代写 CHNS3639 Chinese Cinema

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    CHNS3639 Chinese Cinema

    UNIT DESCRIPTION

    This unit introduces students to the cinema of mainland China, Hong Kong and Taiwan. We will view representative films of different periods and different regions, and read them within their historical and cultural context. We will explore how these films blend "traditional Chinese" and local elements -- plots, symbols, sound, music, performance styles and others -- with "modern" and "global" devices. We will also examine how Chinese cinema thus creates new definitions of Chinese identity and modernity.

    LEARNING OUTCOMES

    Upon successful completion of this unit, students should be able to:
    -         Demonstrate knowledge of the broad development of Chinese cinema;
    -         Analyze a film using basic critical theory with sensitivity to Chinese cinematic tradition.
    In addition, this UOS will help students develop the generic academic skills expected of Arts students, including:
    -         research and inquiry (with a focus on ability to research film and write persuasive arguments in academic English)
    -         information literacy (with a focus on ability to find appropriate academic sources)
    -         personal and intellectual autonomy (in particular, the ability to autonomously develop a tutorial project)
    -         ethical, social and professional understanding (especially in regard to academic honesty)
    -         communication (especially in regard to discussing works in academic English)

    LEARNING STRUCTURE

    One two hour lecture per week and one x one hour tutorial per week, as follows:
     
    ·         Tue 14:00-16:00 [wks 1 to 9, 11 to 13] in Teachers College Lecture Room 448 A22
     
    Thursday tutorial as indicated in student timetable
    ·         Group 1: 12.00-13.00 Thursday Woolley Tutorial N401 A20
    ·         Group 2: 13.00-14.00 Thursday Woolley Tutorial N401 A20

    UNIT SCHEDULE

    Semester Two 2016

     
    Week Week beginning Lecture [content] Tutorial
    1 25 July Introduction Discussion
    2 01 August Classic Taiwanese Cinema of the 80s and 90s Discussion
    3 08 August Taiwanese Romcom and Ang Lee’s Migration to Hollywood Discussion
    4 15 August The best Hong Kong Dramatic/alternative Films before the Industry Collapsed in the Late 90’s Discussion
    5 22 August Hong Kong Action Films Discussion
    6 29 August Socialist Cinema in China (1949 – 1976) Discussion
    7 05 September The Fifth Generation Mainland Chinese Filmmakers Discussion
    8 12 September The Fifth Generation, Then and Now Discussion
    9 19 September Sixth Generation Filmmakers Discussion
    BREAK 26 Sept – 02 Oct SESSION BREAK
    10 03 October* No lecture Tutorial held as usual
    11 10 October Women on Screen throughout Chinese History Discussion
    12 17 October New Directions:  Jia Zhangke Discussion
    13 24 October Written Exam Tutorial held as usual
    STUVAC 31 October STUVAC
    EXAMS 07 November EXAM PERIOD commences
    * NB: Public holiday on Monday 3 October.

    ATTENDANCE代写 CHNS3639 Chinese Cinema

    According to Faculty Board Resolutions, students in the Faculty of Arts and Social Sciences are expected to attend 80% of their classes.  If you attend less than 50% of classes, regardless of the reasons, you may be referred to the Examiner’s Board.  The Examiner’s Board will decide whether you should pass or fail the unit of study if your attendance falls below this threshold.
    If a unit of study has a participation mark, your attendance may influence this mark. 
    For more information on attendance, see http://sydney.edu.au/arts/current_students/policies.shtml.

    READING REQUIREMENTS

    All readings are available via Fisher library, as indicated above. Students are not required to purchase a reader or textbooks, but are required to take their own initiative to locate the readings and study them in time, as indicated on the schedule. Library staff are available to assist students with research skills as needed, as are your lecturers and tutors.

