Week 1 The Making of Chinese Film & Identity Literature Essay

Students enrolled in this class are required to write journal entries on a weekly basis regarding the films and readings for no less than 300 words per week (Font 12, Times New Roman, double space, 1 inch margins). The journals should be all in one Word document, with the file name “CHIN Cinema_jounrals_First Name Last Name,” submitted/updated bi-weekly by 7 pm on Wednesdays via Blackboard. You may submit weekly, bi-weekly, or once every three weeks although your entries are weekly.
Your journal grade is not based upon the content, logic, or argumentation, but spelling and grammar check is recommended. You may include comments on the readings, the films (to be) watched, the discussion questions, sparkles of thoughts, essay/paper ideas, etc.

 Course Description This course offers an insight into the social, economic, and political transformation of China through the cinema lens. Selected films of different genres from Mainland China Hong Kong as well as Taiwan, and even in the U.S., will be examined to decipher its regional differences, the urban-rural gap, daily lives, gendered identities, and the belief system as well as the cultural landscape. Pre/Co-Requisites: College writing. No prior knowledge of Chinese language, literature, or culture is required. 1 Federal regulation defines a credit hour as an amount of work represented in intended learning outcomes and verified by evidence of student achievement that is an institutional established equivalence that reasonably approximates not less than: (1) One hour of classroom or direct faculty instruction and a minimum of two hours out of class student work each week for approximately 15 weeks for one semester or trimester hour of credit, or the equivalent amount of work over a different amount of time; (2) At least an equivalent amount of work as required in paragraph (1) for other activities as established by the institution including laboratory work, internships, practica, studio work, and other academic work leading to the award of credit hours” (New England Association of Schools and Colleges, Commission fon Institutions of Higher Education, Policy on Credits and Degrees, Effective July 1, 2011). 2All office hours are being held online via Blackboard Collaborate Ultra (chat room on the left menu) as of March 18, 2020. Chat time: I will have a one hour per week for synchronous chats in this class. Chat is a way for students to meet with the instructor for interaction in real-time as if we were meeting in my office. Students are not required to attend the chat, just like they are not required to attend office hours. You can think of them as virtual office hours. Regular weekly chat time for this class: Wednesdays from 2 to 3 pm EST or by appointment. 2 Learning Objectives To gain knowledge of the social, economic, and political transformation of China To grasp the complication of China’s environment, people, and history To learn to critically “read” a movie and appreciate the elements To understand, and to write, film analysis that is built around a central problem or question with a coherent argument and critical and substantive interpretation. Course Materials Required Textbook: Berry, Christopher, and Farquhar, Mary Ann. 2006. China on Screen: Cinema and Nation. NY: Columbia University Press. ISBN-10: 0231137079 ISBN-13: 978-0231137072 References: Zhu, Ying, and, Rosen, Stanley, eds. 2010. Art, Politics, and Commerce in Chinese Cinema. Hong Kong University Press. ISBN-10: 9622091768 ISBN-13: 978-9622091764 https://www.amazon.com/Art-Politics-Commerce-ChineseCinema/dp/9622091768/ref=sr_1_2?s=books&ie=UTF8&qid=1524605113&sr=1 -2#reader_B004E9U7VK Readings and other materials will be posted on the Blackboard shell that accompanies this course or distributed in class by the instructor. Most movies will be watched partially in class (excerpts) but all of them will be available on the digital platform “Ensemble” for a complete screening at home. It will be your responsibility to watch them entirely outside of the classroom before the due date.  