Instructor:

Robyn Citizen
Date & Time: Lectures Mondays 4-5pm
Screenings Wednesdays 4-7pm
E-mail:
[email protected]
TA:

ASIA 305:
Asian Horror Cinema: National Nightmares and Specters of Trauma

Course Description
Asian Horror Cinema examines the historical and socio-cultural contexts of horror films
from the region. This course will explore the horror genres ability to expose our
subconscious fears and how it constructs collective memory, re-enacts national traumas
and speculates on the impact of political and cultural transformation on the individual.
Films were selected based on: aesthetic (and entertainment) value; their influence on
national and regional cinemas; and the significance of the themes in the narratives.
Notable filmmakers and auteurs of the genre (Takashi Miike, Kiyoshi Kurosawa, Ji-woon
Kim, Shinya Tsukamoto, Billy Tang) will also be discussed in terms of their distinctive
formal and thematic contributions.
Course Objectives
At the end of this course students will be able to:

Explain the ways that Asian horror films differ from Western horror films as well
as the cross-cultural similarities and trends.
Define the characteristics of the horror genre in general; its aesthetics and formal
elements
Describe the problems and benefits of categorizing horror cinema from nations
with disparate political histories, aesthetic traditions and cultures under a regional
subgenre.
Name the significant directors and their contributions to the genre.

Course Materials
Required Text - Horror to the Extreme: Changing Boundaries in Asian Cinema, eds. Choi,
Jinhee and Mitsuyo Wada-Marciano (Hong Kong: Hong Kong University Press, 2009). Full text

online from UBC library website pURL<http://resolve.library.ubc.ca/cgi-bin/catsearch?

bid=6330895>

Other readings will either be on Connect under the Readings tab as full-text PDFs or a
URL link to the reading may be found on the syllabus.
Students MUST create an account with TurnItIn by the end of the first week of class.
Refer to this website for instructions - http://elearning.ubc.ca/toolkit/turnitin/for-students/

Assignments and Evaluations

Attendance
Attendance will be taken in every class and screening sections. More than THREE
unexcused absences will result in an automatic 10% deduction in the students final
attendance/participation grade (4 absences = 20%, 5 absences = 30% and so on).
After FIVE unexcused absences, the student will receive a zero in attendance and
participation.
Participation 25%
Online film feedback
(Due Fridays @ Midnight) Students are required to post online feedback on 8 films.
Please note that because of holidays, there will be only 10 opportunities to post
feedback during the semester therefore it is your responsibility to make sure you only
skip two weeks / films.
The link to the discussion forums can be found on Connect, in the Readings folder for
each week. Online feedback will be graded out of 10 points based on the following:
1. The students personal interpretation and/or response to the film (1 or 2
paragraphs). A formal argument or essay structure is NOT required. Focus
your discussion on the aspect of the film or a particular scene that you found
interesting and explain why (perhaps in relation to the reading). Please note
that merely summarizing the film will NOT fulfill this requirement.
2. Post at least one question (in BOLD font please) you have about the reading
or the film that you want the instructor to discuss in the following lecture.
Neglecting this requirement will result in a reduced grade on the assignment.

3. Occasionally, in their feedback the students will be asked to discuss a

question posed by the Instructor or TAs related to an important concept or
term from that weeks film or reading.
In-class participation
1. In some classes the instructor will assign group work or discussions. This
work will be handed in at the end of class (generally, everyone in the group
will receive the same grade).
2. Students must come to class prepared with the question they posted in online
feedback. As part of their participation grade every student will be
called on to provide a question before the semester ends.

