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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“中国革命电影”课程表  

2007-10-18 14:49:10|  分类: 默认分类 |  标签: |举报 |字号 订阅

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Chinese RevolutionaryCinema

CMST 64603 / EALC 44603

Autumn 2007 CourseSyllabus 

Seminar:           Wednesday 10:00 - 1:00, Cobb 310

Screening:          Tuesday 7:00-10:00, Cobb 307
Instructor:         Jason McGrath, Visiting Assistant Professor

Office:                Wieboldt 301C (EALC office suite)

Officehours:             Tue 1-3, Wed 2-3:30 and by appointment

Contact:            jcmcgrat@uchicago.edu

 

This course will examine thecinema associated with the Chinese revolutionary movement of thetwentieth century. The course will be divided roughly into threeparts. First, we will examine the transition from the socialrealism of the left-wing cinema movement in Shanghai in the 1930s,when the commercial film industry often conveyed progressive oreven revolutionary messages through mainstream entertainment films,to the socialist realism that arrived with the Communisttakeover in 1949. Second, we will see how early Chinese socialistrealism became what Mao preferred to call a combination of“revolutionary realism and revolutionary romanticism,”culminating in the highly formalized revolutionary aesthetics ofthe filmed “model operas” of the Cultural Revolution. Third, wewill explore how, during the post-Mao period, revolutionary cinemawas transformed in different directions, with some films criticallysubverting its conventions and others offering revolutionarynostalgia to postsocialist consumers. The theoretical problematicof the course consists in the question of how revolutionarycinema’s aesthetic and affective devices worked to articulateviewers to a collective utopian political project—which in turneventually collapsed.

 

Courserequirements:

  • Class attendance is required, andreadings and film viewings must be completed before theclass for which they are assigned. Attendance at the regularscreening time is mandatory. After the films have been discussed inclass, for the purpose of further research, the videos can checkedout from the Film Studies Center (Cobb 306; hours: M-Th10am-11pm and F-Su 12-6).
  • Each student will give twoinformal in-class presentations on course readings and onepresentation of the student’s final paper topic.
  • Each student will write three 3-5page papers and a final paper.

Grading:

Class participation andattendance:    20%

Class presentations(5x3):          15%

Short  papers(3x10):                30%

Finalpaper:                        35%

 

Participation and AttendanceGrade:   Attendance isabsolutely required; this score will be reduced by 5 points foreach unexcused absence. Participation includes askingrelevant questions and engaging productively in discussions.Every student should speak several times during every classmeeting.

 

Class ReadingPresentations:   Each studentwill introduce two of the course readings to begin classdiscussions. Students will sign up for readings in advance.Presentations should not consist of exhaustivepoint-by-point rehashes of the readings (we will all have alreadyread the same thing ourselves), but should instead do all ofthe following:

  1. Summarize the main argument(s) inthe reading. What is the author’s central idea? What is thestructure of the argument?
  2. How is this reading related toprevious course readings? Would this author agree with otherrelevant authors we have read? Why or why not?
  3. How does this reading help usunderstand/analyze/interpret the most recent film(s) we havewatched—or, if you think it cannot help us in this way,explain why not.
  4. What questions do you have aboutthe reading? Are there points that are unclear? What questionswould you like to hear your classmates discuss to make this readinguseful to the course in general and relevant to the films we haveviewed? 

ShortPapers:   Students willcomplete three short papers (3-5 pages), which will discuss somespecific aspect of one or more of the films viewed withreference to relevant course readings.

 

Final Paper: The finalpaper should be at least 15 pages and include significant researchbeyond assigned course readings. Students who are readers ofChinese should consult with one or more Chinese sources. Studentswill have leeway to choose topics that fit with their overallresearch interests and disciplinary training, but topics must bediscussed and approved in advance.

 

Plagiarism:

Any student responsible forplagiarism will receive an “F” for the assignment and, in alllikelihood, the course. If you have any questions regarding thedefinition of plagiarism or the expectations for a specificassignment, ask.

 

Readings:

The course has two required texts,which can be purchased at the Seminary Co-op or at any number ofon-line venders. All other readings given in the schedule will beposted as pdf files for students to download.

 

Required Texts:

Slavoj }i~ek, The SublimeObject of Ideology. London: Verso, 1989.

