CULS5204 Cultural Studies in Film and Video

CULS5204 Cultural Studies in Film and Video
2nd term 2014-2015
■ Instructor：Tsung-yi Michelle Huang (黃宗儀)
■ Time：Thursday 6:45 - 9:30pm/ Venue：FYB UG01
Overview
Globalization has given rise to a rapid development in media and visual
culture; image and imagination now play a key role in both shaping and
understanding the complexity of modern life and society. The emergence of
new media and the transnational modes of film-making present a challenge for
us to comprehend the new visual culture of our time. Through critical
reflection on the dialectics between images and society, this course will
encourage students to engage critically with the production, distribution, and
effects of cinema and to further explore the relationship between politics and
aesthetics. Class readings are on different topics within a three-part structure.
Part 1 is centered on theory, to give students an insight into the important
epistemological concepts and methodological concerns involved in this
course. Part 2 address films in relation to the politics of space, discussing
issues from the perspective of national cinema and imperialism, the
politico-economic context and transnational imagination of co-production
films. The course will also examine Chinese urban cinema, reflecting on
notions such as the urban, the national and the global. In part 3 we will look at
the dynamics between cinema and identity politics from the cultural
categories of class, race, gender and sexuality.
Learning
Outcomes
This course aims to help students conduct cultural studies in film and video by
discussing both the seminal literature of visual culture and East Asian cinema,
with a particular emphasis on how cultural imagination and transnational
flows of various kinds shape contemporary cinema in terms of its production
and narrative structures. Students are also expected to learn to use basic film
language to understand the core issues of engaging in cultural studies in film
and video with a critical perspective and a cross-disciplinary methodology.
This seminar consists of class lectures, oral presentations, discussions and
film viewings.
Assessment
Scheme
1)
2)
Attendance and class participation (10%).
Each student will be required to give one or two oral presentations of at
least 20 minutes in length (10%).
3)
A term paper (5,000 words in Chinese or 3,000 words in English) should
be submitted by the end of the semester (80%). Students are expected to
write a critical essay on the topics, concepts or cultural texts we have
discussed during the course.
 This course will be conducted in Mandarin Chinese, but the final paper can
be written in either Chinese or English.
Content and schedule (tentative)
Section 1: Introduction
Week 1 (1/8) Course Introduction
1. Cheah, Pheng (2013) “World as Picture and Ruination: On Jia Zhangke’s Still Life as World
Cinema.” In Carlos Rojas and Eileen Chow (eds.) The Oxford Handbook of Chinese Cinema,
pp. 190-206. New York: Oxford University Press.
2. 應星 (2010)。第一章“遺留問題”及第二章“討說法去”。載於《三峽大上訪：大河移民上
訪的故事》，頁 5-38。香港：文化中國。
《三峽好人》(賈樟柯 2006)、《中國三峽大壩》(Discovery 2006)
Week 2 (1/15) Introduction
1. Sturken, Marita & Cartwright, Lisa (2013)〈影像、權力和政治〉
。載於《觀看的實踐：給所
有影像世代的視覺文化導論》，頁 19-60。台北：臉譜。
2. Durham, Meenakshi G. & Kellner, Douglas M. (2006) “Adventures in Media and Cultural
Studies: Introducing the KeyWorks” In M. G. Durham & D. M. Kellner (eds.) Media and
Cultural Studies: Keyworks, pp. ix-xxxviii. Malden, Mass.: Blackwell.
3. 周蕾 [林建國譯] (2002)〈幻影學門〉。《中外文學》30 (12): 130-149。
Week 3 (1/22) Encoding/Decoding
1. Benjamin, Walter (2006) “The Work of Art in the Age of Mechanical Reproduction.” In M. G.
Durham and D. M. Kellner (eds.) Media and Cultural Studies: Keyworks, pp.18-40. Malden,
MA: Blackwell.
2. Hall, Stuart. (2006) “Encoding/Decoding.” In M. G. Durham and D. M. Kellner (eds.) Media
and Cultural Studies: Keyworks, pp. 163-173. Malden, MA: Blackwell.
3. 吳佩慈 (2007) 〈敘事電影分析概要〉。載於《在電影思考的年代》，頁 39-58。臺北：書
林。
4. Bordwell, David [葉月瑜、劉慧嬋譯] (2000)〈跨文化空間？朝向中文電影的詩學〉
。
《電影
欣賞》18 (4): 15-25。
Section 2: Cinema and Politics of Place/Space
Week 4 (1/29) Nationalism/Imperialism
1. Anderson, Benedict (1983) “Official Nationalism and Imperialism.” In Imagined Communities,
2.
pp.83-111. London: Verso.
Crofts, Stephen. (1993) “Reconceptualizing National Cinema/s” Quarterly Review of Film &
Video 14 (3): 49-67.
3. 蔡慶同 (2012)〈《南進臺灣》
：紀錄片作為帝國之眼〉
。
《臺灣社會研究季刊》 86: 99-132。
《南進台灣》(1940)
Week 5 (2/5) Global Flows/Transnational Imagination (I)
1. Appadurai, Arjun (2006) “Disjuncture and Difference in the Global Cultural Economy.” In M.
G. Durham and D. M. Kellner (eds.) Media and Cultural Studies: Keyworks, pp. 584-603.
Malden, MA: Blackwell.