    ONLINE COMPONENTS

    This unit requires regular use of the University’s Learning Management System (LMS), also known as Blackboard. You will need reliable access to a computer and the internet to use the LMS.  The University uses learning analytics to understand student participation on the LMS and improve the student learning experience.
    The easiest way to access the LMS is through MyUni (click on the ‘MyUni’ link on the university home page, http://sydney.edu.au  or link directly to the service at https://myuni.sydney.edu.au/. There is a ‘Blackboard LMS’ icon in the top row of the QuickLaunch window on the left hand side of the screen.
    If you have any difficulties logging in or using the system, visit the Student Help area of the LMS site, http://sydney.edu.au/elearning/student/help/.
    The University’s Privacy Management Plan governs how the University will deal with personal information related to the content and use of its web sites. See http://sydney.edu.au/privacy.shtml  for further details.
    Lecture Recording
    Lectures delivered in University-owned lecture theatres are recorded and may be made available to students on the LMS.  However, you should not rely on lecture recording to substitute your classroom learning experience.

    ASSESSMENT TASKS AND DUE DATES

    The language of assessment is English.
    -         Attendance and Participation: 10%
    -         Tutorial Project: 20%
    -         Essay (1500-2000 words): 30%
    -         (topics to be announced Week 5, due Monday Week 12)
    -         In Class Test in Week 13: 40%

    ASSESSMENT CRITERIA

    This unit uses standards referenced assessment for award of assessment marks. Students’ assessment will be evaluated solely on the basis of students’ achievement against criteria and standards specified to align with learning outcomes. For reference to criteria and standards, please consult the grade descriptors for the School of Languages and Cultures.

    SUBMISSION OF ASSESSMENTS

    Compliance Statements
    All students are required to submit an authorised statement of compliance with all work submitted to the University for assessment, presentation or publication. A statement of compliance certifies that no part of the work constitutes a breach of the Academic Honesty in Coursework Policy 2016.
    The format of the compliance statement will be in the form of:
    a.     a University assignment cover sheet; or
    b.    a University electronic form.
    Assessment Submission
    Dual online and paper submission
    Submission of assessment tasks will be required by the due date. Written assessments must be submitted online through the LMS, and in hard copy at the School of Languages and Cultures Office by 4 pm on the due date.
    Online tasks must be completed by 4:00 pm on the due date.
    You must complete, sign and attach a cover sheet/compliance statement to any written work handed in for assessment.
     Other assessments, for example visual or oral assessments, must be submitted according to the assessment instructions.
    Work not submitted on or before the due date is subject to a penalty of 2% per day late. Refer to http://sydney.edu.au/arts/current_students/late_work.shtml for the Policy on Late Work.

    ACADEMIC DISHONESTY AND PLAGIARISM

    Academic honesty is a core value of the University, so all students are required to act honestly, ethically and with integrity. This means that the University is opposed to and will not tolerate academic dishonesty or plagiarism, and will treat all allegations of academic dishonesty and plagiarism seriously.  The consequences of engaging in plagiarism and academic dishonesty, along with the process by which they are determined and applied, are set out in the Academic Honesty in Coursework Policy 2016.  You can find these documents University Policy Register at http://sydney.edu.au/policies (enter “Academic Honesty” in the search field).  
    Definitions
    According to the Policy, plagiarism means representing another person’s work (i.e., ideas, findings or words) as one’s own work by presenting, copying or reproducing it without appropriate acknowledgement of the source.  Academic dishonesty means seeking to obtain or obtaining academic advantage for oneself or others (including in the assessment or publication of work) by dishonest or unfair means.  Academic dishonesty includes, but is not limited to:
    ·         Resubmission (or recycling) of work that is the same, or substantially the same as work previously submitted for assessment in the same or in a different unit of study. Every unit of study expects each student to produce new material based upon research conducted in that unit;
    ·         Dishonest plagiarism;
    ·         Engaging another person to complete or contribute to an assessment in your place; and
    ·         Various forms of misconduct in examinations (including copying from another student and taking prohibited materials into an examination venue).
    Use of Similarity Detection Software
    Students should be aware that all written assignments submitted in this unit of study will be submitted to similarity detecting software known as Turnitin. Turnitin searches for matches between text in your written assessment task and text sourced from the Internet, published works, and assignments that have previously been submitted to Turnitin for analysis.
    There will always be some degree of text-matching when using Turnitin. Text-matching may occur in use of direct quotations, technical terms and phrases, or the listing of bibliographic material. This does not mean you will automatically be accused of academic dishonesty or plagiarism, although Turnitin reports may be used as evidence in academic dishonesty and plagiarism decision-making processes. Further information about Turnitin is available at http://sydney.edu.au/arts/current_students/plagiarism_and_turnitin.shtml.