Bonnie McDougall, Mao Zedong’s“Talks at the Yan’an Conference on Literature and Art”: ATranslation of the 1943 Text with Commentary. Ann Arbor: Centerfor Chinese Studies, University of Michigan,1980. 

SCHEDULE

 

WEEK1

9/25 Tue: Screening:Big Road (Da lu; dir. Sun Yu, 1934, 77 min)

9/27 Wed:

Reading:

Chris Berry, “The SublimativeText: Sex and Revolution in Big Road [The Highway]”East-West Film Journal 2:2 (June 1988): 66-86.

Laikwan Pang, “Masculinity andCollectivism: Romancing Politics,” in Building a New China inCinema: The Chinese Left-Wing Cinema Movement, 1932-1937(Lanham, MD: Rowman & Littlefield, 2002), 91-107.

Vivian Shen, “Self and Society,”in The Origins of Left-wing Cinema in China, 1932-37 (NewYork: Routledge, 2005), 109-33.

 

WEEK2

10/2 Tue: Screening:Crows and Sparrows (Wuya yu maque; dir. Zheng Junli,1949, 108 min)

10/3 Wed:

Reading:

Yiman Wang, “Crows andSparrows: Allegory on a Historical Threshold,” inChinese Films in Focus: 25 New Takes, ed. Chris Berry(London: British Film Institute, 2003), 65-72.

Zhou Yang, “Thoughts onRealism,” in Kirk A. Denton, Modern Chinese Literary Thought:Writings on Literature, 1893-1945 (Stanford: StanfordUniversity Press, 1996), 335-44.

Regine Robin, “PART I: Cacophonyat the First Writers’ Congress in 1934 on the Subject of SocialistRealism,” in Socialist Realism: An Impossible Aesthetic(Stanford UP, 1992), 3-74.

 

WEEK3

10/9 Tue: Screening:New Year’s Sacrifice (Zhufu; dir. Sang Hu, 1956, 97min)

10/10Wed:

Video homework: TheWhite-Haired Girl

Reading:

Lu Xun, “The New Year’sSacrifice,” in Selected Stories of Lu Hsun (Peking: ForeignLanguages Press, 1972),

Bonnie McDougall, Mao Zedong’s“Talks at the Yan’an Conference on Literature and Art”: ATranslation of the 1943 Text with Commentary. Ann Arbor: Centerfor Chinese Studies, University of Michigan, 1980.

Hilary Chung and Tommy McClellan,“The ‘Command Enjoyment’ of Literature in China: Conferences,Controls, and Excesses,” in In the Party Spirit: SocialistRealism and Literary Practice in the Soviet Union, East Germany andChina, ed. Hilary Chung (Amsterdam: Rodopi, 1996),1-22.

Slavoj }i~ek, The SublimeObject of Ideology, 1-53.

 

WEEK4

10/16 Tue:Screening: Early Spring (Zaochun eryue; dir. Xie Tieli,1963, 110 min)

10/17Wed:

Reading:

Lorenz Bichler, “Coming to Termswith a Term: Notes on the History of the Use of Socialist Realismin China,” in In the Party Spirit: Socialist Realism andLiterary Practice in the Soviet Union, East Germany and China,ed. Hilary Chung (Amsterdam: Rodopi, 1996), 30-43.

Yang Lan, “‘Socialist Realism’Versus ‘Revolutionary Realism Plus Revolutionary Romanticism’,”in In the Party Spirit: Socialist Realism and Literary Practicein the Soviet Union, East Germany and China, ed. Hilary Chung(Amsterdam: Rodopi, 1996), 88-105.

Chen, Tina Mai. “Propagating thePropaganda Film: The Meaning of Film in Chinese Communist PartyWritings, 1949-1965.” Modern Chinese Literature and Culture15, 2 (Fall 2003): 154-93.

Slavoj }i~ek, The SublimeObject of Ideology, 55-84.

 

WEEK5

10/23Tue:

Screening: Song of Youth(Qingchun zhi ge; dir. Cui Wei & Chen Huai’ai, 1959, 180min)

10/24Wed:

Reading:

Yang Mo, “from The Song ofYouth,” in Literature of the People’s Republic ofChina, ed. Kai-Yu Hsu (Bloomington: Indiana University Press,1980).

David Bordwell,“Historical-Materialist Narration: The Soviet Example,”Narration in the Fiction Film (Madison: U. of WisconsinPress, 1985), 234-73.