Free Online Textbooks https://www.about.redshelf.com/redshelfresponds https://get.vitalsource.com/vitalsource-helps E-MAIL UML has its own internal e-mail system. If you have questions or concerns, please use that email. Your instructor will not answer any other e-mail account. Please, be sure to regularly check your e-mail to be sure you get your messages. Your instructor will check e-mail and voicemail at school. If you need to contact him/her and his/her office hours are over, he/she will help you the next working day. E-MAIL FORMAT: To ensure that your instructor respond to your email, use this structure: SUBJECT OR RE: Chinese Cinema 3 GREETING: Start your message with a salutation. Write your message and conclude with a proper ending SIGNATURE: your name Do not use email as a way to solve issues that should be resolved professionally during the professor's regularly scheduled office hours. GRADE BREAKDOWN Weekly Journals 10% Intro to Films 10% Discussion Questions 5% Film Analysis and/or Reading Responses (2/3) 20% Oral Presentation 15% Final Paper 30% Attendance & Participation 10% GRADING SCALE: Follows the qualitative criteria used by the university. (See the catalogue). A grade of Incomplete is assigned at the discretion of the instructor when, due to extraordinary circumstances (e.g., hospitalization), a student is prevented from completing the work of the course on time. A student may receive an incomplete only if s/he has participated in class up until the last two weeks of the semester and is passing the course at that moment. Marking scale A 100-94 A- 93-90 B+ 89-87 B 86-83 B- 82-80 C+ 79-77 C 73-76 C- 72-70 D+ 69-66 D 65-60 F 59 and below Grades are not scaled or curved. ACADEMIC CODE OF CONDUCT Learning best occurs in a supportive and respectful atmosphere. It is expected that you conduct yourself in a responsible manner. Rudeness and disruptive behaviour will not be tolerated. Electronic devices used during class should be limited to course-related materials and activities. Communication is essential for this course. Lecture capture and Blackboard will be used to supplement our classroom meetings. Slides (if any) will be posted on Blackboard after the class, but are not to be used instead of attending lectures. Handouts, (supplementary) reading materials, homework assignments, and writing 4 rubrics will also be posted on Blackboard. It will be your responsibility to check in on Blackboard AT LEAST once a week to stay updated on course happenings. If a class is cancelled for any reasons, please check the Blackboard that day. Cancellation may also be posted by the department and/or via e-mail by the instructor. Be advised that the work you do should be yours. Do not copy the information; you need to paraphrase your information and DO NOT "cut and paste" whole paragraphs from a text or the web. Work submitted must be in your own words. "Borrowing" materials without citing sources is plagiarism. Plagiarism is a serious offence that will not be tolerated. Students at UMASS Lowell are expected to be honest and to respect ethical standards in meeting academic assignments and requirements. A student who cheats on an examination or assignment is subject to administrative dismissal. The consequences of plagiarism include a failure in the course and possible expulsion from the University. You instructor will use Turnitin in this class Therefore, for your assignments, you are not permitted to use translation software or have anyone else write these assignments for you. If your professor suspects that you did not write the assignment on your own or you did use Translation Software to produce your work, you will not receive credit for the work. UML Plagiarism guidelines Since this is a professional presentation at the university level, collegiality and honesty must be honored. Please read carefully the information regarding Academy Dishonesty and Etiquette. Students at UMASS Lowell are expected to be honest and to respect ethical standards in meeting academic assignments and requirements. A student who cheats on an examination or assignment is subject to administrative dismissal. The following definitions are provided for the information of all students and constitute official notice of prohibited academic practice and behavior. 1) Cheating is defined as use, or attempted use, of trickery, artifice, deception, breach of confidence, fraud, or misrepresentation of one’s academic work. Submission of the same work in its entirety for credit in two courses without obtaining the permission of the instructors also constitutes cheating. 2) Fabrication is defined as falsification or invention of any information or citation in any academic exercise. 3) Plagiarism is defined as representing the words or ideas of another as one’s own work in any academic exercise. 