Chinese 3398 fall 2003
Transnational Chinese Cinema
Class Schedule:
Tuesday 1-4pm 32-H
Instructor:
Wei Wu
Office: 608AH, Tel: 713-743-0926 Email: wu_w74@ hotmail.com
Office Hours: W 11-1pm and F 2-3pm or by appointment
Coursewebsite: www.class.uh.edu/mcl/chinese
Course Description:
The purpose of this course is to help students gain a deeper understanding of Chinese
culture and society by examining Chinese transnational films in a historical and social
context. In the course of the term, eight well-selected movies will be shown on videotape
in class or out of class. All the films shown will have English subtitles or in English. No
previous Chinese language course is required for this course.
Through this course, students will also learn how to evaluate a Chinese “art film” by
examining its historical background, why the movie has been produced in the way it is,
what is behind the movie, how it reflect people’s life and changes of the society.
Two American movies (clip) will be showed in comparison between American and
Chinese culture.
Course Requirement and Grading:
There is no close-book exam in the course. The major requirements are film critique,
presentation and term paper. The course requires readings. The grade will be based on
attendance, paper, participation in class and presentation.
1. Attendance (10%)
Attendance will be checked. Written proof of valid excuse (such as Doctor’s note) is
required for each absence.
2. Class Participation
(15%)
All students are expected to participate in class discussion/answer questions based on the
movies or the assignment.
3. Film Critiques
(35%)
A two-page, double-spaced critique on a film seen in class or recommended by the
instructor. Total three critiques. The essay should be analytical and reflect your
understanding of the cultural issues raised in the films.
4. Oral Presentation
(20%)
Each student will be given an opportunity to present a self-chosen topic based on the
films and readings of the class.
5. Final Research paper
(20%)
Self-chosen topic based on the films showed in the class.
90-100: A- __A;
80-89: B- __B+;
70-79: C- __C+;
60-69: D- __D+;
Below 60: F.
Course Schedule and required readings
Week 1 (Aug.25-29)
Topic: Course Introduction, Get to know each other, Film Art, Cultural and
Historical China
Required Readings:
1. Sheila Cornelius and Ian Haydn Smith, New Chinese Cinema by (2002), Chapter
1, 2
2. Sheldon Hsiao-peng Lu, “Historical Introduction” in Transational Chinese
Cinemas: Identity, Nationhood, Gender, pp1-12
Recommended Reading:
1. Yingjin Zhang and Xiao Zhiwei, An Encyclopedia of Chinese Film (1998)
Chapter 1, pp 3-4, pp21-30
(Assignment: research on Great Leap Forward and Cultural Revolution (class
website))
Week 2 (Sept. 1-5)
Topic: Review: Chinese Films in Cultural and Historical Context
Reflection On History I (1949-1976) and Fifth Generation Directors I
Required Readings:
1. Sheldon Hsiao-peng Lu, Transnational Chinese Cinemas: Identity, Nationhood,
Gender, Chapter 1
2. Wei-ming Tu, “Cultural China: The Periphery as Center” in The Living Tree: The
Changing Meaning of Being Chinese Today Edited by Wei-ming Tu
Week 3 (Sept. 8-12)
Topic: Fifth Generation Directors II
Class Screen: The Blue Kite
Required Readings:
1. Sheila Cornelius and Ian Haydn Smith, New Chinese Cinema (2002), Chapter 2,
pp49-52
2. Vera Schwarcz, “No Solace from Lethe: History, Memory, and Culture Identity in
Twentieth-Century China” in The Living Tree: The Changing Meaning of Being Chinese
Today Tu Wei-ming.
Recommended Reading:
1. E. Ann Kaplan, “Reading Formations and Chen Kaige’s Farewell My Concubine” in
Transnational Chinese Cinemas: Identity, Nationhood, Gender (Chapter 10)
Week 4 (Sept. 15-19)
Discussion: The Blue Kite
Topic: Reflection On History II: New Chinese Cinema: the Films of Zhang Yimou
Required Readings:
1. Sheldon Hsiao-peng Lu, “National Cinema, Cultural Critique, Transnational
Capital” in Transnational Chinese Cinemas: Identity, Nationhood, Gender
(Chapter 4)
2. Prasenjit Duara, Rescuing History from the Nation, Chapter 1
Critique #1 Assigned
Week 5 (Sept. 22-26)
Class Screen: To Live
Topic: Writing Critique
Critique 1 Due
Week 6 (Sept.29-Oct. 3)
Discussion: To Live
Topic: Reflection on Culture I: Chinese Tradition and Confucianism
Class Screen: Yellow Earth
Required Readings:
1. Seila Cornelius and Ian Haydn Smith, New Chinese Cinema, Chapter 3
2. Jerome Silbergeld, “Drowning on Dry Land: Yellow Earth and the Traditionalism
of the ‘Avant-garde’” in China on Film (Reaktion Books: 1999)
3. Leo Lee, “On the Margins of the Chinese Discourse,” in the Living Tree: The
Changing Meaning of Being Chinese Today by Wei-ming Tu
Recommended Reading:
1. Rey Chow, Primitive Passions, Chapter 2
Week 7 (Oct. 6-10)
Discussion: Yellow Earth
Topic: Conflict between Tradition and Modernity: A different Concept of Justice
Class Screen: The Story of Qiu Ju vs. A Few Good Man (American movie)
Critique #2 Assigned
Week 8 (Oct. 13-17)
Discussion: The Story of Qiu Ju
Topic: Conflict in Modernization and the Sixth Generation Directors
Class Screen: Beijing Bicycles
Critique#2 Due
Week 9 (Oct. 20-24)
Discussion: Beijing Bicycles
Topic: Transitional Films from Taiwan and Hongkong and diaspora I and Director
Ang Lee
Required Reading:
1. Joan Scott, “Multiculturalism and the Politics of Identity”
2. Cornell West, “A matter of Life and Death”
Class Screen: Wedding Banquet vs. Rudy (American movie)
Week 10 (Oct. 27-31)
Discussion: Wedding Banquet
Topic: Transitional Films from Taiwan and Hongkong and diaspora II
Class Screen: City of Sadness
Week 11 (Nov. 3-7)
Discussion: City of Sadness
Topic: Image of Chinatown
Required Reading:
1. Wei-ming Tu , “Culture China: The Periphery as Center” in The Living Tree: The
Changing Meaning of Being Chinese Today
Critique #3 assigned
Week 12 (Nov. 10-14)
Class Screen: Chan is Missing
Required Reading:
1. Lisa Lowe “Heterogeneity, Hybridity, Multiplicity: Marking Asian American
Difference” in Disapora 1.1
2. Leo Lee, “Trans-Chinese Sensibilities” in The Identity in Question edited by
John Rajchman.
Critque #3 Due
Week 13 (Nov. 17-21)
Discussion: Chan is missing
Review
Week 14 (Nov. 24-28) and Week 15 (Dec. 1-5)
Oral Presentation
Week 16 (Dec. 8-12)
Final Paper Due