CULS 5204A Culture Studies in Film and Video (1St Term, 2020-21) 文化研究中的電影與錄像

CULS 5204A Culture Studies in Film and Video (1st Term, 2020-21)

文化研究中的電影與錄像

Day and Time: Tuesday, 6:45pm-9:30pm

Teacher: Dr. Li Tiecheng Email: [email protected] Office Hour: Tue, 10am-12pm Office Tel: 3943 1291

Teaching Mode: Mixed-mode Teaching (face to face class/ online teaching)

Description: This course examines film and video from the perspective of cultural studies. It aims to explore how the languages of moving images carry cultural meanings, especially in the environment of contemporary society. The course will encourage the development of an ability to explain, analyse, and critically evaluate film and video by using the key theories of cultural studies.

COURSE CONTENT & SCHEDULE PART I: IDEOLOGY Week 1 Sept 8. Introduction to the course How to Read Film & Video Films: 1. Beginning of the Great Revival (2011) vs. Jia Zhangke, Xiao Shan Going Home (1995) 2. James Francis Cameron, Titanic (1997) vs. Lars Von Trier, Idiots (1998)

Reading: Louis D. Giannetti, Understanding Movies, 11th ed., N.J. : Prentice Hall, 2008.

Week 2 Sept 15. Cultural Consumption & Culture Industry Films: 1. David Frankel, The Devil Wears Prada (2006) 2. Clint Eastwood, Unforgiven (1992) Video: 1. News Magazine in TVB (April 9, 2011)

1 2. Commercial advertisement on TV

Readings: Max Horkheimer, Theodor W. Adorno, Gunzelin Schmid Noerr ed., Edmund Jephcott tran.. The Culture Industry: Enlightenment as Mass Deception. In Dialectic of Enlightenment: Philosophical Fragments, 94-136. Stanford, Calif.: Stanford Univ. Press, 2002.

Week 3 Sept 22. Political Propaganda Films and Videos: 1. Documentary: Leni Riefenstahl, Triumph of the Will (1935) 2. Beginning of the Great Revival （建黨偉業） (2011) 3. China Centre TV (CCTV) News 4. CNN live news of the battlefield in gulf war

Reading: Walter Benjamin. The Work of Art in the Age of Mechanical Reproduction, In The work of art in the age of its technological reproducibility, and other writings on media, 19-57. Cambridge, Mass. : Belknap Press of Harvard University Press, 2008.

Week 4 Sept 29. The Power Films: 1. Alan Parker, The Wall (1982) 2. D. J. Caruso, Eagle Eyes (2008) 3. Peter Weir, Dead Poets Society, (1989) 4. Documentary: Zhou Hao, Senior Year（高三）(2006)

Readings & Film for Presentation: 1.Michel Foucault. Panopticism. In Discipline and Punish: The Birth of Prison,195-228. Vintage: Westminster, MD, 1995. 2. Frank Darabont, The Shawshank Redemption (1995)

PART II: IDENTITY Week 5 Oct 6. Subjectivity and Hong Kong Cinema Guest Speaker: TBA Films: 1. 彭浩翔：Dream Home（維多利亞壹號）（2010） 2. 麦兆辉、庄文强：Overheard 3（竊聽風雲 3）（2014） 3. 卓韻芝：Temporary Family（失戀急讓）（2014）

Readings & Film for Presentation:

2 1. 朗天：“什麼（才）是主體──循香港電影進入香港主體性論述”，《香港有我：主體性與香港電影》，（香港：文化工坊，2013）10-23 2. 彭麗君, 《黃昏未晚：后九七香港電影》增訂版，（香港：中文大學出版社，2018) Chapters：TBC 3. 翁子光： Port of Call （踏血尋梅）（2015）

Week 6 Oct 13. Orientalism, Occidentalism, Self-Orientalism Films: 1. Documentary: Robert J. Flaherty, Nanook of the North (1922) 2. Zhang Yimo: Raise the Red Lantern (大紅燈籠高高掛) (1991) 3. Documentary: Michelangelo Antonioni, Chung Kuo (1972) 4. Cao de Benos, Alejandro. The Propaganda Game (2015)

Readings & Film for Presentation: 1. Edward Said. Introduction, In Orientalism, New York: Pantheon Books, 1978. 2. Chow, Rey. Visuality, Modernity, and Primitive Passions in Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema, 26-52. New York: Columbia University Press, 1995. 3. Richard Quine, The World of Suzie Wong (1960)

Week 7 Oct 20. The Subaltern and Representation Film: Documentary: Xu Tong, The Fourth Brother, (2013)

Reading & Film for Presentation: 1. Gayatri Chakravorty Spivak. Can the Subaltern Speak?, In Rosalind C. Morris ed. Can The Subaltern Speak: Reflections on The History of an Idea. New York: Columbia University Press, 2010. 2. Danny Boyle, Slumdog Millionaire,(2008) Supplementary Reading: 1. Spivak, Gayatri Chakravorty. “Explanation and Culture: Marginalia” in Out There: Marginalisation and Contemporary Cultures. New York: The New Museum of Contemporary Art. 1990.

