INTRODUCTION TO EAST ASIAN CINEMA AND CULTURE

Professor: Dr. Kathryn Page-Lippsmeyer

Teaching Assistants: Ichigo Mina Kaneko & Lindsay Roberts

What are important places & times?

Lecture: Tuesday/Thursday 8 am – 9:20 am THH 202
Discussion Sections: Friday 9 – 9:50 am THH 214 (Lindsay); WPH B26 (Mina) &
Friday 10 – 10:50 am THH 214 (Lindsay); WPH 103 (Mina)

How do I reach you?

KPL Mina Lindsay
Offices THH 356 THH 266 THH 361
Office Hours T/TH 9:30 – 11:30 am W/TH 12:30 – 1:30 pm TH 1 - 2 pm & F 11 am - 12 pm
Email [email protected] [email protected] [email protected]

What’s this course about?

It’s an introduction to, and overview of, the history and culture of East Asia through East Asian cinema, including
Japan and South Korea and the Chinese-language cinemas of Hong Kong, the People’s Republic, and Taiwan. Japan
has one of the longest cinematic histories in the world, the Korean government has deliberately focused on the
film industry as part of its entry into the global world, and in 2017 China surpassed the United States as the largest
cinema audience in the world. We’ll look at the ways in which contemporary East Asian cinemas and cultures are in
dialogue with one another, and learn to recognize the specific conditions and cultural forces that are at work in
each location. The screenings and readings will consist of exemplary works from each East Asian culture, organized
around specific motifs, such as war and memory, identity and communication, solitude, and the world. We’ll
consider the following questions: What is at stake in the development of East Asian cinema and culture toward the
end of the twentieth century and at the beginning of the twenty-first? How are these cinemas and cultures part of
a larger redefinition of the idea of a national culture? How do these cinemas and cultures reflect the changing
cultural, economic, historical, political, and social conditions of each country?

What am I going to learn?

ü A solid foundation for recognizing the successes and dominant tendencies of contemporary East Asian cinema
and culture
ü Major historical, social, and cultural characteristics of the contemporary societies that inform filmmakers,
audiences, and understandings of East Asian cinema
ü The critical languages of cinema so that you will be able to describe the formal features of a film, and perform
complex analysis of film as a medium

What do I need to buy?

3”X5” index cards to be used for in-class pop quizzes. You must use a 3”x5” index card for these quizzes or they will
not be graded (beg, borrow, steal as needed).

Where do I find the readings?

Selected essays, readings, and other materials will be posted on the course website. You need to print these
essays and bring them with you to class the day they are assigned.

How do I get an ‘A’ in this class?

1) Watch the movies and do the readings.
2) Attend lectures and get quizzes right.

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3) Complete weekly blogs.
4) Write 3 short papers.
5) Participate in Discussion Sections.
6) Write a final reflection essay/do a final project at the end of the semester.

What? There are no tests? How do I earn my ‘A’ then?

Attendance/Pop Quizzes (15%) You must attend all lectures and discussion classes. Regrettably, excessive
unexcused absences (beyond 4) or persistent failure to prepare the assignments on time (or both) can result in a
reduction of one full letter grade. Pop Quizzes will be given fairly often at unannounced times usually at the start
of the class. Their purpose is threefold: to track attendance, to check if you have done the reading/viewing
assignments, and to see if you have been paying attention to the discussion. If you get the answer right, you get 5
out of 5 points. If wrong, 2.5 out of 5 points as credit for attending class. If you fail to turn it in, you get 0 out of 5
points. Absolutely no make-ups allowed. Answers will be given orally following the quiz so that you’ll be able to
calculate your score. Quizzes will not be returned.

Discussion Section/Participation (20%) Every week you look more closely at the films, reading materials, and
history covered in lecture in your discussion sections, with conversations and short in-class writing assignments
lead by your Teaching Assistants. Vigorous and informed participation in these discussions is essential and is a
significant portion of your grade. You are responsible for reading all assigned materials before section.

Film Blog – Scene Close Readings (15%) Due every Thursday by 5 pm. Each post should be between 250 (min) and
500 (max) words. Film blogs are a place you can express your reaction to the films we’re watching, but they’re also
more than that. They give you the opportunity to hone your close reading skills of a particular scene in the film.
Choose one scene to write about. How do you pick that scene? If you don’t like something we watched, try and
move beyond “I don’t like this” by choosing the scene that makes you feel most frustrated. Why don’t you like it?
Is the filmmaker trying to be liked? Or if you love it, why do you love it? What is the film expressing in that
particular moment that makes it so good? Or, if you don’t have any emotional connection to the film, this is also
the place where you can choose a scene and sort out why.