Take-home Midterm 25%

Students will choose 3 out of 5 writing prompts on the major themes and stylistic
elements of films already screened in the course and have a week to write mini-essays
(no more than two pages per prompt) on each. Further instructions will be provided.
Group mini-presentations (two people) OR Group Trailer Mash-up (3-5 people) 15%

Students will sign up for mini-presentation or trailer mash-up group projects by the
second week of class. Start thinking about what film your group wants to present on as
soon as possible and inform the Instructor! All groups will present on the last week of
class.
o

The group must create an 8-10 minute presentation on an Asian horror film not
screened in class (but films excerpted for clips may be used as long as the review
does not merely recite class discussion). The film may also be an intra-regional
adaptation of a horror film. The presentation should briefly describe and evaluate
(Did the group like it? Was it successful in evoking fear? What did not work about the
film?) the visuals, narrative, main character(s) and themes of the film.
OR

The other option for this assignment is to take a non-horror Asian film and recut a
three-minute trailer in the style of a horror film. The groups final project will be

accompanied by a one page essay explaining: 1) How was the trailer produced? 2)
Which subgenre is your faux-film trailer and which thematic and visual elements of
that genre are featured in your trailer? 3) Why did your group choose this film?
Final Exam 35% - Students will take a final exam at the end of the semester to assess their
comprehension of the themes, auteurs, historical periods and terms discussed throughout the
class.

Online Discussions
Journal entries, entry responses and general online discussions will be monitored and facilitated
by the Instructor and TA(s). Students are expected to maintain the same level of respect and
civility in their online communication as in the classroom.
E-mail Policy
E-mail is convenient but it should be the last option for communicating problems or questions to
the Instructor. If your syllabus does not have an answer to your question please talk to me after
class or during office hours.
E-mails should contain your student number and full name somewhere in the body or
subject line.
I will not answer e-mails about any assignment sent within 24 hours of the
deadline.
I will not grant extension requests made less than 36 hours from the assignment
deadline.

Academic Integrity and Responsibility

As a member of this class, you are responsible for contributing to the course objectives through
your participation in class activities and your written and other work and projects. In the process
of coming into your own as an independent, responsible participant in the academic community,
you are encouraged to seek advice, clarification, and guidance in your learning from your
instructor and/or Teaching Assistant. If you decide to seek help beyond the resources of this
course, you are responsible for ensuring that this help does not lead you to submit others work
as your own. If an outside tutor or other person helps you, show this policy to your tutor or
helper: make sure you both understand the limits of this persons permissible contribution.
Academic communities depend on their members honesty and integrity in representing the
sources of reasoning, claims, and wordings which appear in their work. Like any other member

of the academic community, you will be held responsible for the accurate representation of your
sources: the means by which you produced the work you are submitting. If you are found to
have misrepresented your sources and to have submitted others work as your own, or to have
submitted work for which you have already received credit in another course, penalties may
follow. Your case may be forwarded to the Head of the department, who may decide that you
should receive zero for the assignment. The Head will report your case to the Deans Office,
where it will remain on file. The Head may decide, in consultation with your instructor, that a
greater penalty is called for, and will forward your case to the Deans Office. After an interview in
the Deans Office, your case may be forwarded to the Presidents Advisory Committee on
Academic Misconduct. Following a hearing in which you will be asked to account for your
actions, the President may apply penalties including zero for the assignment; zero for the
course; suspension from the university for a period ranging from 4 to 24 months; a notation on
your permanent record. The penalty may be a combination of these.
Academic communities also depend on their members living up to the commitments they make.
By enrolling in this course, you make commitments to an academic community: you are
responsible for meeting deadlines; attending class and engaging in class activities;
guaranteeing that the work you submit for this course has not already been submitted for credit
in another course.
Illness and Absence
If you experience medical, emotional, or personal problems that affect your attendance or
academic performance, please notify Arts Academic Advising or your home Facultys Advising
Office. If you are registered with Access and Diversity, you should notify your instructor at least
two weeks before examination dates. If you are planning to be absent for varsity athletics, family
obligations, or other commitments, you should discuss your commitments with the instructor
before the drop date.
Contesting a Grade
If students wish to contest a grade they must make an appointment to do so in person. The
student should contact the instructor or a TA with any concerns within ONE week of receiving
the grade. The student must also demonstrate that they have read the comments
accompanying the grade on the essay or exam by presenting a brief written statement
specifying why the grade does not reflect the quality of the work. It is at the discretion of
the instructor to decide whether the work and the students request warrants any increase or
decrease in the grade.
Personal Technology

