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Survey of Chinese Film Syllabus

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Survey of Chinese Film Syllabus Chinese 250 / 350: Topics in Chinese Culture - Survey of Chinese Film Spring 2013: Monday, Wednesday, Friday 9 – 9:50 AM, AD 204 Jennifer Thackston Johnson, Ph.D., Assistant Professor of Chinese Office: AD 207B, 903-813-2350, [email protected] Office Hours: Monday 10–11 AM, Tuesday 1:30–2:30 PM, Friday 11 AM – 12 PM or by appointment Course Description: Growing interest in Chinese films, evidenced by them regularly winning important awards in international film festivals over the last fifteen years, reflects the value Chinese film has in understanding this emerging world power. This course, taught in English, explores the many important ways that the development of the Chinese film industry has mirrored China’s cultural scene. We’ll begin with silent film in the 1920s, moving through each of the historical periods of China’s long twentieth century into contemporary blockbusters, Hollywood collaborations, and independent films. While the course is primarily focused on the Chinese mainland, productions from Taiwan, Hong Kong, and Singapore will be examined as well. As we explore the history of the Chinese film industry, we’ll also examine how directors in each period use film as a forum to address social, political, and artistic concerns. No knowledge of Chinese language or culture is required. Required Texts: NB: The following texts will be used in class on a regular basis. Not purchasing the texts will not be accepted as an excuse for not completing assignments. Students experiencing extraordinary financial difficulties should speak with the Office of Student Affairs. • Chinese Films in Focus II. Edited by Chris Berry. New York: Palgrave Macmillan, 2009. Referred to in the schedule as CFF. • Speaking in Images: Interviews with Contemporary Chinese Filmmakers. Michael Berry. New York: Columbia University Press, 2004. Referred to in the schedule as SI. • This class requires weekly participation in a livebinder: http://www.livebinders.com/play/play?id=774309. Course Requirements: Attendance = 3% Works of culture acquire meaning largely through the discussion they inspire. To this end, attendance and participation are essential elements of success in this course. You will lose one point off your final average for each of your first three unexcused absences. An unexcused absence is defined as any absence for which you cannot provide documentation for a legitimate reason as to why you were unable to attend class. Upon your fourth unexcused absence (over 10% of the course), the penalties to your grade will escalate to a deduction of 3% per absence and your mentor will be notified. Upon your seventh unexcused absence (over 20% of the course), barring exceptional circumstances, you will be dropped from the course. If you arrive late, but before you’ve missed much, and are not disruptive when you come in, your attendance deduction will be reduced to a half point (all of these conditions are the sole determination of the professor). Participation = 7% Sleeping during class, holding a private conversation during class, working on homework for another class during my class, texting, or any other uncivilized behavior that would make the people who raised you cringe is not only detrimental to your learning in this class, it is an action that is disrespectful to the professor and to your classmates. This class is relatively small; these actions do not go unnoticed. It’s a more pleasant and productive environment for all of us if everyone is engaged and committed to the learning process. Classroom incivilities severe enough that I remember them when I get back to my office after teaching for the day will result in a half point deduction from your final average under this category. Otherwise, point values in this category are assigned as follows: 6-7: You are nearly always attentive, enthusiastic, prepared, and willing to make your best effort when called upon. 4-5: You are prepared about 80% of the time. It’s also possible that you don’t always make your best effort or contribute to the class environment in a positive way. 2-3: You’re prepared about half the time. You may often be distracted and/or have an exceptionally poor attitude. 