There are a number of ways to approach these open-ended posts: consider the scene you choose to discuss in
relation to its historical or theoretical context; write about an aspect of the week’s reading that relates to your
understanding of a particular moment/scene in the film; write about something that surprised you (and why it
surprised you); formulate an insightful question or two about the scene and then attempt to answer your own
questions.

DO NOT SUMMARIZE THE PLOT OF THE FILM. This will earn you zero points on your post.

Three Short Analytical Essays (10% each for a total of 30%) Over the course of the semester students will write
three analytical essays of 4-6 pages, worth 10% each. The essay consists of analysis of at least one film, and must
incorporate information from one scholarly article. Paper topics and guidelines will be handed out in class and
posted on Blackboard one week prior to the submission deadline.

Final Paper/Video Essay/Project (20%) For this final, you can choose either the 1) creative, 2) analytical option, or
3) video essay. If you choose 1) you will offer up your own adaptation inspired by one of the course films, in
addition to writing a short analytical essay that considers the creative process in detail. If you choose 2) you will
complete an analysis and comparison of at least two film texts from the course in an essay of 7-10 pages. If you
choose 3) you will express a critical analysis of one of the films watched over the semester via a visual medium of
at least 5 minutes long, rather than a written one. Group or individual projects will be allowed; you will have the
opportunity to orally present (or perform) your work in the final days of class (further details to be announced).

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What tech am I going to use for this class?
Viewing the films: You have to view the films for each week before class every Tuesday. We’ll discuss the film and
its historical context on Tuesdays, and work with other scholarly takes on the films on Thursdays. Finally, sections
will give you the opportunity to work through things raised on Tuesday and Thursday in a more intimate
environment. Streaming will be made available either through a private link or through Kanopy (a streaming
service you can access with your USC credentials via the USC library).

Email & Blackboard: I’m going to email notices about class and readings to you quite a bit. You need to check your
USC e-mail address and the course website at blackboard.usc.edu at least a couple of times a week for
announcements and updates. Emails are sent to the address you have registered in Blackboard. We will respond to
emails within 48 hours of receipt. You’ll also be uploading your papers to Blackboard, not printing them.

But can I bring my computer to class? What about my phone?

Just like on an airplane, you can use your electronic devices to take notes during lecture once we’re all strapped
into class (and quizzes are complete). But unless you’re looking up information that relates to lecture, your cell
phone should be stowed in your bag or pocket (ie: not sitting on the desk). At times I may have you close your
devices and put them away so you can pay attention to discussion / lecture. When we work in groups you will also
generally be asked to close everything down. AND, if I request you contribute to discussion by providing
information (this includes reading back notes, conducting web searches, or accessing reference material available
online) and you cannot do so, the use of these electronic devices will be prohibited for the remainder of the
lecture for everyone in class. If this occurs often, devices may be banned for the remainder of the semester.

What if I need some help negotiating the course/ lectures/papers?

We try to minimize barriers posed by course structures and materials, and we will do our best to work with any of
you who requires specific accommodations for a disability. Regardless of whether you have official documentation
or not, please let us know about any needs as soon as you can. It’s important. We will help. Also, the University of
Southern California is committed to working with students to ensure you have equal access to education
programs. According to University policy “[a]ny student requesting academic accommodations based on a
disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification
for approved accommodations can be obtained from DSP.” You need to give us letters like these within the add-
drop period. To find out more please call (213) 740-0776 or see the Disability Services and Programs website:
http://dsp.usc.edu/

Do I need to worry about course content?

What’s the mpaa warning label for this class?
We want you to feel safe in this class but need your help to do so. Throughout the semester we will engage with a
variety of texts, including some that contain graphic, violent, and sexually explicit content, and may be disturbing,
even traumatizing to engage with. Please review the syllabus and assignments closely and discuss any concerns
you may have with Dr. Page-Lippsmeyer, Mina, or Lindsay privately as soon as possible (either over email, after
class, or in office hours). You are responsible for navigating the materials of the class, and we are happy to give
outlines or discuss specifics so that you may appropriately engage with materials that are likely to be
emotionally challenging for you. Likewise, if you ever wish to discuss your personal reactions to course material
with the class or with me, Mina, or Lindsay individually afterwards, we welcome all discussions.

A note on names, pronunciation, and pronouns

All people have the right to be addressed and referred to in accordance with their personal identity. If your name is
different than what is on the roster please let us know, and please use your name (not the roster name) on class
assignments. Next, help us pronounce your name right by correcting us if we get it wrong (though please be
patient– it may take us a couple of times to learn the proper pronunciation). Please also let us know your

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pronouns. Dr. Page-Lippsmeyer, Lindsay, and Mina’s are she/her. We will do our best to address and refer to all
students accordingly, and we expect you to respect your classmates in this manner as well. Finally, please feel free
to make corrections anytime during the course of the semester to any of the info we have for you, and if anything
changes.