    SPECIAL CONSIDERATION

    Students can apply for Special Consideration for serious illness or misadventure.  An application for special consideration does not guarantee the application will be granted.
    Further information on applying for special consideration is available at http://sydney.edu.au/current_students/special_consideration/index.shtml.

    OTHER POLICIES AND PROCEDURES RELEVANT TO THIS UNIT OF STUDY

    The Faculty’s Student Administration Manual is available for reference here http://sydney.edu.au/arts/current_students/student_admin_manual.shtml. Most day-to-day issues you encounter in the course of completing this Unit of Study can be addressed with the information provided in the Manual. It contains detailed instructions on processes, links to forms and guidance on where to get further assistance.

    YOUR FEEDBACK IS IMPORTANT

    The Unit of Study Survey
    The University conducts an online survey for units of study every semester.  You will be notified by email when the survey opens.  You are encouraged to complete the survey to provide important feedback on the unit just before the end of semester.  You can complete the survey at http://www.itl.usyd.edu.au/surveys/complete
     
    How Student Feedback has been used to develop this Unit of Study

    [Please provide a brief statement of any changes made to this unit as a result of student feedback and student experience from the previous time the unit was offered.  If this is the first time this Unit of Study is being offered, please include a brief statement to this effect.]

    STAYING ON TOP OF YOUR STUDY

    For full information visit http://sydney.edu.au/arts/current_students/staying_on_top.shtml
    The Learning Centre offers workshops in Academic Reading and Writing, Oral communications Skills, Postgraduate Research Skills, Honours, masters Coursework Program, Studying at University, and Workshops for English Language and Learning. Further information about The Learning Centre can be found at http://sydney.edu.au/stuserv/learning_centre/.
    The Write Site provides online support to help you develop your academic and professional writing skills. All University of Sydney staff and students who have a UniKey can access the WriteSite at http://writesite.elearn.usyd.edu.au/.
    The FASS Writing Hub has a wide range of programs at both Undergraduate and Postgraduate levels that focus on writing across the curriculum.  The FASS Writing Hub offers drop-in sessions to assist students with their writing in a one-to-one setting. No appointment is necessary, and this service is free of charge to all FASS students and/or all students enrolled in WRIT units.  To find out more visit http://sydney.edu.au/arts/teaching_learning/writing_hub/index.shtml.
    Pastoral and academic support for Aboriginal and Torres Strait Islander students is provided by the STAR Team in Student Support services, a dedicated team of professional Aboriginal people able to respond to the needs of students across disciplines. The STAR team can assist with tutorial support, mentoring support, cultural and pastoral care along with a range of other services. More information about support for Aboriginal and Torres Strait Islander students can be found at http://sydney.edu.au/current_students/student_services/indigenous_support.shtml.
    Free online Library tutorials are available at http://sydney.edu.au/library/skills, with one designed especially for students studying in the Humanities and Social Sciences at http://libguides.library.usyd.edu.au/.
    Mobile Learn is the Sydney Uni App for iPhone and Android. The full set of features available on the mobile app for the University LMS can be found in detail in this PDF document: Features in the mobile App for the University LMS (PDF). Search for University of Sydney on the iTunes store or the Android Marketplace, install the app, and you can access the LMS by clicking on the ‘Bb Learn’ icon.  Important: due to the limitations of mobile devices you cannot submit assignments using the assignment tool. You should not complete graded tests (quizzes) using your mobile device due to the possibility of internet drop out.

    OTHER SUPPORT SERVICES

    Disability Services is located on Level 5, Jane Foss Russell Building G20; contact 8627 8422 or email disability.services@sydney.edu.au. For further information, visit their website at http://sydney.edu.au/stuserv/disability/.
    Counselling and Psychological Services (CAPS) are located on Level 5, Jane Foss Russell Building G20; contact 8627 8433 or email caps.admin@sydney.edu.au.  For further information, visit their website at http://sydney.edu.au/current_students/counselling/.
     