4) Facilitating dishonesty is defined as helping or attempting to help another commit an act of academic dishonesty, including substituting for another in an examination, misrepresenting oneself, or allowing others to represent as their own one’s papers, reports, or academic works. Please refer to the Undergraduate Academic Integrity Policy for detailed plagiarism guidelines: http://www.uml.edu/catalog/undergraduate/policies/academic_dishonesty.htm. 5 LATE WORK Under no circumstances late work will be accepted. No make-up work will be allowed for any work not completed on time. Preparation of class work and evaluations are crucial to assess your progress. If you are going to be absent the day an assignment is due, it is your responsibility to make the appropriate arrangements to have it submitted on time. No excuses will be accepted for late work. If you experience a personal problem that jeopardizes your class performance, contact your instructor within two working days and he/she will try to find a way to keep you up academically. WEEKLY JOURNALS (10% of your final grade): Students enrolled in this class are required to write journal entries on a weekly basis regarding the films and readings for no less than 300 words per week (Font 12, Times New Roman, double space, 1 inch margins). The journals should be all in one Word document, with the file name “CHIN Cinema_jounrals_First Name Last Name,” submitted/updated bi-weekly by 7 pm on Wednesdays via Blackboard. Your journal grade is not based upon the content, logic, or argumentation, but spelling and grammar check is recommended. You may include comments on the readings, the films (to be) watched, the discussion questions, sparkles of thoughts, essay/paper ideas, etc. Further details will be posted on Blackboard and announced in class as well. INTRO TO FILMS (10% of your final grade) Preparation is essential to the class. Prior to screening, each student will give a three-to-fiveminute introduction to the film(s) s/he picks at the beginning of the semester, depending on the number of total films and students. Preview of the trailer should be helpful. After screening, this student will also give a three-to-five-minute introduction to the review of the film(s) (usually provided in the assigned readings). This process is meant not only to encourage preparation, but also to enhance students’ eloquence and involvement. Half of your intro grade relies on your organization and content while the other half on your clarity and expressiveness. Reading from your notes will deduct 20% of your intro grade. If for any reasons you are not able to attend class on your scheduled day, you may switch with your classmate with the approval of the instructor. In any case, a written intro or summary should be sent to the instructor for 75% of the intro grade. DISCUSSION QUESTIONS (5% of your final grade) Engagement is expected of students enrolled in this class. You will pair up with a partner each week to write up 5 to 8 discussion questions on the film(s) of your choice, and will help the instructor administer discussions. You may have two partners at most each time (if there are odd numbers of students in the class). 6 You may choose to write up the discussion questions for the same films for introduction or different ones. The discussion questions should be emailed to the instructor via [email protected] at least two days prior to the actual class meeting (i.e. Monday for the Wednesday class) by 3 pm. All class meetings are moved Online via Blackboard Collaborate Ultra as of March 18, 2020. You’ll watch the movies on your own for the first couple of hours of class time, and meet between 5:40 and 6:20 pm in the “course room” on Blackboard. A “Discussion Board” is also created to encourage you to publish your opinion by posting threads or replying to threads in addition to virtual class meetings and discussions. If for any reasons you are not able to attend class on your scheduled day, you may switch with a classmate with the consent of your partner. Proof of your contribution without attendance will earn you 85% of the discussion-question grade. FILM ANALYSIS and/or READING RESPONSES (20% of your final grade) Students enrolled in this class are required to write two 3 pages essays during the semester (Font 12, Times New Roman, double space, 1 inch margins). You may choose two out of the three designated topics. Positions on a chosen topic will be given in the tentative schedule, and detailed requirements will be given on Blackboard. You’ll submit the