intensive course 1 - the evolution of chinese cinema and .../menu... · chinese cinema between art...
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NordicConsortiumforChinaStudies
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TheEvolutionofChineseCinemaandtheChineseFilmIndustryIntensivecourse,ZhejiangUniversity
Generaloutline
TheChinesefilmmarketisbynowthesecondlargestfilmmarketafterHollywoodandits
figuresarerapidlygrowing.However,fromthe1950suntilthemid-1990stheChinesefilm
industrywasastateindustrythatwasnotgeneratingmuchprofit.Whichwerethemain
phasesoftransitionfromastateindustrytooneofthemajorplayersintheglobalbusiness?
Moreover,Chinesefilms–fromtheearlyscreeningsattheShanghaiteahousestorecent
globallysuccessfultitles–haveraisedquestionsofnationalandculturalidentity.Howhave
filmsarticulatedthenarrativeofChinaacrossthe20thand21stcenturies?HowhaveChinese
filmscirculatednationallyandabroad?
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Throughthelensofasetoffilms,thecoursewillexamineChinesefilmandthefilmindustry
atdifferentmomentsinthedevelopmentofChinesecinema(s).Withoutfollowingastrict
historiography/chronologicalperspective,thedifferenttopicswillbeapproachedfroma
multidisciplinaryperspectivesoastoincludediscussionoftransnationalChinesecinema,
earlycosmopolitanismandcontemporaryglobalfilmcirculation.
Thecourseisplannedasaone-weekintensivecourseforScandinavianMAstudentsinChina
Studies,andcountsasatotalof5ECTS(135hours).ItwilltakeplaceataChineseuniversity
campusandwillbeco-taughtbyoneteacherfromtheChineseuniversityandoneteacher
fromaScandinavianuniversity.ThelanguagesofinstructionwillbeChineseandEnglish.
PrerequisitesItisassumedthatstudents:
• ReadandspeakModernStandardChinese(Putonghua)atalevelcorrespondingtothe
requirementsforaBAdegreeinChinaStudiesataScandinavianuniversity
• HavecomprehensiveknowledgeofChinesecultureandsociety
• Haveabasicinterestandknowledgeofculturalstudyresearchmethods
AimsofthecourseThemainaimsofthecourseare:
• thatstudentsachieveabasicunderstandingoftheevolutionofChinesecinemaandtheChinesefilmindustry
• thatstudentscanproblematisevisualnarratives/filmmodes/historicalphasesin
Chinesefilmhistoryinconnectiontosocial/political/economicdynamics
• thatstudentscandiscussmedia/filmswithappropriateterminology
• thatstudentsgetabasicgraspofmajorfilmstudiesframeworks(i.e.filmindustryframework,aestheticframework,socio-culturalframework)
• thatstudentscanrelatefilmsandvisualculturetodifferentaspectsofChineseculture
andsociety
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Courseoutline
Time Theme/Title Material
DayOneMorningsession
WelcomeandPresentationIntroductiontoChinesecinema(1):fromtheperspectiveofthefilmindustry
A) WhydoesChinesecinemamatter(domesticallyandglobally)?B) Which are the key moments in the evolution of the
contemporaryChinesefilmindustry?Discussionofthemainstakeholdersinthefilmbusiness,examplesofdomesticblockbusters,co-productionstrategiesandtransnationalfilms.Connectedtopics:internationalfilmfestivals,Chineseandglobalstardom.
FocusontheChinesefilmindustryandglobalentertainmentbusiness(Singh2011,DeValck2007,Chua2012).Excerptsfromvariousfilms.
Lunchbreak
Afternoonsession
IntroductiontoChinesecinema(2):fromtheperspectiveofthefilmhistoriography
A) SomepossibleperiodisationinChinesefilmhistoryandissuesrelatedtothisperspectiveofanalysis.
Groupwork/ReviewofthetopicsHowChinesemedia(blogs,informationportals,traditionalmedia)promoteChinesefilms.Differentapproachestomarketingoftheentertainmentbusinesswillbediscussed.WhicharethemosteffectivemarketingtoolsinChinaandwithonlinefilmservices?Summaryoftheactivityoftheday:approachingcinemafromtheperspectiveofthefilmindustry.
FocusonChinesefilmhistoryandvariousmethodologicalapproaches(Zhang).