0-1: I can rarely count on you to be prepared. You are hampering the class environment. First Review of To Live = 5% Your first written assignment is a review of Zhang Yimou’s film, To Live. This assignment is due Wednesday, February 13. These reviews will be returned by Monday, February 18. You have the option to re-write no matter what your initial grade is, but you must re-write if your initial grade is below a B-. Argument Development = 15% By 9 pm Sunday, you need to post a 100 – 250 word argument about the film we are due to discuss in class Monday, to the livebinder in the “Arguments” sub- tab. Your post should be clearly labeled with your name. We will examine these arguments as part of our class discussion; you may be called upon to further explain your offering. Your arguments will be graded as follows: ü+ (1.5 points) for an astute and clear argument, ü (1 point) for an adequate (but not especially thoughtful) argument, ü- (.5 points) for an unclear or superficial argument. Your grade in this category will be determined on a 12 point basis. You will be notified of the grade you received on your argument each Monday by 9 pm. Feedback will not be provided automatically, but you are welcome and encouraged to request it (particularly if you intend to develop your argument into a paper). Questions = 10% Also by 9 pm Sunday, you need to post at least one (but feel free to post as many as you’d like) thoughtful question about the week’s film or the readings that go with it, to the livebinder in the “Questions” sub-tab. Your post should be clearly labeled with your name. Your questions will be graded as follows: ü+ (1.5 points) for an especially thought-provoking question, ü (1 point) for an adequate (but not especially thoughtful) question, ü- (.5 points) for an unclear or superficial question. Your grade in this category will be determined on a 12 point basis. You will be notified of the grade you received on your question(s) each Monday by 9 pm. Feedback will not be provided automatically, but you are welcome and encouraged to request it. Reviews = 40% In addition to your first review of To Live, you are required to submit four additional reviews throughout the semester. Reviews are due at the Wednesday class where we discuss the film you are reviewing. You should post your review to the livebinder by creating a subtab under the film you are reviewing entitled: “Review by [Your Name].” You may choose which films you review, but you must have completed two reviews by Wednesday, April 3. You may rewrite any review you wish within a week of receiving the graded copy back; when you submit a new review, you forfeit your right to rewrite previous papers. Final = 20% For your final in this course, you have two options: 1) You may work with a group to create a 10-20 short film using themes and characteristics inspired by the films discussed in this course for entry in the second annual “Golden Chopsticks Film Festival” on May 13 or 2) you may submit a 7-10 page survey of a theme, period, or genre covered in this course by 9 am May 16. More details on the final will be distributed as the course progresses. Schedule: Monday, February 4: History Wednesday, February 6: History Film Screening, 7 pm: To Live Friday, February 8: Lecture, To Live Monday, February 11: Discussion of To Live *Last day to add a course Wednesday, February 13: Discussion of To Live Film Screening, 7 pm: The Goddess, Stanley Kwan: Center Stage Friday, February 15: Lecture, The Goddess and Centre Stage Required Readings: CFF: “The Goddess: Fallen Woman of Shanghai” (128-136), “Centre Stage: A Shadow in Reverse” (48-55), SI: “Stanley Kwan: From Spectral Nostalgia to Corporeal Desire” (440-457) Monday, February 18: Discussion of The Goddess and Center Stage Wednesday, February 20: Discussion of The Goddess and Center Stage Film Screening, 7 pm: Tian Zhuangzhuang: Springtime in a Small Town Friday, February 22: Lecture, Springtime in a Small Town Required Readings: CFF: “Spring in a Small Town: Gazing at Ruins” (205-211), SI: “Tian Zhuangzhuang: Stealing Horses and Flying Kites” (50-81) Monday, February 25: Discussion of Springtime in a Small Town Wednesday, February 27: Discussion of Springtime in a Small Town Friday, March 1: The Propaganda Film Required Readings: CFF: “Crows and Sparrows: Allegory on a Historical Threshold” (82-89), “The Red Detachment of Women: Resenting, Regendering, Remembering” (189-196), SI: “Xie Jin: Six Decades of Cinematic Innovation” (20-49) Monday, March 4: The Propaganda Film Wednesday, March 6: The Propaganda Film Film Screening: Chen Kaige, Farewell My Concubine Friday, March 8: Lecture, Farewell My Concubine Required Readings: CFF: “Farewell My Concubine: National Myth and City Memories” (106-113), SI: “Chen Kaige: Historical Revolution and Cinematic Rebellion” (82-107) Monday, March 11 – No Class, Spring Break Wednesday, March 13 – No Class, Spring Break Friday, March 15 – No Class, Spring Break Monday, March 18: Discussion of Farewell My Concubine Wednesday, March 20: Discussion of Farewell My Concubine Film Screening: Zhang Yimou, Not One Less Friday, March 22: Lecture, Not One Less Required Readings: CFF: “Not One Less: The Fable of a Migration” (167-174), SI: “Zhang Yimou: Flying Colors” (108-141) Monday, March 25: Discussion of Not One Less Wednesday, March 27: Discussion of Not One Less Film
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