The Chinese University of Hong Kong

Department of Cultural and Religious Studies2nd Semester, 2013-2014

CULS5204B Cultural Studies in Film and VideoCourse Outline

Lecturer: Dr. Chan Ka Ming

(e-mail: chankm_teaching@yahoo.com.hk)

Content of the Course

How do film and video lead our life?

How do film production and mainstream film industries dominate the world?

How do we, as ordinary people, respond to the power of film for our favor?

Film and video are important forms of representations in contemporary culture. Cultural studies is

thus an entry into the spectacular world of moving pictures for understanding and, specifically, for

resistance against the monotonous imaginary of commercial cinema. This course focuses on three

areas of study, through which we can explore the different aspects of representation, industrial

influences and politics of cinema as a global manifestation of modernization. These areas are:

A. “Blast from the Past!” - Film as representation and ideological apparatus (Lecture A1-A4)

B. “Apocalypse Now!” - Film as global production and business influences (Lecture B1-B3)

C. “Back to the Future!” - Film as subversion and spatial politics (Lecture C1-C3)

Each area covers a discussion of politics and aesthetics of film and video. Some films of classical

and contemporary cinemas will be discussed in the course for uncovering the tensions between

transnational, national and local circulation, and between business, filmic and spectator exploration.

Basic concepts of film study and relevant industrial analysis will also be introduced in the course.

Indeed the most important element of this course is the application of cultural theories in

understanding the aforementioned phenomena. With these different areas of discussion, the past,

present and future of film and video development will be probed for advanced analysis.

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Learning Outcomes

On successful completion of the course, students are expected to be able to:

1. Explain the linkage between cultural studies and cinema study;

2. Identify the key issues and concerns of cultural studies in film analysis;

3. Understand the research method of cultural studies for film and video discussion;

4. Enrich the angle of appreciation of the past, present and future cinemas.

Medium of Instruction: Cantonese (and teaching material will be written in English)

Teaching / learning activities: Lectures, presentation and discussion

Teaching Period: 6 January – 5 April 2014

Day and Time: Thursday, 6:45pm – 9:30pm

Venue: Room 508, Wu Ho Man Yuen Building

Assessment

1. Group Presentation (30 – 45 minutes, in Chinese or English) – 30%

Students will be divided into 10 groups in the first lecture. Presentation will then start from the

3rd lecture, which is Lecture A2, and it will be at the beginning of every class. Students have to

decide a topic for analysis and discussion with reflection to the previous topic(s). This is to help

refreshing the topics and issues discussed before; and the presenters are expected to run a

“Question & Answer” section in the class after their presentation. Lecture will actually start

afterwards so that follow-up discussion can be carried on with the coming topic.

2. Mid-term paper (2000 - 3000 words, in Chinese or English) – 30%

Mid-term paper shall be submitted after the discussion of Lecture Area A and B. Students have

to decide their interested topic (which is closely linked to the course) for writing an analytical

essay. Deadline: 13 March 2014

3. Final paper (5000 - 6000 words, in Chinese or English) – 40%

Final paper shall be submitted after the end of the course. Students have to decide the topic for

broadening the analytical framework and examining issues or phenomenon linked to the course.

Deadline: 14 April 2014

Students are expected to attend at least 80% of all lectures (10 lectures). Absence for more

than 20% of all lectures (3 lectures) without proof of reason (even with all papers submitted)

will risk failing the course.

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LecturesWeek 1. Course Introduction: (9 Jan 2014)

Why are we laughing and crying, re laxing and tightening, and

comforted and scared in c inema?

Reading:

Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In

Illuminations, edited by Hannah Arendt, 217-52. New York: Schocken Books, 1985.

Vitali, Valentina. "Why Study Cinema? Serial Visions of the Culture Industry and the

Future of Film Studies." Inter-Asia Cultural Studies 6, no. 2 (2005): 282-88.

Film References:

Exiting The Factory (Louis and Auguste Lumière, 1895)

A Trip To The Moon (Georges Méliès, 1902)

The Policemen’s Little Run (Ferdinand Zecca, 1907)

The Girl And Her Trust (D.W. Griffith, 1912)

Menilmontant (Dimitri Kirsanoff, 1926)

The Starfish (Man Ray, 1926)

Man With a Moving Camera (Dziga Vertov, 1925)

Un Chien Andalou (Luis Buñuel, 1927)

Area A “Blast from the Past!” - Film as representation and ideological apparatus

Week 2. Lecture A1: (16 Jan 2014)Why do the female stars always look seductive?