Be respectful; the use of personal electronic devices during class is limited to academic
purposes.
GRADE

PERCENT

LEVEL OF ACHIEVEMENT

A+
A
AB+
B
BC+
C
CD
F

90-100
85-89
80-84
76-79
72-75
68-71
64-67
60-63
55-59
50-54
00-49

Exceptional
Exceptional
Exceptional
Competent
Competent
Competent
Adequate
Adequate
Adequate
Adequate
Inadequate

Students with disabilities and academic accommodations - In keeping with the Universitys
policy of providing equal access for students with disabilities, any student requesting academic
accommodations must meet with an Access and Diversity advisor (for example,
accommodations might include a change in the allocation of University resources, or in teaching
or evaluation procedures, designed to meet the particular needs of a student with a disability
such as course materials in an alternative format, private exam spaces, the use of computers, or
note-takers). The Access and Diversity advisor will provide a letter detailing the academic
accommodations to be made, and assist in the case that agreement between the student and
instructor cannot be reached. Accommodations should be agreed to as soon as possible, in the
first week of class if not before. Retroactive accommodations are not permitted, so if this applies
to you, be careful to seek assistance in this regard immediately.

Grading Rubric
The Midterm mini-essays will be marked according to how well the student demonstrates his/her
mastery or proficiency in the following four categories listed in order of priority:
1) Content: 40% Do you answer the question(s) in the prompt completely? Do you
give corroborating examples from the film and the reading? Is your analysis original
(not summarizing the readings or lectures),your understanding of the concepts
sophisticated and accurate?

2) Structure and Organization 30% Is there an introduction and conclusion in your

essay? Is there a thesis statement at the beginning of your essay which clearly
outlines the main argument and supporting evidence that will be discussed in the
paper? Are your arguments organized in paragraphs with transitions which connect
one idea to the next?
3) Mechanics 20 % Have you checked for spelling and grammar mistakes? Are film
details (character names, year of release, director, plot events) and readings correctly
cited? Do you use the formal vocabulary and glossary terms reviewed in lecture and
on the course website?
a. Formatting guidelines
i. Times New Roman or Calibri, 12pt.
ii. Double-spaced
iii. Default page margins
iv. Page numbers
v. MLA or Chicago citation style
vi. Proper title (i.e. not Critical Essay)
4) Style 10% Is your essay eloquent and well-written? Are the transitions smooth and
logical?

Late Policy
In-class assignments and online feedback
These assignments are considered part of your general participation in the classroom
environment and discussions and therefore cannot be made up and will NOT be accepted late
under any circumstances.
Exams and Essays
The final exam will take place on the last day of class. Any illness, unforeseen circumstances or
emergency which results in missing the final exam requires an academic concession from the
dean or director.
The midterm essay is due at or before the date and time specified on the syllabus. Extensions
will be considered only with third party documentation or a doctors note and should be
requested prior to the due date as soon as the student realizes alternate arrangements are
necessary.