What is plagiarism? Why should I care?

Plagiarism is the act of passing off another person's work as your own by not properly acknowledging your info
came from somewhere else. Even not following standard citation practices is plagiarism. Any ideas you get from
other sources need to cited (not just direct quotations, though these are important, but also paraphrases, etc.)

If you plagiarize, you’ll earn a failing grade for even a single incorrect or missing citation. Plagiarism is a serious
violation of academic standards and invalidates your work. It is your responsibility to make sure you understand
and follow all rules regarding plagiarism; if you have any questions or concerns, feel free to talk with us at any time
during the semester. For more information about plagiarism, academic dishonesty, and how to avoid these issues,
take a look at USC Library tutorials: https://libraries.usc.edu/research/reference-tutorials

What do I need to do every week?

(When a reading is listed on the schedule below, you need to complete it before class on the day it’s listed)

UNIT 1: HISTORICAL PERFORMANCE / PERFORMING HISTORY

Week 1 Japanese cinema remembers “old” Japan
Screening KANOPY: KUROSAWA Akira, Seven Samurai (1954, Shichinin no Samurai, Japan, 208 min.)
Tues 1/8 What is Contemporary Cinema? (Introductions, timelines, assignments)
Thur 1/10 Reading: Komatsu Hiroshi. “The Modernization of Japanese Film” Oxford History of World
Cinema
Reading: Martinez, D. P. “Seven Samurai and Six Women: Kurosawa Akira’s Seven Samurai
(1954)” Japanese Cinema: Texts and Contexts
Reading: Yale Film Terms, “Part 1: Basic Terms,” and “Part 2: Mis En Scene

Week 2 Korean Cinema as Memory of a past that never was

Screening ALTLINK: IM Kwon-Taek, Sopyonje (1993, South Korea, 112 min.)
Tues 1/15 Reading: Paquet, Darcy. “A New Society” New Korean Cinema: Breaking Waves.
Thur 1/17 Reading: Michael Robinson, “Contemporary Cultural Production in South Korea”
Reading: Yale Film Terms, “Part 4: Editing” and “Part 5: Sound”

Week 3 Negotiating Chinese History, Culture, and Love

Screening ALTLINK: CHEN Kaige, Farewell My Concubine (1993, Ba wang bie ji, China, 171 min.)
Tues 1/22 Reading: Chris Berry and Mary Farquhar, “Introduction: Cinema and the National”
Reading: Yingjin Zhang, “Cinema and the Transnational Imaginary, 1990-2002”
Thur 1/24 Reading: Jenny Kwok Wah Lau “’Farewell My Concubine’: History, Melodrama, and Ideology
in Contemporary Pan-Chinese Cinema”

UNIT 2: SPECTRAL WOMEN

Week 4 Interstitial images: finding little moments to stitch together
Screening KANOPY: HOU Hsiao-hsien, Daughter of the Nile (1987, Ni luo he nu er, Taiwan, 93 min.)
Tues 1/29 Reading: Yale Film Terms, “Part 3: Cinemetography”, “Analysis 1”, “Analysis 2”

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Thur 1/31 Reading: Dai Jinhua & Translated by Zhang Jingyuan “Hou Hsiao-Hsien’s films: pursuing and
escaping history”
Paper 1 due

Week 5 Staging Social History and Personal Trauma

Screening ALTLINK: LOU Ye, Suzhou River (2000, Suzhou he, China, 83 min.)
Tues 2/5 Reading: Timothy Corrigan, A Short Guide to Writing About Film, Chapter 3 & Chapter 4
Thur 2/7 Reading: Zhang Zhen, “Urban Dreamscape, Phantom Sisters, and the Identity of an Emergent
Art Cinema”

Week 6 The Trousers of Time: Imagining Multiple Histories of the Personal

Screening KANOPY: HONG Sang-soo, Right Now, Wrong Then (2015, Jigeumeun-matgo-geuttaeneun-
teullida, Korea, 121 min.)
Tues 2/12 Reading: Bordwell and Thompson. “The Relation of Short to Shot: Editing” Film Art: An
Introduction
Thur 2/14 Reading: Raymond, Marc. “Two-Shots and Group Shots: Hong Sang-soo's Mannerist and
Classical Mise-en-Scène”