– Spectatorship, and Visual Pleasures

Reading:

Chow, Rey. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary

Chinese Cinema. New York: Columbia University Press, 1995. (Chapter 4 - The

Force of Surfaces: Defiance in Zhang Yimou’s Films)

Mulvey, Laura. Visual and Other Pleasures (Language, Discourse, Society). 2nd ed.

London: Macmillan, 2009. (Chapter 3 - Visual Pleasure and Narrative Cinema)

Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. London:

Routledge, 1993. (Chapter 2 - From the Male Gaze to the Female Spectator)

Film References:

Broken Blossoms (D. W. Griffith, 1919)

Imitation of Life (Douglas Sirk, 1959)

《金陵十三釵》(張藝謀, 2011)

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Week 3. Lecture A2: (23 Jan 2014)Why do male audiences always want to be heroes?

- Patriarchy, and Gender Subjectivity

Reading:

Chow, Rey. Sentimental Fabulations, Contemporary Chinese Films. New York:

Columbia University Press, 2007. (Chapter 9 - The Enigma of Incest and the Staging

of Kinship Family Remains in The River.)

Neale, Steve. "Masculinity as Spectacle." In Screening the Male: Exploring

Masculinities in Hollywood Cinema, edited by Steven Cohan and Ina Rae Hark, 9-20.

London: Routledge, 1993.

Silverman, Kaja. “Historical Trauma and Male Subjectivity.” In Psychoanalysis and

Cinema, edited by E. Ann Kaplan, 110-27. New York: Routledge, 1990.

Film References:

Ben-Hur (William Wyler, 1959)

Mission: Impossible II (John Woo, 2000)

The Avengers (Joss Whedon, 2012)

Man of Steel (Zack Snyder, 2013)

Week 4. Lecture A3: (6 Feb 2014 – Lecture terminates on 30 Jan, Lunar New Year Eve)Why do we shed tears when we see Chinese dying or winning in any

battle?

- Identi ty, and National Imaginary

Reading:

Anderson, Benedict. Imagined Communities. London: Verso, 1983. (Chapter 6 -

Official Nationalism and Imperialism.)

Berry, Chris, and Mary Farquhar. China on Screen: Cinema and Nation. Hong Kong:

Hong Kong University Press, 2006. (Chapter 4 - Realist Modes: Melodrama,

Modernity, and Home.)

Higson, Andrew. "The Limiting Imagination of National Cinema." In Cinema and

Nation, edited by Hjork and Mackenzie, 63-74. London: Routledge, 2000.

Jarvie, Ian. "National Cinema: a Theoretical Assessment." In Cinema and Nation,

edited by Hjork and Mackenzie, 75-87. London: Routledge, 2000.

Shih, Shu-mei. Visuality and Identity. Berkeley: University of California Press, 2007.

(Chapter 5 - After National Allegory.)

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Film References:

Triumpt of the Will (Leni Riefenstahl, 1935)

《馬路天使》(袁牧之, 1937)

《建國大業》及《建黨偉業》(韓三平及黃建新, 2009 及 2011)

《中國合伙人》(陳可辛, 2013)

Week 5. Lecture A4: (13 Feb 2014)Why do we applause when we see Hong Kong stars getting overseas

awards?

- Transnational ity, and Recentering Global ization

Reading:

Iwabuchi, Koichi. Recentering Globalization: Popular Culture and Japanese

Transnationalism. Durham and London: Duke University Press, 2004. (Chapter 1 -

Taking “Japanization” seriously: Cultural Globalization Reconsidered.)

Lo, Kwai-cheung. Chinese Face/Off: The Transnational Popular Culture of Hong

Kong. Urbana and Chicago: University of Illinois Press, 2005. (Chapter 5 - Charlie

Chan Reborn as Jackie Chan in Hollywood-Hong Kong Representations.)

Martin, Fran. "The China Simulacrum: Genre, Feminism, and Pan-Chinese Cultural

Politics in Crouching Tiger, Hidden Dragon." In Island on the Edge, edited by Chris

Berry and Feii Lu, 149-59. Hong Kong: Hong Kong University Press, 2005.