    Faculty of Arts and Social Sciences Student Representatives: http://sydney.edu.au/arts/student_programs/contact_your_rep.shtml
     
    Faculty of Arts and Social Sciences Student Support Programs: http://sydney.edu.au/arts/student_programs/

    DETAILED SCHEDULE OF READINGS AND LECTURES

     
    Week 1: Introduction to the Unit of Study
     
    Required Reading (before attending tutorial)
    All students must study this chapter carefully before coming to tutorial this Thursday. The terminology and concepts will form the basic language we use to discuss films throughout the rest of the semester.
     
    Corrigan, Timothy. “Film Terms and Topics”, in A Short Guide to Writing about Film. New York: Pearson/Longman, 2007 (6th ed.), pp. 34-77.  (Fisher electronic item; available online)
     
    Recommended readings:
    Sheldon H. Lu and Emilie Yueh-yu Yeh, “Introduction: Mapping the Field of Chinese-Language Cinema”, in Sheldon H. Lu and Emilie Yueh-yu Yeh, eds. Chinese-Language Film: Historiography, Poetics, Politics. Honolulu:  University of Haiwaii Press, 2005, 1-24.
 (on 2 hour reserve)
     
    David Bordwell, “Poetics and Politics: Toward a Poetics of Chinese Film” in Lu and Yeh, eds. Chinese-Language Film, 141-162. (on 2 hour reserve)
     
    Week 2: Classic Taiwanese cinema of the 80s and 90s
     
    Required Film:
     A One and a Two (Yi yi 一一), dir. Edward Yang 德昌, 1999
     
    Recommended Films:
    Vive L’amour (情万), dir. Cai Mingliang蔡明亮, 1994
    A City of Sadness (悲情城市), dir. Hou Hsiao-hsien 侯孝贤, 1989
     
    Required reading:
    Li, David Leiwei, “Yi Yi : reflections on reflexive modernity in Taiwan.” In Chinese films in focus II, Chapter 34, pp. 265-272. (fisher electronic item)
     
    Recommended readings:
    Yeh, Emily Yueh-Yu, ‘Poetics and Politics of Hou Hsiao-hsien’s films’ in Lu and Yeh, eds. Chinese-Language Film, 163-185. (on 2 hour reserve)
     
    Wu, Meiling, ‘Postsadness Taiwan New Cinema: Eat, Drink, Everyman, Everywoman’ in Lu and Yeh, eds. Chinese-Language Film, 76-95. (on 2 hour reserve)
     
    Week 3: Taiwanese Romcom and Ang Lee’s migration to Hollywood
     
    Required Film:
    Wedding Banquet (喜宴), dir. Ang Lee 李安, 1993
     
    Recommended Films:
    Eat Drink Man Woman (饮食男女), dir. Ang Lee李安, 1994
    Lust, Caution (色戒), dir. Ang Lee李安, 2006
    Crouching Tiger, Hidden Dragon (臥虎藏龙), dir. Ang Lee 李安, 2001
     
    Required readings:
    Darious, Wei ming and Eileen Fung, ‘Breaking the Soy Sauce Jar: Diaspora and Displacement in Films of Ang Lee’ in Sheldon H. Lu, ed. Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997, 187-220. [Fisher Library on-line]
     
    Recommended Readings:
    Berry, Chris, ‘Wedding Banquet: A Family (Melodrama) Affaire’, in Christ Berry, ed. Chinese Films in Focus II, 235-242. (on 2 hour reserve)
     
    Chan, Felicia, “Crouching Tiger, Hidden Dragon: Cultural Migrancy and Translatability” in Chris Berry, ed. Chinese Films in Focus II, 73-81. . (on 2 hour reserve)
     
    Sheldon H. Lu, ‘Crouching Tiger, Hidden Dragon, Bouncing Angels: Hollywood, Taiwan, Hong Kong and Transnational Cinema’ in Lu and Yeh, eds. Chinese-Language Film, 220-233. (Fisher electronic item)
     