PART III: Resistance Week 8 Oct 27. Rethinking the Third Cinema Film: Mike, Wayne and Deirdre O’neill, Listen To Venezuela, (2008)

Reading & Film for Presentation:

3 1. Mike Wayne. “Third Cinema as Critical Practice: A Case Study of The Battle of Algiers” in Political Film: The Dialectics of Third Cinema. Pluto Press. 2001. 2. Octavio Getino and Fernando Solanas, “Toward a Third Cinema” in Movies and Methods: An Anthology. ed. Bill Nicholas, Berkeley: University of California Press. 3. Gillo Pontecorvo, The Battle of Algiers, (1966).

Week 9 Nov 3 Field Trip: Graffiti in Hong Kong Field Trip: Time: TBC

Week 10 Nov 10 Whose Culture? Whose City? Films and videos: 1. Banksy, Exit Through the Gift Shop (2010) 2. Dennis Hopper, Easy Rider (1969)

Readings & Films: 1. Dick Hebdige, “From Culture to Hegemony”, In Subculture: The Meaning of Style, (New York and London: Routledge, 1979), 5-22 2. 張讚國，高從霖，《塗鴉香港：公共空間、政治與全球化》（ Graffiti Hong Kong: Public Space, Politics and Globalization），（香港：香港城市大學出版社，2012）：第二章：「曾灶財墨蹟」：民粹的霸道第三章：「九龍皇帝」現象：符號的商業操作第四章：公共空間的爭奪：法律與街頭藝術的衝突第五章：由公共空間到公共領域：媒介的集體思維 3. Sharon Zukin, Whose Culture? Whose City?. in The Cultures of Cities, Oxford: Blackwell Publishers, 1995. 1-48 4. Dennis Hopper, Easy Rider (1969)

Week 11 Nov 17 Dogme 95 or not? Films: 1. Lars Von Trier, Idiots (1998) 2. Richard Martini, Camera (2000) 3. Lars Von Trier, Breaking the waves (1996) 4. Daniel Myrick, Eduardo Sanchez, The Blair Witch Project (1999)

Readings & Film for Presentation: 1. Shari Roman. The Vow of Chastity; The Men Who Would Be Dogme. In Digital Babylon: Hollywood, Indiewood and Dogme 95, 41-55. LA: Long Eagle Publishing, 2003. 2. Jan Simons, “Von Trier’s Cinematic Games”, Journal of Film and Video, Vol. 60, No.1(Spring 2008), 3-13. 3. Jorn Rossing Jensen, “Film: Dogme is dead! Long Live Song and Dance”, The

4 Independent Arts & Entertainment, (5 Nov 1999) http://www.independent.co.uk/arts-entertainment/film-dogme-is-dead-long-live-song-an d-dance-1123522.html 4. Lars Von Trier, Dancer in the Dark (2000)

Week 12 Nov 24 Independent Films in Hong Kong Film: 1. Fruit Chan, Little Cheung （細路祥） (2000) 2. Tammy Cheung, Secondary School （中學）（2002） 3. King Cheung, KJ: Music and Life （音樂人生）（2009）

Reading & Film for Presentation: 1. 彭麗君, 《黃昏未晚：后九七香港電影》增訂版，（香港：中文大學出版社，2018) Chapters：TBC 2. Nicole Kempton, Performing the Margins: Locating Independent Cinema in Hong Kong. In Ester M. K. Cheung, Gina Marchetti, and Tan See-Kam ed., Hong Kong Screenscapes: From the New Wave to the Digital Frontier, 95-110. Hong Kong: Hong Kong Univeristy Press, 2011. 3. Wendy Gan, Re-imagining Hong Kong-China from the Sidelines: Fruit Chan’s Little Cheung and Durian Durian. In Ester M. K. Cheung, Gina Marchetti, and Tan See-Kam ed., Hong Kong Screenscapes: From the New Wave to the Digital Frontier, 111-127. Hong Kong: Hong Kong University Press, 2011. 4. Vincent Chui, Three Narrow Gates （三條窄路）(2009) 5. Fruit Chan, Durian Durian （榴蓮飄飄） (2000)

Week 13 Dec 1. Independent Films in Mainland China Films： 1. Yuan Zhang, Mama （媽媽）(1999) 2. Zhangke Jia, Xiaowu （小武）(1998) 3. Documentary: Du Haibin, 1428 (2009)

Reading & Film for Presentation: 1. Paul G Pickowicz and Yingjin Zhang, My Camera Doesn’t Lie: Truth, Subjectivity, and Audience in Chinese Independent Film and Video, In Paul G Pickowicz and Yingjin Zhang ed., From Underground to Independent: Alternative Film Culture in Contemporary China, Lanham, 23-46. Md.: Rowman & Littlefield, 2006. 2. Ying Liang, Taking Father Home （背鴨子的男孩） (2004)

Week 15 Dec 15. Submission: Final Paper

5 Assessment Attendance and participation ------10% Group Presentation ------20% Essays (70%) - Reading reflections ------30% - Final Paper ------40% (no more than 5000 words in Chinese, or no more than 9 pages in English)