Morris, Meaghan. "Introduction." In Hong Kong Connections: Transnational Imagination

in Action Cinema, edited by Meaghan Morris, Siu Leung Li and Stephen Chan Ching-

kiu, 1-18. Hong Kong: Hong Kong University Press, 2005.

Film References:

The World of Suzie Wong (Richard Quine, 1960)

《臥虎藏龍》(李安, 2000)

The Karate Kid (Harald Zwart, 2010)

Green Hornet (Michel Gondry, 2011)

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Area B “Apocalypse Now!” - Film as global production and business influences

Week 6. Lecture B1: (20 Feb 2014)How does the global Hollywood bui ld a “Dream Factory”?

- Hegemony, and Film Business

Reading:

Kaplan, E. Ann. "Classical Hollywood Film and Melodrama." In American Cinema and

Hollywood: Critical Approaches, edited by John Hill and Pamela Church Gibson, 46-

62. New York: Oxford University Press, 2000.

López, Ana M. “Facing up to Hollywood.” In Reinventing Film Studies, edited by

Gledhill and Williams, 419-437. London: Oxford University Press, 2000.

Miller, Toby et al. Global Hollywood 2. London: British Film Institute, 2005. (Chapter

1 - Globalization + Hollywood History + Cultural Imperialism + the GATT and

Friends = Laissez-Faire Hollywood or State Business?)

Film References:

Ninotchka (Ernst Lubitsch, 1939)

Mildred Pierce (Michael Curtiz, 1945)

Psycho (Alfred Hitchcock, 1960)

Titanic (James Cameron, 1997)

Hollywood Ending (Woody Allen, 2002)

Week 7. Lecture B2: (27 Feb 2014)How does the Shaw Brothers develop a “Hong Kong Kingdom”?

- Local ity, and Pan-Chinese Production

Reading:

Curtin, Michael. Playing to the World’s Biggest Audience. Berkeley and L.A.:

University of California Press, 2007. (Chapter 1 - The Pan-Chinese Studio System and

Capitalist Paternalism; Chapter 2 - Independent Studios and the Golden Age of Hong

Kong Cinema.)

Teo, Stephen. Hong Kong Cinema: The Extra Dimension. London: British Film

Institute, 1999. (Chapter 5 - The Romantic and the Cynical Mandarins; Chapter 6 -

The Dao of King Hu; Chapter 7 - The Sword and the Fist.)

羅卡. 〈邵氏兄弟的跨界發展〉收於《邵氏影視帝國: 文化中國的想像》. 廖金鳳, 卓伯

棠, 傅葆石及容世誠編, 151-70. 台北: 麥田出版, 2003.

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Film References:

《江山美人》(李翰祥, 1959)

《大醉俠》(胡金銼, 1966)

《刺馬》(張徹, 1973)

《七十二家房客》(楚原, 1973)

《蛇殺手》(桂治洪, 1974)

《少林三十六房》(劉家良, 1976)

Week 8. Lecture B3: (6 Mar 2014)How do Cherie (春嬌)and Jimmy (志明) establ ish the Mainland

“Romantic Model”? - New Hong Kong, and Cinema Co-

Production

Reading:

Chan, Joseph M., Anthony Y.H. Fung and Chun Hung Ng. Policies for the Sustainable

Development of the Hong Kong Film Industry. Hong Kong: The Chinese University of

Hong Kong, 2010. (Chapter 3 - Is the China Market a Solution?)

Chu, Yiu-wai. “One Country Two Cultures? Post-1997 Hong Kong Cinema and Co-

production.” In Hong Kong Culture: Word and Image, edited by Kam Louie, 131-146.

Hong Kong: Hong Kong University Press, 2010.

Lim, Bliss Cua. “Generic Ghosts: Remaking the New ‘Asian Horror Film’.” In Hong

Kong Film, Hollywood and the New Global Cinema, edited by Gina Marchetti and Tan

See Kam, 109-25. London: Routledge, 2007.

Film References:

The Matrix Trilogy (The Wachowski Brothers, 1999, 2003, 2004)

《見鬼》(彭氏兄弟, 2002)

《瘋狂的石頭》(寧浩, 2006)

《倩女幽魂》(葉偉信, 2011)

《春嬌與志明》(彭浩翔, 2012)

《桃姐》(許鞍華, 2012)

《毒戰》(杜琪峯, 2013)

Ready to submit Mid-term Paper?