    Week 4: The best Hong Kong dramatic/alternative films before the industry collapsed in the late 1990s.
    Case Study: Wong Kar-wai 王家卫
     
    Required Film:
    Chungking Express (重庆森林), dir. Wong Kar-wai王家卫, 1994
     
    Recommended Film:
    In the Mood for Love (花样年华), dir. Wong Kar-wai 王家卫, 2000
     
    Required reading: 
    Tsung-yi Huang, “Hong Kong Blue: Flâneurie with the Camera's Eye in a Phantasmagoric Global City”, Journal of Narrative Theory. Vol. 30, No. 3, Cinema & Narrative (Fall, 2000) (pp. 385-402). (available online via Fisher website)
     
    Recommended readings:
    Yue, Audrey, “In the Mood for Love: Intersections of Hong Kong Modernity”, in Chris Berry, ed. Chinese Films in Focus II, 144-152.  (on 2 hour reserve)
    Luk, Thomas Y. T. “Novels into Film: Liu Yichang’s Tête-Bêche and Wong Kar-wai’s In the Mood for Love” in Lu and Yeh, eds. Chinese-Language Film, 210-219. (on 2 hour reserve)
     
    Week 5: Hong Kong action films
    Case Study: John Woo
     
    Required Film:
    The Killer(喋血双雄), dir. John Woo吳宇森, 1989 
     
    Recommended Films:
    A Better Tomorrow (英雄本色), dir. John Woo, 1986
    Way of the Dragon猛龙过江), dir. Bruce Lee李小龙, 1972
    Police Story (警察故事), dir. Jackie Chan成龙, 1985
     
    Required reading:
    Jillian Sandell, “Reinventing Masculinity: The Spectacle of Male Intimacy in the Films of John Woo.” Film Quarterly. Vol. 49, No. 4 (Summer, 1996) (pp. 23-34)
     
    Recommended readings:
    Desser, David, ‘Fists of Legend: Constructing Chinese Identity in the Hong Kong Cinema’, in Lu and Yeh, eds. Chinese-Language Film, 280-297. (on 2 hour reserve)
     
    Zhang, Zhen, ‘Bodies in the Air: the Magic of Science and the Fate of the Early “Martial Arts” Film in China’ in Lu and Yeh, eds. Chinese-Language Film, 52-75. (on 2 hour reserve)
    Week 6: Socialist Cinema in China (1949 – 1976)
    Case study: Xie Jin
     
    Required Film:
    The Red Detachment of Women(红色娘子军),dir. Xie Jin, 1966
     
    Recommended Film:
    The White-Haired Girl, (白毛女)co-dir. Wang Bin and Shui Hua, 1951
    Women No.5 Basketball Player(女篮五号),dir. Xie Jin, 1957
    The Golden Boulevard(金光大道),co-dir. Lin Nong and Sun Yu, 1975
     
    Required readings:
    Zhang, Yingjin. 2004. Cinema and the nation-state in China, 1949 – 78. in Chinese National Cinema. Routledge
     
    Chi, Robert. “The Red detachment of Women: Resenting, Regendering, Remembering.” in Chinese Films in Focus II. London, BFI. (189-196)
     
    Recommended Reading:
    Berry, Michael. 2005. “Xie Jin: Six Decades of Cinematic Innovation.” in Speaking in Images: Interviews with Contemporary Chinese Filmmakers. (20-49)
     
    Week 7: The Fifth Generation Mainland Chinese Filmmakers
    Case Study: Chen Kaige
     
    Required Films:
    Farewell My Concubine(霸王别姬),dir. Chen Kaige, 1993
     
    Recommended Films:
    King of the Children(孩子王)dir. Chen Kaige, 1987
    Sacrifice, dir. Chen Kaige, 2010
     
    Required readings:
    McDougall, Bonnie. “Cross-Dressing and the Disappearing Woman in Modern Chinese Fiction, Drama and Film: Reflections on Chen Kaige’s Farewell My Concubine.” China Information, Vol VIII, No 4, spring 1994, pp. 42-51. (avail via Fisher website)
     
    Recommended Reading:
    Chow, Rey. Male Narcissism and National Culture: Subjectivity in Chen Kaige’s King of the Children, in Chow, Primitive passions: visuality, sexuality, ethnography, and contemporary Chinese cinema. New York: Columbia University Press, 1995, pp. 87 – 118.
     