Week 7 Pop fantasies of rebellious women

Screening ALTLINK: NINAGAWA Mika, Sakuran (2006, Japan, 111 min.)
Tues 2/19 Reading: Schilling, Mark, “Mainstream Japanese Film”
Thur 2/21 Reviews/Reading: Schilling, Mark. “'Sakuran' Walking tall in the Edo Period”
https://www.japantimes.co.jp/culture/2007/02/23/films/film-
reviews/sakuran/#.XCq1U89Kgcg
Mes, Jasper. “Midnight Eye Review of Sakuran”
http://www.midnighteye.com/reviews/sakuran/
Rosado, Hayley. “Cinematic Japan: Sakuran” http://camerainthesun.com/?p=13622
Wallace, Bruce. “Her geisha film is more manga, less ‘Memoirs’”
http://articles.latimes.com/2007/apr/22/entertainment/ca-geisha22

UNIT 3: COMIC BOOK VIOLENCE

Week 8 Gunning to bring order out of chaos
Screening KANOPY: LAM Ringo, City on Fire (1987, Hong Kong, 101 min.)
Tues 2/26 Reading: Yingjin Zhang, “Cinema and National/Regional Cultures, 1979-89”
Thur 2/28 Reading: Tyler, Lisa and Michael Hoover. “Four: So Many Ways to be Cops and Rascals” City
on Fire: Hong Kong Cinema
Paper 2 due

Week 9 Masculinities in crisis?

Screening KANOPY: PARK Chan-Wook, Oldboy (2003, South Korea, 120 min.)
Tues 3/5 Reading: Paquet, Darcy. “The Boom” and “New Ambitions” New Korean Cinema: Breaking
Waves. 1-35 (some optional sections)
Thur 3/7 Reading: Jeon, Joseph Jonghyun. "Residual Selves: Trauma and Forgetting in Park Chan-
wook's Oldboy." positions: east asia cultures critique 713-740.

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Week 10 SPRING BREAK

Week 11 Mediating horror – cameras, images, technologies

Screening KANOPY: TAKESHI Shimizu, Marebito (2004, Japan, 92 min.)
Tues 3/19 Reading: McRoy, Ray. “Introduction” Japanese Horror Cinema. 1-11
Thur 3/21 Reading: Mitsuyo Wada-Marciano. “J-horror: New Media’s Impact on Contemporary
Japanese Horror Cinema” Horror to the Extreme : Changing Boundaries in Asian Cinema

UNIT 4: PERSONALIZING THE GLOBAL

Week 12 Returning to things we can’t have
Screening KANOPY: WONG Kar-wai, In the Mood for Love (2000, Fa yeung nin wa, Hong Kong, 98 min.)
Tues 3/26 Reading: Chris Berry and Mary Farquhar “Time and the National”
Thur 3/28 Reading: Blake, Nancy. “We Won’t Be Like Them: Repetition Compulsion in Wong Kar-wai’s In
the Mood for Love”
Paper 3 due

Week 13 Topographies of laughter

Screening KANOPY: MIKI Satoshi, Adrift in Tokyo (2007, Tenten, Japan, 102 min.)
Tues 4/2 Reading: Buruma, Ian. "Humor in Japanese Cinema." East-West Film Journal
Thur 4/4 Reading: Iwata-Weickgenannt, Kristina. “Pavane for a Dead Princess, or Exploring
Geographies of the City, the Mind, and the Social: Fujita Yoshinaga’s Tenten and Miki
Satoshi’s Adrift in Tokyo.” Tokyo: Memory, Imagination, and the City

Week 14 Fragmentation, fractures, and memory

Screening KANOPY: HONG Sang-soo, In Another Country (2012, Dareun Naraeseo, South Korea, 90 min.)
Tues 4/9 Reading: http://www.davidbordwell.net/blog/2012/10/04/memories-are-unmade-by-this/
Thur 4/11 Reading: Hye Seung Chung & David Scott Diffrient “Forgetting to Remember, Remembering
to Forget: The politics of Memory and Modernity in the Fractured Films of Lee Chang-dong
and Hong Sang-soo” Screening China's soft power

Week 15 Capturing the past, the present, and the future

Screening KANOPY: JIA Zhang-ke, Mountains May Depart (2015, Shijie, China, 127 min.)
Tues 4/16 Reading: McGrath, Jason. “The Independent Cinema of jia zhangke: from postsocialist realism
to a transnational aesthetic”
Thur 4/18 Reading: https://www.nytimes.com/2016/02/12/movies/review-in-mountains-may-depart-
jia-zhangke-shows-a-changing-china.html

Week 16 Facing death of the quarter, of the heart, of the universe

Tues 4/23 Final Project workshop (attendance required)
Thur 4/25 Final Project workshop (attendance required)

FINAL Wednesday, May 8th, 2019 8 – 10 am (attendance required)