DayTwoMorningsession
Students’discussionandpresentationoftheresultsofTuesday’sonlinesearch.ComparativeanalysisofthefilmindustryinChinaandabroad.EarlyShanghaicosmopolitanismandthefilmsceneChineseearlycinemaanditsinternationalconnections,earlystardomandculturaldebates.
SearchforearlyfilmsonlineandChinese-relatedacademicarticles.FuYongchun,PoshekFu,2003.陆弘石,2005.
Lunchbreak
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Afternoonsession
ScreeningScreeningofanearlyChinesefilm(titletobeconfirmed)Workgroup:DiscussionandelementsoffilmanalysisInaworkshopform,studentswillbeguidedinhowtodiscussafilmintermsofitscinematicelementsandinrelationtothesocialcontext.Summaryoftheactivityoftheday:approachingcinemafromtheperspectiveoffilmstudies.
DayThreeMorningsession
DiscussionoftheanalysisofoneearlyChinesefilm(students’choice)-analysis-approach-references(howtousevisualandtextualreferences)Chinesecinemabetweenartandmarket(1)LinesofdevelopmentoftheChinesefilmsceneafterthe1990s:analysisofdifferentexamplesoffilm“auteurs”,commercialdirectors,filmgenresandChineseblock-busters.
Bringtoclassadraft(2-3pages)ofafilmanalysisofanearlyChinesefilmandrelatedreferences(Chinesearticles,onlinematerials,visualreferences,etc).
ZhouXuelin,2007.ElenaPollacchi,2008.
Lunchbreak
Afternoonsession
Workshop:developthetopicsandmethodologyoftermpapersIngroups,studentswillselecttwoChinesefilmsthattheythinkexemplifycontrastingapproachestocinema(i.e.moreorientedtowardsfilmartormoreorientedtothemarket),anddeveloptheirownanalysisanddiscussionoftheselectedworksintermsofthefilmindustryperspectiveand/orfilmstudiesperspectives.
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DayFourMorningsession
Chinesecinemabetweenartandmarket(1):expansionoffilmactivities-Strategiesofglobalvisibility:thecaseoftheBeijingInternationalFilmFestivalHowChinahasimportedthemodeloftheglobalfilmevent.Chinesecinemabetweenartandmarket(2):expansionoffilmactivitiesThecaseofChineseauthors(JiaZhangke,DiaoYinan,etc).
Studentswillfurtherdeveloptheirtermpapers:--Questions-Problems
Pickowicz&Zhang,2006.
Lunchbreak
Afternoonsession
Filmactivityand/orguestvisit(tbc)–thisactivitymightchangetime/dateaccordingtotheavailabilityofguestsduringtheweek.
DayFiveMorningsession
Discussion:ThechallengesoftheChinesefilmindustryanditsexpansionOnthebasisofthevariousapproachesadoptedduringthecourse,thisfinallecturewilllookatthemostrecentdebates/studiesinrelationtotheChinesefilmindustry.WhicharethechallengesthatthesectorisfacinginviewofthechangesrelatedtotheWTOagreement?HowistheChinesefilm(andentertainment)sectorexpandingthroughothervisualsupports(mobilephones,tablets,etc.)?WhatistheimpactontraditionalfilmproductionandhowwillitaffecttheChineseaudiencevis-à-vistheinternationalaudience?-Examinationrequirements
Allarticlesandfilmsonthereadinglistshouldbecompleted.
Lunchbreak
Afternoonsession
Studentpresentationsofthedraftsinviewofthetermpapers.Thecoursewillbeconcludedwithabriefoverviewoftheinter-relatedfieldswhichhavenotbeendiscussedindetailsuchasanimation,documentaryfilms,TVseries,etc.Wrapupandevaluationofthecourse.
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Learningactivities
Thecoursecombineslectures,screeningsandgroupdiscussionsheldinEnglishandChinese
withafieldtrip.Studentswillbegivenassignmentstopreparebeforeeachrespectiveclass
session.Basedonthecourseandthefieldtrip,thestudentsarerequiredtopresentideasfor
afinalpaperonthelastdayofthecourseandtohandinafinalessayatalaterdateviaemail.
AttendanceiscompulsoryaccordingtotheregulationsoftheChineseuniversityandstudents
areexpectedtocometoclasseswellprepared.Studentswillreceivethelistofreadingsabout
onemonthbeforethecoursestartsandareexpectedtohavereadatleastthemandatory
textsbeforethebeginningofthecourse.