Deadline of Mid-term paper: 13 March 2014

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Area C - “Back to the Future!” - Film as subversion and spatial politics

Week 10. Lecture C1: (13 Mar 2014)What if the indie dominate the mainstream?

- Resistance, and Indie Polit ics

Reading:

Cui, Shuqin. "Boundary Shifting: New Generation Filmmaking and Jia Zhangke’s

Films." In Art, Politics, and Commerce in Chinese Cinema, edited by Ying Zhu and

Stanley Rosen, 175-94. Hong Kong: Hong Kong University Press, 2010.

Garcia, Roger, John Woo, and Jessica Hagedorn. "Alternative Perspectives/Alternative

Cinemas: Modern Films and the Experimental Scene." In Hong Kong Screenscapes:

From the New Wave to the Digital Frontier, edited by Esther Mee-kwan Cheung, Gina

Marchetti and Tan See-kam, 127-42. Hong Kong: Hong Kong University Press, 2011.

Kempton, Nicole. "Performing the Margins: Locating Independent Cinema in Hong

Kong." In Hong Kong Screenscapes: From the New Wave to the Digital Frontier,

edited by Esther Mee-kwan Cheung, Gina Marchetti and Tan See-kam, 95-110. Hong

Kong: Hong Kong University Press, 2011.

Film References:

The Idiots (Lars Von Trier, 1998)

《生命》(吳乙峰, 1999)

《二十四城記》(賈樟柯, 2008)

Capitalism: A Love Story (Michael Moore, 2009)

《上訪》(趙亮, 2010)

《大藍湖》(曾翠珊, 2011)

《中國門》(王楊, 2011)

Week 11. Lecture C2: (20 Mar 2014)What if 3D movies occupy cinema?

- Technology, and Cinematic Chal lenge

Reading:

Gunning, Tom. “ ‘Animated Pictures’: Tales of Cinema’s Forgotten Future, After 100

Years of Films.” In Reinventing Film Studies, edited by Gledhill and Williams, 316-

31. London: Oxford University Press, 2000.

Mulvey, Laura. “Passing Time: Reflections on Cinema from a New Technological

Age.” Screen 45, no. 2 (2004): 142-55.

Prince, Stephen. “The Emergence of Filmic Artefacts.” Film Quarterly 57, no. 3

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(2004): 24-33.

Film References:

Pina 3D (Wim Wenders, 2011) … and any other 3D movie.

The Artist (Michel Hazanavicius, 2012)

Life of Pi (Ang Lee, 2012)

Week 12. Lecture C3: (27 Mar 2014)What if the smartphones become c inema?

- Mobil ity, and Cinema Re/Trans/Deformation

Reading:

Klinger, Barbara. “The Contemporary Cinephile: Film Collecting in the Post-Video

Era.” In Hollywood Spectatorship: Changing Perceptions of Cinema Audiences,

edited by Melvyn Stokes and Richard Maltby, 132-51. London: British Film

Institute, 2001.

Manovich, Lev. “Old Media as New Media: Cinema” In The New Media Book,

edited by Dan Harries, 209-18. London: British Film Institute, 2002.

Stam, Robert and Ella Habiba Shohat. “Film Theory and Spectatorship in the Age of

the ‘Posts’.” In Reinventing Film Studies, edited by Gledhill and Williams, 381-401.

London: Oxford University Press, 2000.

Film References:

Any “micro film (微電影)” in the internet.

Week 13. Concluding Lecture: (3 Apr 2014)Is Cinema dying l ike the dying world in sc i -f i?

- Hope or Disappointment?

Reading:

Cousins, Mark. The Story of Film. London: Anova Books, 2011. (Chapter 10 - Can

See [1990-Present]: Computerization Takes Cinema Beyond Photography – A Global

Art Form Discovers New Possibilities.)

Friedberg, Anne. “The End of Cinema: Multimedia and Technological Change.” In

Reinventing Film Studies, edited by Gledhill and Williams, 438-52. London: Oxford

University Press, 2000.

End of the course Ready to submit Final Paper?

Deadline of Mid-term paper: 14 April 2014

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References

Anderson, Benedict. Imagined Communities. London: Verso, 1983.

Bazin, Andre. What Is Cinema?: Volume II Berkeley University of California Press, 1971.

Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations,

edited by Hannah Arendt, 217-52. New York: Schocken Books, 1985.

Berry, Chris and Feii Lu, ed. Island on the Edge. Hong Kong: Hong Kong University Press, 2005.

Berry, Chris, and Mary Farquhar. China on Screen: Cinema and Nation. Hong Kong: Hong Kong

University Press, 2006.

Bordwell, David, and Kristin Thompson. Film Art: An Introduction 9th ed. New York: McGraw-

Hill, 2010.

Branston, Gill. Cinema and Cultural Modernity. Philadelphia: Open University Press, 2000.

Campbell, Jan. Film and Cinema Spectatorship: Melodrama and Mimesis. Cambridge: Polity Press,

2005.

Chan, Joseph M., Anthony Y.H. Fung and Chun Hung Ng. Policies for the Sustainable

Development of the Hong Kong Film Industry. Hong Kong: The Chinese University of Hong

Kong, 2010.

Chan, Kenneth. Remade in Hollywood: The Global Chinese Presence in Transnational Cinemas.

Hong Kong: The University of Hong Kong, 2009.

Cheung, Esther Mee-kwan, Gina Marchetti and Tan See-kam, ed. Hong Kong Screenscapes: From

the New Wave to the Digital Frontier. Hong Kong: Hong Kong University Press, 2011.

Choi, Jinhee and Mitsuyo Wada-Marciano, ed. Horror to the Extreme: Changing Boundaries in

Asian Cinema. Hong Kong: The University of Hong Kong, 2009.

Chow, Rey. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese

Cinema. New York: Columbia University Press, 1995.

--------------. Sentimental Fabulations, Contemporary Chinese Films. New York: Columbia

University Press, 2007.

Cohan, Steven and Ina Rae Hark, ed. Screening the Male: Exploring Masculinities in Hollywood

Cinema. London: Routledge, 1993.

Cook, David A. A History of Narrative Film 4th ed. New York: W.W. Norton, 2004.

Cousins, Mark. The Story of Film. London: Anova Books, 2011.

Curtin, Michael. Playing to the World’s Biggest Audience. Berkeley and L.A.: University of

California Press, 2007.

Davis, Darrell Williams and Emilie Yueh-yu Yeh, ed. East Asian Screen Industries. London: British

Film Institute, 2008.

Dissanayake, Wimal, ed. Melodrama and Asian Cinema. Cambridge: Cambridge University Press,

1993.

Gledhill, Christine, and Linda Williams, ed. Reinventing Film Studies. London: Oxford University

Press, 2000.

Hansen, Miriam Bratu. "Fallen Women, Rising Stars, New Horizons." Film Quarterly 54, no. 1

(Fall 2000): 10-22.

Harries, Dan, ed. The New Media Book. London: British Film Institute, 2002.10

Hill, John, and Pamela Church Gibson, ed. American Cinema and Hollywood: Critical Approaches.

New York: Oxford University Press, 2000.

Hjork and Mackenzie, ed. Cinema and Nation. London: Routledge, 2000.

Hunt, Leon and Wing-fai Leung, ed. East Asian Cinemas: Exploring Transnational Connections on

Film. London: I.B.Tauris, 2008.

Iwabuchi, Koichi. Recentering Globalization: Popular Culture and Japanese Transnationalism.

Durham and London: Duke University Press, 2004.

Kaplan, E. Ann, ed. Psychoanalysis and Cinema. New York: Routledge, 1990.

Lehman, Peter, ed. Defining Cinema. New Brunswick: Rutgers University Press, 1997.

Lo, Kwai-cheung. Chinese Face/Off: The Transnational Popular Culture of Hong Kong. Urbana

and Chicago: University of Illinois Press, 2005.

Louie, Kam, ed. Hong Kong Culture: Word and Image. Hong Kong: Hong Kong University Press,

2010.

Marchetti, Gina. Romance and The "Yellow Peril" : Race, Sex, and Discursive Strategies in

Hollywood Fiction. Berkeley: University of California Press, 1993.

Marchetti, Gina and Tan See Kam. Hong Kong Film, Hollywood and the New Global Cinema.

London: Routledge, 2007.

Mason, Jeffrey D. Melodrama and the Myth of America. Bloomington: Indiana University Press,

1993.