2. Berry, Chris (2003) “‘What’s big about the big film?’: de-Westernizing the blockbuster in
Korea and China.” In J. Stringer (ed.) Movie Blockbusters, pp. 217-229. Abingdon, Oxon:
Routledge.
3. Morris, Meaghan. (2005) “Introduction.” In M. Morris, S. L. Li and S. C.-k. Chan (eds.) Hong
Kong Connections: Transnational Imagination in Action Cinema, 1-18. Hong Kong: Hong
Kong University Press.
4. 羅貴祥 [陳澤蕾譯] (2005)〈沒有亞洲這東西：港日「亞洲」電影的種族特殊性〉。《中外
文學》24 (1): 89-105。
《不夜城》(李志毅 1998)、《全職殺手》(杜琪峯、韋家輝 2001)
Week 6 (2/12) Global Flows/Transnational Imagination (II)
1. Ho, Elaine Yee-lin (2001) “Women on the Edges of Hong Kong Modernity: The Films of Ann
Hui.” In E. C. M. Yau (ed.) At Full Speed: Hong Kong Cinema in a Borderless World,
pp.177-206. Minneapolis: University of Minnesota Press.
2. Wei, Ti (2005) “Generational/cultural Contradiction and Global Incorporation: Ang Lee’s Eat
Drink Man Woman.” In C. Berry and F. Lu (eds.) Island on the Edge: Taiwan New Cinema and
After, pp. 101-112. Hong Kong: Hong Kong University Press.
3. Lim, Song Hwee (2011) “Transnational Trajectories in Contemporary East Asian Cinemas.” In
V. P. Y. Lee (ed.) East Asian Cinemas: Regional Flows and Global Transformations, pp. 15-32.
New York, NY: Palgrave Macmillan.
4. Yue, Audrey, and Khoo, Olivia (2012) “From Diasporic Cinemas to Sinophone Cinemas: An
Introduction.” Journal of Chinese Cinemas 6 (1): 9-13.
《瘋劫》(許鞍華 1979)、
《香香公主》(許鞍華 1987)、
《客途秋恨》(許鞍華 1990)、
《女人四
十》(許鞍華 1995)、《飲食男女》(李安 1994)
Week 7 (2/19) No class.
Week 8 (2/26) Cinema and the City (I)
1. Shiel, Mark (2001) “Cinema and the City in History and Theory.” In M. Shiel and T.
Fitzmaurice (eds.), Cinema and the City, pp. 1-18. Oxford: Blackwell.
Fitzmaurice, Tony (2001) “Film and Urban Societies in a Global Context.” In M. Shiel and T.
Fitzmaurice (eds.), Cinema and the City, pp. 19-30. Oxford: Blackwell.
3. Stein, Erica (2013) “Abstract Space, Microcosmic Narrative, and the Disavowal of Modernity
in Berlin: Symphony of a Great City.” Journal of Film and Video 65 (4): pp. 3-16.
 Berlin: Symphony of a Great City (Walter Ruttmann 1927)
2.
Week 9 (3/5) Cinema and the City (II)
1. Zhen, Zhang (2007) “Introduction: Bearing Witness: Chinese Urban Cinema in the Era of
‘Transformation’ (Zhuanxing).” In Z. Zhen (ed.) The Urban Generation: Chinese Cinema and
Society at the Turn of the Twenty-first Century, pp. 1-45. Durham: Duke University Press.
2. Xu, Gary G. (2007) “‘My Camera Doesn’t Lie’: Cinematic Realism and Chinese Cityscape in
Beijing Bicycle and Suzhou River.” In Sinascape: Contemporary Chinese Cinema, pp. 67-88.
Lanham: Rowman & Littlefield Publishers.
《十七歲的單車》(王小帥 2001)、《蘇州河》(婁燁 1999)
Section 3: Cinema and Identity Politics
Week 10 (3/12) Identity
1. Hall, Stuart. (1982) “The Rediscovery of ‘Ideology’: Return of the Repressed in Media
Studies.” In M. Gurevitch, J. Curran, T. Bennett and J. Woollacott (eds.), Culture, Society and
the Media, pp. 56-90. London: Methuen.
2. Dyer, Richard (2006) “Stereotyping.” In M. G. Durham and D. M. Kellner (eds.) Media and
Cultural Studies: Keyworks, pp. 353-365. Malden, MA: Blackwell.
3. Wang, Chialan Sharon (2012) “Memories of the Future: Remaking Taiwanese-ness in Cape No.
7.” Journal of Chinese Cinemas 6 (2): 135-152.
《海角七號》(魏德聖 2008)
Week 11 (3/19) Class, Taste and Distinction
1. Bourdieu, Pierre (2006) “(i) Introduction; (ii) The Aristocracy of Culture.” In M. G. Durham
and D. M. Kellner (eds.) Media and Cultural Studies: Keyworks, pp. 322-327. Malden, MA:
Blackwell.