analysis/response/review essay via Turnitin on Blackboard by the due date. Elements for the analysis or response Plot summary and/or background overview of the film(s) (no longer than one page) Review of the relevant literature (no longer than half a page) Your analysis and/or view of the film(s), and why ORAL PRESENTATION (15% of your final grade): In pairs or alone, students will make the final presentation during the semester. The presentation will be a minimum of 3 minutes long and a maximum of 10 minutes long. You will NOT be given the opportunity to make up the presentation simply because of absence (NO EXCEPTIONS). Up to 15% will be deducted if you read or partially read your presentation. You may have a 3” x 5” card with ten key words at which you may GLANCE. The project will be over assigned historical, political or socio-cultural movements portrayed in the readings or discussed in class. A list of the topics for each presentation will be distributed in class. Each pair or student will have to provide the professor a hard or electronic copy of the whole presentation; it will count as part of the grade. FINAL PAPER (30% of your final grade) It will cover a specific aspect of one of the films covered in class. After the mid semester, you will submit for approval an option of two or more suggested topics on films not yet screened in class. Your final paper must follow the following format: Font 12, times new roman, double spaced and should be 10 to 12 pages (or around 2,800 words) long not counting bibliography (not following these instructions will automatically deduct 10% from the grade). 7 An outline of the final paper is required on the due date, and peer review of your final draft will be administered in class. Deadlines will be provided in the tentative schedule and posted on Blackboard. Your final paper must include a bibliography and follow the MLA or APA style handbook (5 % of the grade). Use your computer to check the grammar and spelling (10 % of the grade). You must use at least 10 bibliographical sources (4 books, 4 articles and 2 internet). It is due on the date and time determined by the Office of the Registrar for the final exam.3 Please save the date, as the paper will be due at the scheduled date, time and place, no excuses. Late final papers will be penalized 5% for each day they are late, and will not be accepted more than 2 days past the due date. Again, more details regarding the requirements and grading rubrics will be posted on Blackboard. ATTENDANCE & PARTICIPATION (10% of your final grade): Participation in class is essential and it is directly tied to attendance. In order to receive the complete grade for your participation grade, you must show enthusiasm in class, volunteer to answer questions in class, participate well in-group activities and always have your homework assignments prepared. In other words, being in class does not mean that you will automatically get a participation grade. Remember, class participation will improve your knowledge level and help improve your grade. Class begins promptly on time. Attendance is mandatory and it is your responsibility to be punctual. Unavoidable or emergency absences will be considered on an individual basis. You will find a “petition for excused absence” attached to this syllabus. Class participation includes a number of variables, including but not limited to your attitude towards learning and your appropriate behavior in class. You are expected to: You must be in class to be able to get credit for class activities. CLASS ATTENDANCE Class attendance is mandatory. Since the course meets once a week , each student is allowed 1 "freebie" absence. This is intended to be used for short-term illness, oversleeping, medical appointments, non-university-required trips, funerals, studying for an exam, etc. Be aware that not being in class might affect your participation grade for that day. You are expected to be on time and to remain the entire class period. If you leave prior to the dismissal of class you will be counted absent. If you are more than 10 minutes late, you will be counted absent for that class period (no exceptions). Three tardies (less than 10 minutes late) will constitute an absence (no exceptions). Attendance will be taken at the beginning of the class. Usually the final exam date scheduled by the Registrar’s, which will be posted on Blackboard. 