Essays must be submitted to TurnItIn via electronic copy by the deadline. Any essay submitted
after the designated due date and time will be considered late and subject to the late penalties
outlined below.
1) Submissions received 24 hours/1 day after due date will receive 10% penalty with an
additional 10% penalty for every additional 24 hours/day after the due date (48 hours/2
days after due date will receive a 20% penalty and so on)
2) Essays will not be accepted more than five days after the due date and students will
receive a zero for the assignment.
If you find that you cannot meet a deadline or cannot participate in a course activity, discuss
your situation with your instructor or TA before the deadline or before your absence.
Students with disabilities and academic accommodations - In keeping with the Universitys
policy of providing equal access for students with disabilities, any student requesting academic
accommodations must meet with an Access and Diversity advisor (for example,
accommodations might include a change in the allocation of University resources, or in teaching
or evaluation procedures, designed to meet the particular needs of a student with a disability
such as course materials in an alternative format, private exam spaces, the use of computers, or
note-takers). The Access and Diversity advisor will provide a letter detailing the academic
accommodations to be made, and assist in the case that agreement between the student and
instructor cannot be reached. Accommodations should be agreed to as soon as possible, in the
first week of class if not before. Retroactive accommodations are not permitted, so if this applies
to you, be careful to seek assistance in this regard immediately.
COURSE SCHEDULE
STUDENTS ARE REQUIRED TO ATTEND THE WEEKLY SCREENING SECTIONS
[WEDNESDAYS 4~7pm] AND COMPLETE READINGS BEFORE THE NEXT LECTURE.

Week One - Introduction

Monday, JANUARY 5 Course Introduction
Wednesday, JANUARY 7 - Screenings: ThreeExtremes (HK/Korea/Japan: Fruit Chan, Park
Chan-wook, Takashi Miike, 2004); clips from Epitaph (Jung Brothers, 2007)
Readings:

Jinhee Choi and Mitsuyo Wada Marciano. Introduction, in Horror to the Extreme: Changing
Boundaries in Asian Cinema, eds. Choi, Jinhee and Mitsuyo Wada-Marciano (Hong Kong: Hong
Kong University Press, 2009) 1-7. See pURL for ebook on syllabus pg. 1.
Chi-Yun Shin. The Art of Branding: Tartan Asia Extreme Films, in HTTE, 85-100.
HAUNTED FAMILIES
Week Two:
Monday, JANUARY 12 - Lecture: The Genrefication of Asian Horror, Park Chan-wook
Wednesday, JANUARY 14 - Screening: A Tale of Two Sisters (Korea: Kim Ji-woon, 2003); clips
from I Saw the Devil (Korea: Kim Ji-woon, 2010)
Readings:
Choi, Jinhee, A Cinema of Girlhood: Sonyeo Sensibility and the Decorative Impulse in the
Korean Horror Cinema, in HTTE.
Week Three:
Monday, JANUARY 19 Lecture: Family Secrets, filmmaker Kim Ji-woon
Wednesday, JANUARY 21 Screening: Gemini (Japan: Shinya Tsukamoto, 1999), Ju-On
(Japan: Takashi Shimizu, 2003), Sance (Japan: Kiyoshi Kurosawa, 2000 [made for TV film])
Readings:
McRoy, Jay, Chapter Three: Ghosts of the Present, Specters of the Past, in Nightmare Japan:
Japanese Horror Cinema (Amsterdam: Rodopi B.V., 2008). On Connect.
CULT HORROR FROM THE OTHER ASIA
Week Four:
Monday, JANUARY 26 Lecture: Family Secrets, Cont. and filmmakers Shinya Tsukamoto,
Shimizu Takashi
Wednesday, JANUARY 28 - Screenings: Mystics in Bali (Indonesia: H. Tjut Djalil, 1981),
Reading:

Gladwin, Stephen, Witches, Spells and Politics: The Horror Films of Indonesia, in Fear Without
Frontiers: Horror Cinema Across the Globe, ed. Steven Jay Schneider (England: FAB Press,
2003) 243-254.
THE HORROR OF PLACE
Week Five:
Monday, FEBRUARY 2 Lecture: Mystics in Bali, horror folklore and colonialism
Wednesday, FEBRUARY 4 - Screenings: Dream Home (Pang Ho-cheung 2010)
Readings:
James A. Steintrager, An Unworthy Subject: Slaughter, Cannibalism and Postcoloniality in
Masculinities and Hong Kong Cinema eds. Laikwan Paig and Day Wong (Hong Kong University
Press, 2005) http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=6334337 ONLINE
**At home screening: 301/302 (Park Chul-soo, 1995) Watch anytime before February
23rd - Available on the Korean Film YouTube channel -- http://youtu.be/8LBI5t2q8k4 *****
Week Six:
Monday, FEBRUARY 9 FAMILY DAY, UBC courses cancelled. No online film feedback due
this week.
Wednesday, FEBRUARY 11 Lecture: Dream Home violent transitions in Greater China
Week Seven: Term 2 -- W I N T E R B R E A K -- courses cancelled
*Take-home midterm essay: choice of prompts on previously screened films and
readings
MODERN PARABLES
Week Eight:
Monday, FEBRUARY 23 Lecture: 301/302 Gender and genre in post-dictatorship S. Korea
Wednesday, FEBRUARY 25 Screenings: Onibaba (Japan: Kaneto Shindo, 1964), clips from
Face of Another (Japan: Hiroshi Teshigahara, 1966), The Host (Korea: Bong Joon-ho, 2006),
Godzilla (Ishiro Honda, 1954)

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Readings:
Lowenstein, Adam. Unmasking Hiroshima: Demons, Human Beings, and Shindo Kanetos
Onibaba, in Shocking Representation (New York: Columbia University Press, 2005) 83-110.
Week Nine:
Monday, MARCH 1 Lecture: Onibaba, historical trauma
Wednesday, MARCH 3 - Screenings: Audition (Japan: Takashi Miike, 1999), clips from
Cinderella (Korea: Bong Man-dae, 2006), and Jigoku (Nobuo Nakagawa, 1960),
Readings:
Hyland, Robert. A Politics of Excess: Violence and Violation in Miike Takashis Audition, in
HTTE 199-218
TECHNO-ORIENTALISM, TECHNO-POCALYPSE
Week Ten: Digital Ghosts
Monday, MARCH 9 Lecture: Audition, gender, genre and Japanese horror
Wednesday, MARCH 11 - Screenings: Kairo (Japan: Kiyoshi Kurosawa, 2001), clips from
Uzumaki (Japan: Higuchinsky, 2000), One Missed Call (Japan: Takashi Miike, 2008)
Readings:
McRoy, Jay, Spiraling Into Apocalypse, in Nightmare Japan: Contemporary Japanese
Cinema (Amsterdam: Rodopi B.V., 2008) 135-170.
Week Eleven: Indian Horror the forgotten Bollywood genre
Monday, MARCH 16 Lecture: Kairo, Japan and the end of the world, Kiyoshi Kurosawa
Wednesday, MARCH 18 - Screenings: Veerana (Ramsey Brothers, 1983) from Ring (Japan:
Hideo Nakata, 1998)
Readings:
Tombs, Pete. The Beast from Bollywood: A History of the Indian Horror Film, in Fear Without
Frontiers: Horror Cinema Across the Globe, ed. Steven Jay Schneider (England: FAB Press,
2003) 243-254.

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Bollywood Goes Multilingual in The Peninsula

http://thepeninsulaqatar.com/news/india/3967/bollywood-goes-multilingual
ADAPTATIONS
Week Twelve: Intra-regional Adaptations
Monday, MARCH 23 Lecture: Bollywood Horror and regional adaptations
Wednesday, MARCH 25 - Screenings: clips from The Quiet Family (Korea: Kim Ji-Woon, 1998)
and The Happiness of the Katakuris (Japan: Takashi Miike, 2001)
Reading:
Chi-yun Shin, Excessive remake: From The Quiet Family to The Happiness of the Katakuris in
Transnational Cinemas, Issue 1 (2012).
Week Thirteen:
Monday, MARCH 30 Lecture: Textual fidelity, global media and national specificity
Wednesday, APRIL 1 Mini-presentations and trailer mash-ups

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