2. Williams, Raymond (2006) “Base and Superstructure in Marxist Cultural Theory.” In M. G.
Durham and D. M. Kellner (eds.) Media and Cultural Studies: Keyworks, pp. 130-143.
Malden, MA: Blackwell.
3. 黃宗儀 (2014)〈「襟兄弟」與「自己友」：從親密性談《低俗喜劇》的本土主義與中港合
拍片想像〉。《中外文學》43 (3): 43-76。
《低俗喜劇》(彭浩翔 2012)
Week 12 (3/26) No class
Week 13 (4/1) Race
1. bell hooks (2006) “Eating the Other: Desire and Resistance.” In M. G. Durham and D. M.
Kellner (eds.) Media and Cultural Studies: Keyworks, pp. 366-380. Malden, MA: Blackwell.
2. Iwabuchi, Koichi (2008) “When the Korean Wave Meets Resident Koreans in Japan:
Intersections of the Transnational, the Postcolonial and the Multicultural” In C. B. Huat & K.
Iwabuchi (eds.) East Asian Pop Culture: Analysing the Korean Wave, pp. 243-264.
3. Inuhiko, Yomota [trans. Gerow, Aaron] (2003) “Stranger Than Tokyo: Space and Race in
Postnational Japanese Cinema” In J. K. W. Lau (ed.) Multiple Modernities: Cinemas and
Popular Media in Transcultural East Asia, pp. 76-89. Philadelphia, PA: Temple University
Press.
《東京灣景》(富士電視台 2004)、《機動警察劇場版—東京毀滅戰》(押井守 1989)、《機動
警察劇場版—和平保衛戰》(押井守 1993)、《攻殼機動隊》(押井守 1995)、《燕尾蝶》(岩井俊
二 1996)、《All Under the Moon》(崔洋一 1993)
Week 14 (4/8) Gender and Sexuality (I)
1. Mulvey, Laura (2006) “Visual Pleasure and Narrative Cinema.” In M. G. Durham and D. M.
2.
Kellner (eds.) Media and Cultural Studies: Keyworks, pp. 342-352. Malden, MA: Blackwell.
Sturken, Marita & Cartwright, Lisa (2013)〈現代性：觀賞、權力和知識〉
。載於《觀看的實
踐：給所有影像世代的視覺文化導論》，頁 105-152。台北：臉譜。
Pang, Laikwan (2005) “Post-1997 Hong Kong Masculinity.” In L. Pang & D. Wong (eds.)
Masculinities and Hong Kong Cinema, pp. 35-56. Hong Kong: Hong Kong University Press.
《一個字頭的誕生》(韋家輝 1997)、
《非常突然》(遊達誌 1998)、
《鎗火》(杜琪峯 1999)、
《孤
男寡女》(杜琪峯、韋家輝 2000)、《瘦身男女》(杜琪峯、韋家輝 2001)
3.
Week 15 (4/15) Gender and Sexuality (II)
1. Lin, Angel and Tong, Avin (2008) “Re-Imagining a Cosmopolitan ‘Asian Us’: Korean Media
Flows and Imaginaries of Asian Modern Femininities.” In C. B. Huat & K. Iwabuchi (eds.)
East Asian Pop Culture: Analysing the Korean Wave, pp. 91-125. Hong Kong: Hong Kong
University Press.
2. Fran Martin, (2003) “The Far-flung Adventures of a Taiwanese Tomboy: Blue Gate Crossing”
In Situating Sexualities: Queer Representation in Taiwanese Fiction, Film and Public Culture,
pp. 131-145. Hong Kong: Hong Kong UP.
3. Lee, Vivian (2007). “Pornography, Musical, Drag, and the Art Film: Performing ‘queer’ in Tsai
Ming-liang’s The Wayward Cloud.” Journal of Chinese Cinemas 1 (2): 117-137.
 《藍色大門》(易智言 2002)、《天邊一朵雲》(蔡明亮 2005)
Week 16 (TBA) Make-up session for 3/26
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://veriguide2.cse.cuhk.edu.hk/cuhk/
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/p01.htm
Section 2 Proper use of source material
http://www.cuhk.edu.hk/policy/academichonesty/p02.htm
Section 3 Citation styles
http://www.cuhk.edu.hk/policy/academichonesty/p03.htm
Section 4 Plagiarism and copyright violation
http://www.cuhk.edu.hk/policy/academichonesty/p04.htm
Section 5 CUHK regulations on honesty in academic work
http://www.cuhk.edu.hk/policy/academichonesty/p05.htm
Section 6 CUHK disciplinary guidelines and procedures
http://www.cuhk.edu.hk/policy/academichonesty/p06.htm
Section 7 Guide for teachers and departments
http://www.cuhk.edu.hk/policy/academichonesty/p07.htm
Section 8 Recommended material to be included in course outlines
http://www.cuhk.edu.hk/policy/academichonesty/p08.htm
Section 9 Electronic submission of assignments via VeriGuide
http://www.cuhk.edu.hk/policy/academichonesty/p09.htm
Section 10 Declaration to be included in assignments
http://www.cuhk.edu.hk/policy/academichonesty/p10.htm

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