8 If at the end of the semester the student maintains his or her attendance record below this allowance of one, 2 points will be added to the student's final average. Absences count from the day that the student’s name appears on the instructor’s roll. The attendance policy of the language program will be enforced. Attendance Policy Class begins on time. Absences count from the day that the student’s name appears on the instructor’s roster. Attendance is mandatory and it is the student’s responsibility to be punctual. Unavoidable or emergency absences will be considered on an individual basis. Students will find a “petition for excused absence” attached to this syllabus. All enrolled students should be aware that not being in class might affect your participation grade for that day. Attendance will be taken at the beginning of the class. Students are expected to be on time and to remain the entire class period unless they have a condition that requires specific accommodations. If a student has a valid reason for leaving the classroom during class time, they must inform the instructor at the beginning of class. If a student leaves prior to the dismissal of class they will be counted absent. If a student is more than 10 minutes late, they will be counted absent for that class period (no exceptions). Three tardies (less than 10 minutes late) will constitute an absence (no exceptions). Students must be present during the entire class period to get credit. This language classes’ attendance policy will be enforced: “Since class participation is a major factor in the development of language skills, attendance in language classes is of utmost importance. We consider lack of attendance detrimental to language learning and liable to sanction; specifically, if a student incurs more than one week’s worth of unjustified absences - two (for a course that meets twice a week) and three (for a course that meets three times a week) - the student will receive a lower grade.” This means that once a student has incurred more than one week’s worth of unjustified absences, their grade will be dropped one grade for each additional unjustified absence (i.e. a student in a M/W/F course with an “A” average and 4 unjustified absences would receive an “A-” because they have one unjustified absence beyond the 3 allowed. Likewise, a student in a M/W or a T/R course with an “A” average and 3 unjustified absences will receive and “A-”). Frequent or repeated absences, justified or unjustified, often result in failure and are disruptive to students who attend each class and want to learn. Having missed class does not excuse students from being prepared when they return. Having sent an email note to their professor will not excuse them from the class or allow them to make up what they missed. Students are provided with a Tentative Class Schedule to help guide them. All students are expected to keep up and return to class well prepared when they have been absent. If a student wishes to have an absence excused, they must fill out the “Petition for excused absence” attached to the syllabus, and give a hard copy to their instructor at the beginning of the next class that they will attend. It is at the instructor’s discretion whether or not the petition will be accepted. 9 Additional University Policies and Available Support Services ACADEMIC CODE OF CONDUCT Be advised that the work that you do should be yours. Plagiarism is a serious offense that will not be tolerated. The consequences of plagiarism include a failure in the course and possible expulsion from the University. Therefore, for your compositions, quizzes, exams and any other assignments, you are not permitted to use translation software or have anyone else write these assignments for you. If your professor suspects that you did not write the assignment on your own, you will not receive credit for the work, at the very least. GUIDELINES ON PLAGIARISM or ACADEMIC DISHONESTY FOR THIS COURSE Since this is a professional presentation at the university level, collegiality and honesty must be honored. Please read carefully the information regarding Academy Dishonesty and Etiquette. Students at UMASS Lowell are expected to be honest and to respect ethical standards in meeting academic assignments and requirements. A student who cheats on an examination or assignment is subject to administrative dismissal. The following definitions are provided for the information of all students and constitute official notice of prohibited academic practice and behavior. 