Ban Wang, “Desire and Pleasure inRevolutionary Cinema,” in The Sublime Figure of History:Aesthetics and Politics in Twentieth-Century China (Stanford:Stanford U. Press, 1997), 123-54.

Slavoj }i~ek, The SublimeObject of Ideology, 87-129.

 

WEEK6

10/30 Tue:Screening:

Red Detachment of Women(Hongse niangzi jun; dir. Xie Jin, 1960, 120 min)

10/31Wed:

Reading:

Robert Chi, “The RedDetachment of Women: Resenting, Regendering, Remembering,” inChinese Films in Focus: 25 New Takes, ed. Chris Berry(London: BFI Publishing, 2003), 152-59.

Shuqin Cui, “Gender Politics andSocialist Discourse in Xie Jin’s The Red Detachment ofWomen,” in Women Through the Lens: Gender and Nation in aCentury of Chinese Cinema (Honolulu: U. of Hawai’i Press,2003), 79-95.

Katerina Clark, “SocialistRealism With Shores: The Conventions for the PositiveHero,” in Socialist Realism Without Shores, ed. ThomasLahusen and Evgeny Dobrenko (Durham: Duke U. Press, 1997),27-50.

Slavoj }i~ek, The SublimeObject of Ideology, 131-49.

 

WEEK7

11/6 Tue: Screening:Stage Sisters (Wutai jiemei; dir. Xie Jin, 1965, 112min)

11/7 Wed:

Reading:

Gina Marchetti, “Two StageSisters: The Blossoming of a Revolutionary Aesthetic,” inTransnational Chinese Cinema: Identity, Nationhood, Gender,ed. Sheldon Lu (Honolulu: University of Hawaii Press, 1997),59-80.

Xudong Zhang, “The Power ofRewriting: Postrevolutionary Discourse on Chinese SocialistRealism,” in Socialist Realism Without Shores, ed. ThomasLahusen and Evgeny Dobrenko (Durham: Duke University Press, 1997),282-309.

Alexei Yurchak, “Late Socialism:An Eternal State” and “Hegemony of Form: Stalin’s UncannyParadigm Shift,” in Everything Was Forever, Until It Was NoMore: The Last Soviet Generation (Princeton: PrincetonUniversity Press, 2006), 1-76.

Slavoj }i~ek, The SublimeObject of Ideology, 153-99. 

 

WEEK8

11/13 Tue:Screening: Red Lantern (Hong deng ji; dir. Cheng Yin,1970)

11/14Wed:

Reading:

“from The Red Lantern,”in Literature of the People’s Republic of China, ed. Kai-yuHsu (Bloomington: Indiana University Press, 1980),794-803.

Yomi Braester, “The PurloinedLantern: Maoist Semiotics and Public Discourse in Early PRC Filmand Drama,” in Witness Against History: Literature, Film, andPublic Discourse in Twentieth-Century China (Stanford: StanfordUP, 2003), 106-27.

Mills, Ian. “Why Did Chiang ChingClose Down Chinese Film Production? Or, the Garden of EdenRe-Opened.” Australian Journal of Screen Theory 15-16(1983): 7-34.

Slavoj }i~ek, “The Fetish of theParty,” in Willy Apollon and Richard Feldstein, eds., Lacan,Politics, Aesthetics (Albany: State University of New YorkPress, 1996), 3-29.

Slavoj }i~ek, The SublimeObject of Ideology, 201-31.

 

WEEK9

11/20 Tue:Screening: Devils on the Doorstep (Guizi laile; dir. JiangWen, 2000, 139 min)

11/21Wed:

Video homework: YellowEarth (Huang tudi; dir. Chen Kaige, 1984, 89 min)

Reading:

Chen, Xiaoming. “The MysteriousOther: Postpolitics in the Narrative of Chinese Film.” Boundary2 24, 3 (1997): 123-41.

Stephanie Hemelryk Donald,“National Publicness,” in Public Secrets, Public Spaces:Cinema and Civility in China (Lanham, MD: Rowman &Littlefield, 2000), 57-83.

Gary Xu, “Violence, SixthGeneration Filmmaking, and Devils on the Doorstep,” inSinascape: Contemporary Chinese Cinema (New York: Rowman& Littlefield, 2007), 47-66.

 

WEEK10

11/27 Tue:Screening: The Road Home (Wo de fuqin muqin; dir. ZhangYimou, 1999, 89 min)

11/28Wed:

Student presentations on finalpaper topics

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