McElhaney, Joe. The Death of Classical Cinema:: Hitchcock, Lang, Minnelli. New York: State

University of New York Press, 2006.

Miller, Toby et al. Global Hollywood 2. London: British Film Institute, 2005.

Morris, Meaghan, Siu Leung Li and Stephen Chan Ching-kiu, ed. Hong Kong Connections:

Transnational Imagination in Action Cinema. Hong Kong: Hong Kong University Press,

2005.

Mulvey, Laura. “Passing Time: Reflections on Cinema from a New Technological Age.” Screen 45,

no. 2 (2004): 142-55.

------------------. Visual and Other Pleasures (Language, Discourse, Society). 2nd ed. London:

Macmillan, 2009.

Nowell-Smith, Geoffrey, ed. The Oxford History of World Cinema. New York: Oxford University

Press, 1996.

Pribram, Deirdre, ed. Female Spectators:Looking at Film and Television. New York: Verso, 1988.

Prince, Stephen. “The Emergence of Filmic Artefacts.” Film Quarterly 57, no. 3 (2004): 24-33.

Shih, Shu-mei. Visuality and Identity. Berkeley: University of California Press, 2007.

Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. London: Routledge,

1993.

Stokes, Melvyn and Richard Maltby, ed. Hollywood Spectatorship: Changing Perceptions of

Cinema Audiences. London: British Film Institute, 2001.

Teo, Stephen. Hong Kong Cinema: The Extra Dimension. London: British Film Institute, 1999.

Thompson, Kristin, and David Bordwell. Film History:: An Introduction 3rd ed. New York:

McGraw-Hill Higher Education, 2010.11

Turner, Graeme. Film As Social Practice IV. London: Routledge, 2006.

Vitali, Valentina. "Why Study Cinema? Serial Visions of the Culture Industry and the Future of

Film Studies." Inter-Asia Cultural Studies 6, no. 2 (2005): 282-88.

Wexman, Virginia Wright. A History of Film. 7th ed. Boston: Allyn & Bacon, 2010.

Zhu, Ying and Stanley Rosen, ed. Art, Politics, and Commerce in Chinese Cinema. Hong Kong:

Hong Kong University Press, 2010.

張美君編.《尋找香港電影的獨立景觀》. 香港: 三聯書店, 2010.

黃愛玲編. 《邵氏電影初探》. 香港: 香港電影資料館, 2003.

廖金鳳, 卓伯棠, 傅葆石及容世誠編. 《邵氏影視帝國: 文化中國的想像》. 台北: 麥田出版, 2003.

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Honesty in Academic Work: A Guide for Students and Teachers

The Chinese University of Hong Kong places very high importance on honesty in academic work

submitted by students, and adopts a policy of zero tolerance on cheating and plagiarism. Any

related offence will lead to disciplinary action including termination of studies at the

University. All student assignments in undergraduate and postgraduate programmes should be

submitted via VeriGuide with effect from September 2008:

https://veriguide2.cse.cuhk.edu.hk/cuhk/

Although cases of cheating or plagiarism are rare at the University, everyone should make

himself/herself familiar with the content of this website and thereby help avoid any practice

that would not be acceptable.

Section 1 What is plagiarism

http://www.cuhk.edu.hk/policy/academichonesty/p01.htm

Section 2 Proper use of source material

http://www.cuhk.edu.hk/policy/academichonesty/p02.htm

Section 3 Citation styles

http://www.cuhk.edu.hk/policy/academichonesty/p03.htm

Section 4 Plagiarism and copyright violation

http://www.cuhk.edu.hk/policy/academichonesty/p04.htm

Section 5 CUHK regulations on honesty in academic work

http://www.cuhk.edu.hk/policy/academichonesty/p05.htm

Section 6 CUHK disciplinary guidelines and procedures

http://www.cuhk.edu.hk/policy/academichonesty/p06.htm

Section 7 Guide for teachers and departments

http://www.cuhk.edu.hk/policy/academichonesty/p07.htm

Section 8 Recommended material to be included in course outlines

http://www.cuhk.edu.hk/policy/academichonesty/p08.htm

Section 9 Electronic submission of assignments via VeriGuide

http://www.cuhk.edu.hk/policy/academichonesty/p09.htm

Section 10 Declaration to be included in assignments

http://www.cuhk.edu.hk/policy/academichonesty/p10.htm

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