5) Cheating is defined as use, or attempted use, of trickery, artifice, deception, breach of confidence, fraud, or misrepresentation of one’s academic work. Submission of the same work in its entirety for credit in two courses without obtaining the permission of the instructors also constitutes cheating. 6) Fabrication is defined as falsification or invention of any information or citation in any academic exercise. 7) Plagiarism is defined as representing the words or ideas of another as one’s own work in any academic exercise. 8) Facilitating dishonesty is defined as helping or attempting to help another commit an act of academic dishonesty, including substituting for another in an examination, misrepresenting oneself, or allowing others to represent as their own one’s papers, reports, or academic works. Please refer to the Undergraduate Academic Integrity Policy for detailed plagiarism guidelines: https://www.uml.edu/docs/02.301%20Early%20Literacy%20Community%20Experience _tcm18-65009.pdf. 10 Academic Support Services at UMass Lowell The Center for Learning and Academic Support Services (CLASS) Tutoring, Advising, Changing/Declaring major, Academic success tips, Time management, etc. Chinese Tutor: O’Leary Learning Commons (First Floor) Contact: (978) 934-2936; (978) 934-2941 Writing Center One-on-one writing tutoring for all students, group workshops, and writing focused activities Location: O'Leary Learning Commons 1st Floor Contact: 978-934-5270 FAHSS Advising Center Advising for Undeclared Liberal Arts Majors in FAHSS, Bachelor of Liberal Arts Majors and drop-in advising for other FAHSS students in need of quick advising services Location: O'Leary Learning Commons 1st Floor, Southwick Hall 308 Contact: 978-934-5270 Student Disability Services Accommodations for documented disabilities Location: University Crossing (Suite #300) Contact: Jody Goldstein, Director, 978-934-4574, [email protected] Career Services and Cooperative Education Center Resume help, interview preparation, internship or employment search, major-related career inquiries Location: University Crossing (Suite #450) Contact: 978-934-2355, [email protected] Dean’s Office, College of Fine Arts, Humanities, and Social Sciences Location: 820 Broadway Street Contact: 978-934-3832 Office of Study Abroad and International Experiences Location: UMass Lowell, University Crossing, Suite 370 General inquiries: [email protected] The _______SACA__________ Club at UML: (if appropriate) The ________Student Association of Chinese Americans 美华社 (Formerly the ChineseEnglish Language Club 华英社 ) & Chinese Students & Scholars Association (CSSA)__________ clubs are very active on campus. The Clubs are for anyone interested learning about the culture, language and also celebrating the traditions of the ___Chinese____ speaking world. Please, look for advertisement on campus and information given in class. Please, join them! _______Asian Studies______ Minor: 11 A minor in _______Asian Studies________ consists of 18-24 credits with at least 6 credits at the 300 or 400 levels. Contact ___Dr. George Chigas________, Department of World Languages and Cultures. 12 Tentative Schedule This schedule is tentative and subject to change WEEK 1 (1/22) Introduction The Making of Chinese Film & Identity Screening: My People, My Country《我和我的祖国》(2019), Chen Kaige et al. Readings (recommended): Berry, Christopher, and Farquhar, Mary Ann. 2006. China on Screen: Cinema and Nation. Chapters 1 & 8: 1 – 16, 195 – 222 WEEK 2 (1/29) Chinese Dynasties, Empire, and Rulers Screening: Hero《英雄》(2002), Zhang Yimou. Readings: Berry, Christopher, and Farquhar, Mary Ann. 2006. China on Screen: Cinema and Nation. Chapter 2: 17 – 46, 223 – 232 Harrison, Mark. 2006. “Zhang Yimou’s Hero and the Globalisation of Propaganda,” Millenium: Journal of International Studies 34.2: 569-572. Larson, Wendy. 2008. “Zhang Yimou’s Hero: Dismantling the Myth of Cultural Power,” Journal of Chinese Cinemas 2.3 (Nov): 181-196. Nylan, Michael. 2005. “Review of Hero.” The American Historical Review, 110, 3: 769- 770. WEEK 3 (2/5) Chinese Philosophical Thoughts Screening: Lao Tzu《老子出关》(2014), Ma Chengyun. Confucius (trailer) 《孔子》(2010), Hu Mei. Readings (recommended): Lin, Derek. 