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黄小邪:芝加哥,城南影事

 
 
 

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芝加哥大学电影系“早期中国电影”课程表  

2007-10-12 06:28:00|  分类: 默认分类 |  标签: |举报 |字号 订阅

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Early ChineseCinema
CMST 24606 /EALC 24502/35402
Autumn 2007 Course Syllabus 

Class:      Tue-Thu10:30-11:50, Cobb 425

Screening:  Wed 3:30-6:30,Cobb 425
Instructor: JasonMcGrath, Visiting Assistant Professor
Office hours: Tue 1-3, Wed 2-3:30 and byappointment 

 

This course explores the rich history of Chinesecinema from the earliest extant films of the 1920s to the end ofthe Republican Era (and the beginning of Communist rule) in 1949.Topics to be covered include influences on early Chinese filmranging from traditional Chinese drama to contemporary Hollywoodproductions, the effects of leftist politics on commercial cinema,and the Chinese star system and material film culture. Film stylesand genres examined include traditional narratives, slapstickcomedy, social realism, horror, romantic comedy, and a protoChinese art cinema, but in every case the focus will be on what thefilms tell us about the experience of modernity in China and theways artists and audiences used cinema to both reflect andintervene in the conditions of their lives under semi-colonialcapitalism.

Course requirements:

  • Class attendance is required, and readings andfilm viewings must be completed before the class for whichthey are assigned. Attendance at the regular screening time ismandatory. After the films have been discussed in class, for thepurpose of further research, the videos can checked out from theFilm Studies Center (Cobb 306; hours: M-Th 10am-11pm andF-Su 12-6).
  • Each student will make regular, brief postingsto the Chalk website discussion board (a minimum of one for eachfilm screened).
  • Students will complete four writing assignmentsand take five popquizzes.  

Grading:

Participation, attendance,quizzes:       20%

Discussion boardcontributions:                      10%

Paper1:                                              10%

Paper2:                                              15%

Paper3:                                              20%

Paper4:                                              25% 

Participation and AttendanceGrade:   This score will bereduced by 1 point for each unexcused absence up to the third, andby 2 points for each additional unexcused absence after the third.“Participation” includes asking relevant questions and engagingproductively in discussions. The score will be lowered by suchbehaviors as arriving late, leaving early, being disrespectful tothe views of others, or engaging in disruptive behaviors in theclassroom such as reading, using a computer or cell phone, workingon other things or having private conversations duringclass. 

In-ClassQuizzes:   Brief pop quizzeswill be administered at random to test whether students have donethe assigned reading. These will help determine the“Participation” grade. 

Discussion Board Contributions:  The Chalk website for thecourse will have a discussion board set up for each film viewed.Each student must contribute one posting on each film by the end ofthe weekend following its screening. A posting can range from a fewsentences to 2-3 short paragraphs and can take the form of athoughtful question, a comment, a brief analysis of a particularscene or technique used in a film, a response to a previous postingby another student, etc.—but it should not consist merelyof your general opinion of the film. 

Papers:

  1. Shot Analysis (1-2pages)  Analyze a single shot from a filmaccording to a given set of parameters.
  2. Scene Analysis (3-4pages)  Analyze a scene from one of the films andmake a specific argument about its overall significance to the filmas a whole.
  3. Film Interpretation (5-7pages)  Make an original argument about a film,supporting it with concrete evidence from the film.
  4. Final Paper (8-12 pages) Instead of afinal exam, students will complete a longer final paper. Proposalsfor all paper topics must be submitted to the instructor by emailand approved inadvance.  

More detailed instructions regarding papers willbe handed out and posted on the coursewebsite. 

Scholastic Dishonesty:

Scholastic dishonesty includes plagiarizing;cheating on assignments or examinations; engaging in unauthorizedcollaboration on academic work; and accessing test materialswithout faculty permission. In this course, a student responsiblefor scholastic dishonesty will receive an “F” for the assignment.Those guilty of plagiarizing all or a significant part of apaper will receive an “F” for the course. In all cases, thestudent will be reported to the College. If you have any questionsregarding the definition of plagiarism or the expectationsfor a specific assignment, ask. 