Courserequirements/examination
The students’ performance during the course, including active class attendance, written
assignments,andthefinalpaper,counttowardsthefinalgradeforthecourse.Exampapers
mustbe8-10pages includingreferencesandnotes(2300characterswithspacesperpage).
Thepaperhastoinclude:a)anintroductionpresentingthetopicandtheoreticalapproaches;
b)abriefsectionpresentingtheselectionoffilmsorwrittentextsrelevantforthetopic;c)2-3
sectionspresentinganddiscussingthedataandthetopic;d)asectiontitled“conclusion”with
the1-3mainresults(conclusions)ofthepaper;e)a“listofreferences”thatincludeatleast5
academicsourcesthatareusedinthepaper.Onlypapersincludingallofthesepointswillbe
abletopass,andpaperswillbegradedpassed/notpassed.
CourseMaterial
Bordwell,DavidandThompson,Kristin,FilmArt:Anintroduction(9thed)(McGrawHillEducation,2010)Cook,Pam(ed.)TheCinemaBook(3rded.)(BFI,2007)Dix,Andrew,BeginningFilmStudies(ManchesterUniversityPress,2008).FuYongchun,“From‘parrot’to‘butterfly’:China'shybridizationofHollywoodindistributionsystemsinthe1920sand1930s”,JournalofChineseCinemas,8:1,1-16.Gibbs,John,Mise-en-scène:FilmStyleandInterpretation(WallflowerPress,2002)Hill,JohnandChurchGibson,Pamela,(eds.)OxfordGuidetoFilmStudies(OxfordUniversityPress,1998)
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陆弘石,中国�电影史㸦1905-1049㸧,中国早期电影的叙述与记忆,文艺术出版社,2005年,附录部分的影人访谈.Monaco,James,HowtoReadaFilm(OxfordUniversityPress,2009)Nelmes,Jill,(ed.)AnIntroductiontoFilmStudies(Routledge,2007)Perkins,V.F.,FilmasFilm:UnderstandingandJudgingMovies(DaCapoPress,1993)Pickowicz,PaulandYinjingZhang,FromUndergroundtoIndependent,Oxford:Rowman&Littlefield,2006,pp.1-41.Pollacchi,Elena,‘TheSoundoftheCity:ChineseFilmsofthe1990sandUrbanNoise’,inE.WilsonandA.Webber(eds),CitiesinTransition.TheMovingImageandtheModernMetropolis,London:WallflowerPress,2008,pp.193-204.PoshekFu,BetweenShanghaiandHongKong,Stanford:StanfordUniversityPress,2003,pp.1-50.[Chinesetext],京大学出版社,�双城故事�傅葆石,25-96页。LinktodownloadtheChinesetext:http://pan.baidu.com/s/1dDdPNO1Stam,Robert,FilmTheory:AnIntroduction(Blackwell,2000)White,PatriciaandCorrigan,Timothy,TheFilmExperience(2Nded)(PalgraveMacmillan,2009)ZhangYinjing,XiaoZhiwei(eds.),EncyclopediaofChineseFilm,LondonandNewYork,Routledge,1998.[Historicalintroduction,pp.3-30ZhouXuelin,YoungRebelsinContemporaryChineseCinema,HongKong:HongKongUniversityPress,2007,ch.4pp.105-134.Selectedessaysfromthevolume:SongHweeLim,JulianWard(acuradi),TheChineseCinemaBook,London:BFI2011;PART1THEORIESIntroduction(pp.1-5);C.Berry,“TransnationalChineseCinemaStudies”(pp.9-16);Y.Zhang,“NationalCinemaasTranslocalPractice:ReflectionsonChineseFilmHistoriography”(pp.17-25);PART2TOPICSW.Larson,“TheFifthGeneration”(pp.113-121);JasonMcGrath,“UndergroundandIndependentFilmsfromthePRC”(pp.167-175);YomiBraester,“ContemporaryMainstreamPRCCinema”(pp.176-184);
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Selectedessaysfromthevolume:ZhangZhen(ed.)TheUrbanGeneration.ChineseCinemaattheTurnoftheTwenty-firstCentury,DurhamandLondon:DukeUniversityPress,2007:ZhangZhen,“BearingWitness.ChineseUrbanCinemaintheEraof‘Transformation’(Zhuanxing)”(pp.1-45);JasonMcGrath,“TheIndependentCinemaofJiaZhangke:FromPostsocialistRealismtoaTransnationalAesthetic”(pp.81-114).
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