2006. Tao Te Ching: Annotated & Explained. SkyLight Paths. https://drive.google.com/file/d/0B3JEIfKpNgXnNmlFY2FtdUczU28/view WEEK 4 (2/12) Chinese Peasantry and the Land Screening: The Good Earth《土地》(1937), Sidney Franklin. Readings: Nugent, Frank S. 1937. “Review of The Good Earth.” New York Times, Feb. 3. http://www.nytimes.com/movie/review?res=EE05E7DF173FE464BC4B53DFB466838C 629EDE Analysis/Response due WEEK 5 (2/19) Love, Gender, Class, and Tradition 13 Screening: Eighteen Springs《半生缘》(1997), Xu Anhua. Readings: Berry, Christopher, and Farquhar, Mary Ann. 2006. China on Screen: Cinema and Nation. Chapter 3: 47 – 74 Peggy Chiao Hsiung-ping. 2003. “The Female Consciousness: The World of Signification and Safe Extramarital Affairs – A 40th Year Tribute to The Love Eterne,” trans. Stephen Teo, in The Shaw Screen: A Preliminary Study, ed. Wong Ain-ling. Hong Kong: Hong Kong Film Archive, 75-85. Tan See Kam and Annette Aw. 2008. “The Love Eterne: Almost a (Heterosexual) Love Story,” in Chinese Films in Focus II, Chris Berry, ed. New York: Palgrave Macmillan, 137-143. WEEK 6 (2/26) Modernity, the Movie Industry, and Shanghai Screening: Jasmine Women《茉莉花开》(2004), Hou Yong. Everlasting Regret《长恨歌》(2005), Stanley Kwan Kam-Pang. Readings: Berry, Christopher, and Farquhar, Mary Ann. 2006. China on Screen: Cinema and Nation. Chapter 4: 75 – 107 Chan, Siew Lian. 2006. China’s Daughters. https://www.behance.net/gallery/14966891/THINK-Review-Jasmine-Women- %282006%29 WEEK 7 (3/4) Wars, Revolution(s), and Internationalism Screening: Lovers’ Grief Over the Yellow River《黄河绝恋》(1999), Feng Xiaoning. Readings: Esther C. M. Yau. 1991. “Yellow earth western analysis and a non-western text.” In Perspectives on Chinese cinema, ed., Chris Berry. London: British Film Institute. Havis, Richard James. 2003. Cineaste – America’s Leading Magazine on the Art and Politics of the Cinema Vol. 29, Issue 1: 8 - 11. Leung, Helen. 2003. “Yellow Earth: Hesitant Apprenticeship and Bitter Agency.” In Chinese films in focus: 25 new takes. Chris Berry, ed. London: British Film Institute, 191-197. Analysis/Response due WEEK 8 (3/18) Wars, Revolution(s), and National Identity Screening: Red Sorghum 《红高粱》(1987), Zhang Yimou. Devils on the Doorstep《鬼子来了》(2000), Jiang Wen. 14 Red Detachment of Women (ballet)《红色娘子军(舞剧)》(1964/1972), Collective. Readings: Chien, Cheng-Chen and Lo, Rey-Chih. 2007. “Red Sorghum: Image as narrative mediator between humans and nature.” Asian Journal of Management and Humanity Sciences, 2, 1-4: 74-88. External web sources: The Nanjing Atrocities: Online Documentaryhttp://journalism.missouri.edu/~jschool/nanking/index.htm Zhang, Jia-Xuan. 1989. Review of Red Sorghum. Film Quarterly, 42, 3: 41-43 Final paper title due via e-mail and/or discussed with instructor in person WEEK 9 (3/25) Gender, Sexuality, and Class Screening: Farewell My Concubine《霸王别姬》(1993), Chen, Kaige. Raise the Red Lantern 《大红灯笼高高挂》(1991), Zhang Yimou. Readings: Berry, Christopher, and Farquhar, Mary Ann. 2006. China on Screen: Cinema and Nation. Chapters 5 ~ 7: 108 – 194 Lau, Jenny Kwok Wah. 1995. “Farewell my Concubine”: History, melodrama, and ideology in contemporary Pan-Chinese cinema. Film Quarterly, 49, 1: 16-27. Ye, Tan and Zhang, Yimou, 1999-2000. “From the Fifth to the Sixth Generation: An Interview with Zhang Yimou.” Film Quarterly, 53, 2: 2-13. Young, John Dragon, 1993. “Review of Raise the Red Lantern by Zhang Yimou; The Story of Qiuju by Zhang Yimou.” The American Historical Review, 98, 4: 1158- 1161. WEEK 10 (4/1) Modern History and Humanities Screening: To Live《活着》(1994), Zhang Yimou. Readings: Gateward, Frances K. 2001. Yimou Zhang University Press of Mississippi, 63-4. James, Caryn. 1994. “Film Review; Zhang Yimou’s ‘To Live’”. The New York Times (Nov. 18). Larson, Wendy. 2017. Zhang Yimou: Globalization and the Subjection of Culture. Amherst, New York: Cambria Press, 167–196. Final paper outline due via e-mail WEEK 11 (4/8) Natural Disaster, Trauma, and Healing Screening: Aftershock《唐山大地震》(2010), Feng Xiaogang. Readings: Zhang, Rui. 2008. “The ‘Corporate Era’ of Chinese Cinema in the New Millennium and Feng’s Post-New Year Production.” In The Cinema of Feng Xiaogang: 15 Commercialization and Censorship in Chinese Cinema after 1989 (Hong Kong: Hong Kong University Press), 103-122 and 150-152. Wang, Rujie. 2011. “The Aesthetics of Retroactive Memory: Feng Xiaogang’s Aftershock and the Historical Film,” Modern Chinese Literature and Culture. http://mclc.osu.edu/rc/pubs/wangrujie.htm Analysis/Response (optional) due WEEK 12 (4/15) Family Value and Education Screening: Together《和你在一起》(2002), Chen Kaige. Young Style 《青春派》 (2013), Liu Jie. Readings: Berry, Michael. 2005. “Chen Kaige: Historical Revolution and Cinematic Rebellion,” in Speaking in Images, 82-106 Hu, Brian. 