Readings:

The course has three required textbooks, whichcan be purchased at the Seminary Co-op or at any number of on-linevenders. All other readings given in the schedule will be passedout in class and/or posted as pdf files for students todownload. 

Required texts:

ZZ = Zhang Zhen, An Amorous History of theSilver Screen: Shanghai Cinema, 1896-1937 (Chicago: Universityof Chicago Press, 2005).

LP = Laikwan Pang, Building a New China inCinema: The Chinese Left-Wing Cinema Movement, 1932-1937(Lanham, Md.: Rowman & Littlefield, 2002).

YZ = Yingjin Zhang, ed., Cinema and UrbanCulture in Shanghai, 1922-1943 (Stanford: Stanford UniversityPress, 1999). 

SCHEDULE 

WEEK1

9/25 Tue:

In-class screening: Laborer’s Love(Laogong zhi aiqing; dir. Zhang Shichuan, 1922, 30 min)

9/26 Wed:

Screening: Two Stars in the Milky Way(Yinhan shuang xing; dir. Shi Dongsan, 1931, 100 min)

9/27 Thu:

Reading: ZZ, Intro & Ch3 

WEEK2

10/2 Tue:

Reading:

Mary Farquhar and Chris Berry, “Shadow Opera:Toward a New Archaeology of the Chinese Cinema,” inChinese-Language Film: Historiography, Poetics, Politics,ed. Sheldon Lu and Yueh-Yu Yeh (Honolulu: University of Hawai'iPress, 2005), 27-52.

Kristine Harris, “‘The Romance of the WesternChamber’ and the Classical Subject Film in 1920s Shanghai” (YZ,Ch. 3)

In-class screening: Romance of the WesternChamber (Xixiang ji; dir. Hou Yao, 1927, 45 min)

10/3 Wed: Screening: TwinSisters (Zimei hua; dir. Zheng Zhengqiu, 1933, 90min)

10/4 Thu:

Reading: ZZ, Ch 1; LP, Ch6 

WEEK3

10/9 Tue:       PAPER 1 DUE

Reading:

Vivian Shen, “Country and City” and “GenderRelations,” in The Origins of Left-wing Cinema in China,1932-37 (New York: Routledge, 2005), 29-107.

Li, Cheuk-to. “Eight Films of Sun Yu: A GentleDiscourse on a Genius.” Cineyama 11 (1991):53-63.

Video homework: Dishonered (dir. Josef vonSternberg, 1931)

10/10 Wed: Screening:Daybreak (Tianming; dir. Sun Yu, 1933, 115 min)

10/11 Thu:

Reading:

Miriam Bratu Hansen, “The Mass Production of theSenses: Classical Cinema as Vernacular Modernism,” inReinventing Film Studies, ed. Christine Gledhill and LindaWilliams (London: Arnold, 2000), 332-50.

Miriam Bratu Hansen, “Fallen Women, RisingStars, New Horizons: Shanghai Silent Films as VernacularModernism.” Film Quarterly 54(1) (Fall 2000):10-22. 

WEEK4

10/16 Tue:

Reading:

Michael G. Chang, “The Good, the Bad, and theBeautiful: Movie Actresses and Public Discourse in Shanghai,1920s-1930s” (YZ, Ch. 6)

LP, Intro & Ch 1

10/17 Wed: Screening: Queen ofSports (Tiyu huanghou; dir. Sun Yu, 1934, 83 min)

10/18 Thu:

Reading: ZZ, Ch 2 

WEEK5

10/23 Tue:

Reading: LP, Ch 2; ZZ, Ch 4

10/24 Wed: Screening: TheGoddess (Shennü; dir. Wu Yonggang, 1934, 77 min)

10/25 Thu:

Reading:

Yingjin Zhang, “Prostitution and the UrbanImagination: Negotiating the Public and the Private in ChineseFilms of the 1930s” (YZ, Ch. 7)

Kristine Harris, “The Goddess: FallenWoman of Shanghai,” in Chinese Films in Focus: 25 NewTakes, ed. Chris Berry, (London: British Film Institute,2003), 111-19. 