    Week 8: The Fifth Generation, Then and Now
    Case Study: Zhang Yimou
     
    Required Films:
    The Story of Qiu Ju (秋菊打官司),dir. Zhang Yimou, 1992
     
    Recommended Films:
    Raise the Red Lantern (大红灯笼高高挂), dir. Zhang Yimou, 1992
    Hero (英雄),dir. Zhang Yimou, 2002
     
    Required readings:
    Kong, Haili and Xudong Zhang. 2006. Cinema of Postsocialism: Zhang Yimou’s Film Production in the Late 1990s, in Haili Kong and John A. Lent, eds., One hundred years of Chinese cinema : a generational dialogue.  Norwalk: EastBridge, 2006. Chapters 6-7.
     
    Recommended Readings:
    Yingjie Guo. “National Unification Overrides all: The Heroism of Hero.” Conference paper, 2007. (electronic source available via Fisher)
     
    Zhu, Y. and Robinson, B. “The Cinematic Transition of the Fifth Generation Auteurs.” Zhu, Y. and Rosen, S. eds., Art, Politics, and Commerce in Chinese Cinema. Hong Kong University Press. Hong Kong, 2010.
     
    Week 9: Sixth Generation filmmakers
    Case study: Jiang Wen: Devils at the Doorstep and Let the Bullets Fly
     
    Required Film:
    Devils on the Doorstep (鬼子来了), dir. Jiang Wen,2000
     
    Recommended Film:
    Let the Bullets Fly(让子弹飞),dir. Jiang Wen, 2010
    Gone with the Bullets(一步之遥)dir. Jiang Wen,2014
     
    Required readings:
    Xu, Gary. “Violence, Sixth Generation Filmmaking, and Devils on the Doorstep”, in Xu, Sinascape: Contemporary Chinese Cinema. Lanham: Rowland and Littlefield, 2007, pp. 47-66.
     
    Veg, Sebastien. “Propaganda and pastiche: Visions of Mao in 'Founding of a Republic', 'Beginning of the Great Revival', and 'Let the Bullets Fly',” China Perspectives.  Issue 2 (2012), pp. 41-53.
     
    Week 10:  No lecture, but tutorial will still be held as usual
     
    Required Readings
     
    Week 11: Women on screen throughout Chinese history
    Case study: Street Angels (1937) Haixia (1977) and What Women Want (2011)
     
    Required Film:
    Street Angels(马路天使) , dir. Yuan Muzhi 1937
     
    Recommended Films:
    Haixia (海霞), dir. Xie Tieli谢铁骊1973
    What Women Want (我知女人心), dir. Chen Daming 2011
     
    Required Reading:
    Cui, Shuqin. “Subjected body and gendered identity”, in Cui, Women through the lens : gender and nation in a century of Chinese cinema, Honolulu: University of Hawaii, 2003, Chapter 7, pp. 150-168.
     
    Week 12: New Directions:  Jia Zhangke
     
    Required Film:
    Still Life (三峡好人 ), dir. Jia Zhangke贾樟柯, 2006.
     
    Recommended Films:
    24 City(二十四城), dir. Jia Zhangke, 2008
    The World (世界), dir. Jia Zhangke 贾樟柯, 2004.
     
    Required readings:
    Shi, Xiaoling, “Between Illusion and Reality: Jia Zhangke's Vision of Present-day China in The World in Asian Cinema Volume 18, Number 2, Fall/Winter 2007: 220-31. [Fisher Library on-line]
     
    Recommended reading:
    Lin, Xiaoping. ‘Jia Zhangke's Cinematic Trilogy: A Journey across the Ruins of Post-Mao China’ in Lu and Yeh, eds., Chinese-Language Film, 186-209. (on 2 hour reserve)
     

    代写 CHNS3639 Chinese Cinema