2004. “Together,” Film Quarterly 57.4 (Summer 2004), 42-47. WEEK 13 (4/22) Men and Nature Screening: Wolf Totem《狼图腾》(2015), Jean-Jacques Annaud. Into the Mist《霾没 了》(2014), Qin Xiaozhen. Readings: Hoad, Phil. 2015. Review of Wolf Totem. https://www.theguardian.com/film/2015/sep/02/wolf-totem-review-montreal-world-filmfestival Ivanov Oleg. 2015. Wolf Totem. Slant Magazine. https://www.slantmagazine.com/film/review/wolf-totem Kenigsber, Ben. 2015. “Review: Annaud’s ‘Wolf Totem,’ Set in Inner Mongolia in the 1960s.” New York Times (Sept. 10). Final paper rough draft due via e-mail, to be exchanged for peer review Oral Presentation WEEK 14 (4/29) Urban Life, Health, and the Food Ways Screening: Supercop (Police Story 3)《超级警察》(1992), Stanley Tong. Dying to Live 《我不是药神》(2018), Wen Muye. Eat Drink Man Woman《饮食男女》 (1994), Ang Lee. Readings: Stephen Teo, “Jacky Chan: The Other Kung Fu Dragon,” in Hong Kong Cinema: The Extra Dimensions (London: British Film Institute, 1997), 122-134 16 Sheldon H. Lu, “Hong Kong Diaspora Film and Transnational Television Drama: From Homecoming to Exile to Flexible Citizenship,” in Chinese-Language Film, 298-311 Ma, Sheng-mei. 1996. “Ang Lee’s Domestic Tragicomedy: Immigrant Nostalgia, Exotic/Ethnic Tour, Global Market,” Journal of Popular Culture 30.1: 191-201. Ty, Eleanor “Exoticism Repositioned: Old and New World Pleasures in Wang’s Joy Luck Club and Lee’s Eat Drink Man Woman,” in Changing Representations of Minorities, East and West: Selected Essays. Smith, Larry E, and Rieder, John, eds. Honolulu: University of Hawaii College of Languages, Linguistics, and Literature, 59-74. Final paper peer review due Final Paper: The due date will be based on the day officially assigned by the Registrar’s Office—by 9:30 pm on May 6, 2020, via Turnitin on Blackboard—and no changes can be made!!!! If unforeseeable events (serious illness or hospitalization) prevent the submission of the final paper, please contact the instructor in advance. You are encouraged to submit your analysis, response(s), and/or your final paper (in or translated into Chinese) to Canal for publication. Canal is the Department of World Languages and Cultures’ online journal specializing in student work composed in Spanish, Italian, French, German, Portuguese, Chinese, Khmer, and Arabic. To ask a question or submit an essay, short story, poem, photo-essay, or video, write directly to the journal’s Senior Editor, Dr. Max Ubelaker Andrade, at: [email protected]. 17 PETITION FOR EXCUSED ABSENCE This form must be completed if you have either missed or are planning to miss a scheduled class. Petitions will only be approved if you have a valid reason for missing the class. Be sure to attach to this form all appropriate supporting documentation if applicable (it is not necessary to disclose any detailed and/or private medical information in this form). NAME: _____________________________________________ INSTRUCTOR: _______________________________________ COURSE AND CLASS TIME: ______________________________ DATE OF ABSENCE: ___________________________________ MISSING ASSIGNMENTS (INDIVIDUAL COURSE MAKE-UP POLICIES STATED IN THE SYLLABUS APPLY HERE- PLEASE CONSULT YOUR SYLLABUS): ________________________________________________________________ ________________________________________________________________ ____________ REASON: (please be brief but clear) ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________ If applicable, indicate the DOCUMENTATION you are providing to support your petition: ________________________________________________________________ ________________________________________________________________ ____________ I declare that the information provided on this form is true and accurate. Signature: __________________________ Date: __________________ Location: UMass Lowell, University Crossing, Suite 370 General inquiries: [email protected] 18 Term:______________________________ Course title: Special topics in_______Chinese_______Studies (3 credits). Class number and section: Instructor: Days and time class is in session: PLEASE READ THE SYLLABUS CAREFULLY AND KEEP IT WITH YOU WHENEVER YOU COME TO CLASS. ALL THE INFORMATION ON THE SYLLABUS IS IMPORTANT AND INCLUDES EVERYTHING YOU NEED IN ORDER TO DO WELL IN THIS CLASS. I have read this syllabus and agree to the schedule and procedures stated therein. Print name:__________________________ Student ID:______________ (Signed) ________________ Date:___________ THIS IS DUE THE NEXT TIME YOU COME TO CLASS AND COUNTS AS PARTICIPATION GRADE!!!