Backup plan for assessment in case face-to-face teaching and assessment is not possible due to the pandemic : Attendance and participation ------10% Group Presentation (online) ------20% Essays (70%) - Reading reflections ------30% - Final Paper ------40% (no more than 5000 words in Chinese, or no more than 9 pages in English)

Outcomes-based Teaching and Learning 1. Knowledge Outcomes - Holistic approach to acquiring knowledge: - Trans-disciplinary approach - Historical and contemporary studies, including comparison and contrast - Cross cultural contexts, including local, regional, and global - Specialized and professional knowledge: - Cultural approach to the study of contemporary living - Cultural embedding of representation and the media 2. Skills Outcomes (Generic and Discipline/Professional) - Textual and con-textual analysis - Cultural appreciation and cultural criticism - Critical and creative thinking - Visual literacy - Care for the wider community, concern for minority interests 3. Attitude Outcomes - Aware of multicultural communities and respect for the other - Being confident in expressing ones ideas - Board-minded but strong in critical evaluation

Supplementary Readings As not all students come to this course with solid foundations in the history, culture, and art of cinema, here is a list of supplementary readings students can read on their own to prepare for this course. However, a strong background in film studies is not a pre-requisite for this course. Students would be able to pick up some basic knowledge about cinema as the course goes on.

For Film Art and Film Language l Bazin, André. What Is Cinema. Translated by Hugh Gray. Berkeley : University of California Press, 1971. l Bordwell, David and Kristin Thompson 著, 曾偉禛譯. Film Art: An Introduction. 《電影藝術:形式與風格》. 台北: 美商麥格羅希爾, 2001. l Kasdan, Margo, Christine Saxton, and Susan Tavernetti. The Critical Eye: An Introduction to Looking at Movies. Dubuque, Iowa: Kendall/Hunt, 1993. l Metz, Christian. Film language; A Semiotics of the Cinema. Translated by Michael Taylor. New York : Oxford University Press, 1974. l http://library.cuhk.edu.hk/search/aScarratt%2C+Eliane/ascarratt+eli ane/-2,-1,0,B/browseScarratt, Eliane. Teaching Analysis of Film Language and Production. London: BFI, 2003.

For Film Culture and Film Studies in general l Branston, Gill. Cinema and Cultural Modernity. London: Open University, 2000. l Hayward, Susan. Cinema Studies: The Key Concepts. London: Routledge, 2006 l Hill, John and Pamela Church Gibson. Film Studies: Critical Approaches. Oxford: Oxford University Press, 2000. l Lehman, Peter. Defining Cinema. New Brunswick, N.J.: Rutgers University Press, 1997. l Lu, Tonglin. Confronting Modernity in the Cinemas of Taiwan and Mainland China. New York: Cambridge University Press, 2002. l Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. New York : Oxford University Press, 1960. l Stam, Robert. Film Theory: An Introduction. Oxford: Blackwell, 2000. l Turner, Graeme 著, 林文淇譯. Film as Social Practice 《電影的社會實踐》. 台北:遠流, 1997.

For Film History l Cook, David A. A History of Narrative Film. Third edition. New York, London: W.W. Norton, 1996. l Geoffrey Nowell-Smith (ed.). The Oxford History of World Cinema. London: Oxford, 1999. l Merritt, Greg. Celluloid Mavericks: The History of American Independent Film. New York: Thunder’s Mouth Press, 2000. l Thompson, Kristin, David Bordwell. Film History: An Introduction. Boston : McGraw-Hill, 2003

For Cultural Studies l Michel Foucault, Colin Gordon ed. Power/Knowledge: Selected Interviews and Other Writings 1972-1977. New York: Pantheon Books, 1980 l Adorno, Theodor.W.. The Culture Industry: Selected Essays on Mass Culture. London: Routledge, 1991.

7 l Barthes, Roland. Mythologies. Translated by Annette Lavers. London: Vintage, 2000. l Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997. l Bucy, Erik P., ed. Living in the Information Age: A New Media Reader. Belmont, CA: Wadsworth Thomson Learning, 2002. l Childs, Peter. Modernism. London: Routledge, 2007. l Howells, Richard. Visual Culture. Cambridge, UK: Polity; Malden, MA: Blackwell Publishers, 2003.

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 cheating and plagiarism. Any related offence will lead to disciplinary action including termination of studies at the University. All student assignments in undergraduate and postgraduate programmes should be submitted via VeriGuide with effect from September 2008: https://academic.veriguide.org/academic/login_CUHK.jspx

Although cases of cheating or plagiarism are rare 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.

Section 1 What is plagiarism http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p01.htm

Section 2 Proper use of source material http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p02.htm

Section 3 Citation styles http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p03.htm

Section 4 Plagiarism and copyright violation http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p04.htm

Section 5 CUHK regulations on honesty in academic work http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p05.htm

Section 6 CUHK disciplinary guidelines and procedures http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p06.htm

Section 7 Guide for teachers and departments http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p07.htm

Section 8 Recommended material to be included in course outlines http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p08.htm

Section 9 Electronic submission of assignments via VeriGuide http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p09.htm

Section 10 Declaration to be included in assignments http://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-14)/p10.htm