WEEK6

10/30 Tue:     PAPER 2 DUE

Reading: LP, Ch’s 3 & 5

Lu Xun, “Gossip is a Fearful Thing”

Video homework: Street Angel (dir. FrankBorzage, 1927)

10/31 Wed: Screening: StreetAngel (Malu tianshi; dir. Yuan Muzhi, 1937, 95 min)

11/1 Thu:

Reading:

Andrew D. Field, “Selling Souls in Sin City:Shanghai Singing and Dancing Hostesses in Print, Film, andPolitics, 1920-49” (YZ, Ch. 5)

Sue Tuohy, “Metropolitan Sounds: Music inChinese Films of the 1930s” (YZ, Ch. 9) 

WEEK7

11/6 Tue:

Reading:

LP, Ch’s 4 & 7

Video homework: Big Road (Da lu; dir. SunYu, 1934, 77 min)

11/7 Wed: Screening:Crossroads (Shizi jietou; dir. Shen Xiling, 1937, 105min)

11/8 Thu:

Reading: ZZ, Ch 7; Leo Ou-fan Lee, “The UrbanMilieu of Shanghai Cinema, 1930-40: Some Explorations of FilmAudience, Film Culture, and Narrative Conventions” (YZ, Ch.4) 

WEEK8

11/13 Tue:     PAPER 3 DUE

Reading: LP, Ch 5

11/14 Wed: Screening: Song atMidnight (Yeban gesheng; dir. Weibang Maxu, 1937, 120min)

11/15 Thu:

Reading: ZZ, Ch 8 

WEEK 9

11/20 Tue:

Reading: LP, Ch 8

Yomi Braester, “Revolution and Revulsion:Ideology, Monstrosity, and Phantasmagoria in 1930s ChineseCinema,” in Witness Against History: Literature, Film, andPublic Discourse in Twentieth-Century China (Stanford: StanfordUP, 2003), 81-105.

John Chua, “Something Borrowed, Something New:Ye Ban Ge Sheng (Song at Midnight) and the Cross-CulturalReinterpretation of Horror in Twentieth Century China.” AsianCinema 16, 2 (Fall/Winter 2005): 122-46.

11/21 Wed: Screening: Spring ina Small Town (Xiao cheng zhi chun; dir. Fei Mu, 1948, 90min)

11/22 Thu: NO CLASS – THANKSGIVINGHOLIDAY 

WEEK10

11/27 Tue:

Reading:

Wong, Ain-ling. “Fei Mu: A Different Destiny.”Cinemaya 49 (2000): 52-58.

Li, Cheuk-to. “Spring in a Small Town: Masteryand Restraint.” Cinemaya 49 (2000): 59-64.

Jubin Hu, “Nationalism and Modernization(1946-1949)” in Projecting a Nation: Chinese National CinemaBefore 1949 (Hong Kong University Press, 2003),159-90.

Paul Pickowicz, “Victory as Defeat: PostwarVisualizations of China's War of Resistance,” in BecomingChinese: Passages to Modernity and Beyond, ed. Wen-hsin Yeh(Berkeley: University of California Press, 2000),365-97.

11/28 Wed: Screening: The SpringRiver Flows East (Yi jiang chunshui xiang dong liu; dir. CaiChusheng & Zheng Junli, 1947, 180 min)

11/29 Thu: NO CLASS –UNDERGRADUATE READING PERIOD 

12/7Fri:         PAPER 4 DUE

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