the Bag. Hong Kong: Proverse Hong Kong. Chan, Rupert. The Two Gentlemen of Guangdong’s Midsummer Nightmare on the Fifteenth Night Chong, Candace (2011). Murder in San Jose. Trans. Margaret Cheung. Hong Kong: Hong Kong Arts Festival Society. Chong, Candace. (2011). The French Kiss. Trans. Rupert Chan. Xianggang: Tong Chuang Wen Hua Gong Fang. Ho, Louise. (2006). Hongkong Poems. Tubingen: Stauffenburg Verlag. XiXi. Marvels of a Floating City and other stories

Films: Bruce Lee, The Way of the Dragon, 1972 Jackie Chan, Police Story, 1985 &1988 John Woo, A Better Tomorrow, 1986 & Face/Off, 1997

Supplementary Readings

Adorno, Theodor. (1991). The Cultural Industry. London: Routledge. 6

Branston, Gill. (2000). Cinema and Cultural Modernity. Philadelphia: Open University Press. Burkitt, Ian. (1999). Bodies of Thought: Embodiment, Identity and Modernity. London: Sage Publications. Chatman, Seymour. (1978). Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell University Press. Clarke, David. (2001). Hong Kong Art: Culture and Decolonization. Hong Kong: Hong Kong University Press. Clifford, James. (1988). The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge: Harvard University Press. Curtin, Michael & Shah, Hemant. (2005). Reorienting Global Communication. Urbana: University of Illinois Press. Erni, John Nguyet. (2001) “Like a Postcolonial Culture: Hong Kong Re-imagined.” Cultural Studies, 15 (3/4): 389-418. Hill, John and Pamela Church Gibson. (2000). Film Studies: Critical Approaches. Oxford: Oxford University Press. Kam, Louie, ed. (2010). Hong Kong Culture: Word and Image. Hong Kong: Hong Kong University Press. Lehman, Peter. (1997). Defining Cinema. New Brunswick, N. J.: Rutgers University Press. Pang, Lai Kwan & Wong, Day, eds. (2005). Masculinities and Hong Kong Cinema. Hong Kong: Hong Kong University Press. Pun Ngai and Yee Lai man, eds. (2003). Narrating Hong Kong Culture and Identity. Hong Kong: Oxford University Press Stam Robert. (2000). Film Theory: An Introduction. Oxford: Blackwell. Storey, John, ed. (1994). Cultural Theory and Popular Culture: A Reader. New York: Pearson Longman. Vitali, Valentina. (2005). “Why Study Cinema? Serial Visions of the Cultural Industry and the Future of Film Studies.” Inter-Asia Cultural Studies 6, no. 2: 282-88. Waters, Malcom, ed. (1999). Modernity: Critical Concepts. London: Routledge.