Tw Film Syllbus
LTEA 120B Cinema Taiwan: From 1895 to 2015
Classroom: CENTR 216 Class Hours: T/Th 3:30-4:50
Films: Available in the format of E-screening
Instructor: Prof. Ping-hui Liao (Chuan Lyu Endowed Chair)
Reader: TBA
Office hours: T /Th 2:00-3:00pm, and by appointment
Email: piliao@ucsd.edu Office: Literature Building Room 443
Objective/Requirements: The class is an introduction to Taiwan cinema, regarding its rise in the local, regional, national, and international stage. We will examine the multifaceted dimensions of aesthetics and politics as revealed in the films from the Japanese period to post-colonial or post-modern phase. Ten films will be chosen to illustrate the evolution of Taiwan cinema in terms of camera work, film genre, narrative technique, language policy, state ideology, trans-regional influences, among other themes. The film directors represent a rich diversity of Taiwanese elite or popular culture; they range from Li Xing, Hou Hsiao-hsien, Edward Yang, and several others. Class requirements include readings and film screenings, commentaries, pop quizzes, group discussions, and a final paper or video project.
Grading policy: Students are expected to do their own work, as outlined in the UCSD Policy on Academic Integrity published in the UCSD General Catalog. Assessment scheme is based on students’ accomplishments in the following areas:
15% 3 pop quizzes (5 points each)
30% 3 commentaries (10 points each)
30% Study Group Discussion and Presentation (3-5 as a group)
25% Term Paper or Group Video Project (5 -10 minute film)
Texts to be used:
Shelley Rigger, Why Taiwan Matters: Small Island, Global Powerhouse (New York: Rowman, 2011);
Emilie Yeh and Darrell Davis, Taiwan Film Directors: A Treasure Island (New York: Columbia UP, 2005);
Plus materials uploaded to Ted.ucsd.edu.
References:
Michael Berry, Speaking in Images (Berkeley: U of California P, 2005);
Kuei-fen Chiu and Yingjin Zhang, New
Classroom: CENTR 216 Class Hours: T/Th 3:30-4:50
Films: Available in the format of E-screening
Instructor: Prof. Ping-hui Liao (Chuan Lyu Endowed Chair)
Reader: TBA
Office hours: T /Th 2:00-3:00pm, and by appointment
Email: piliao@ucsd.edu Office: Literature Building Room 443
Objective/Requirements: The class is an introduction to Taiwan cinema, regarding its rise in the local, regional, national, and international stage. We will examine the multifaceted dimensions of aesthetics and politics as revealed in the films from the Japanese period to post-colonial or post-modern phase. Ten films will be chosen to illustrate the evolution of Taiwan cinema in terms of camera work, film genre, narrative technique, language policy, state ideology, trans-regional influences, among other themes. The film directors represent a rich diversity of Taiwanese elite or popular culture; they range from Li Xing, Hou Hsiao-hsien, Edward Yang, and several others. Class requirements include readings and film screenings, commentaries, pop quizzes, group discussions, and a final paper or video project.
Grading policy: Students are expected to do their own work, as outlined in the UCSD Policy on Academic Integrity published in the UCSD General Catalog. Assessment scheme is based on students’ accomplishments in the following areas:
15% 3 pop quizzes (5 points each)
30% 3 commentaries (10 points each)
30% Study Group Discussion and Presentation (3-5 as a group)
25% Term Paper or Group Video Project (5 -10 minute film)
Texts to be used:
Shelley Rigger, Why Taiwan Matters: Small Island, Global Powerhouse (New York: Rowman, 2011);
Emilie Yeh and Darrell Davis, Taiwan Film Directors: A Treasure Island (New York: Columbia UP, 2005);
Plus materials uploaded to Ted.ucsd.edu.
References:
Michael Berry, Speaking in Images (Berkeley: U of California P, 2005);
Kuei-fen Chiu and Yingjin Zhang, New
References: Michael Berry, Speaking in Images (Berkeley: U of California P, 2005); Kuei-fen Chiu and Yingjin Zhang, New Chinese-Language Documentaries (New York: Routledge, 2015); Darrel Davis and Robert Chen, ed., Cinema Taiwan: Politics, Popularity and State of the Arts (New York: Routledge, 2007); Guo-Juin Hong, Taiwan Cinema: A Contested Nation on Screen (London: Palgrave, 2011); Sylvia Lin and Deborah Sang, ed., Documenting Taiwan on Film: Issues and Methods in New Documentaries (New York: Routledge, 2012); James Wicks, Transnational Representations (Hong Kong: Hong Kong UP, 2014); June Yip, Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary (Durham: Duke UP, 2004); Websites Relevant/ Recommended: http://www.dianying.com/en; April 7 Early Taiwanese films: From Japanese Rule to KMT Period Screening Taiwanese Films with Grandma (Forever Love, 2014) E-screening: Beautiful Duckling養鴨人家 (1965, dir. Li Xing, Code no.: FVLDV 4268-1) Week 3 Taiwan New Cinema: 1982-1989 Yip 85-130; Berry 234-7 E-Screening: Sandwich Man (Hou Hsiao-hsien, et al., 1983) E-Screening: Terrorizers (1986); Restored in 2010 April 26 Taiwan Culture Spotlight: World-renowned Pianist Chen Pi-hsien Performs New Taiwanese Music at UCSD, Conrad Concert Hall, 3-5pm New Cinema of Re-engagement: Au revoir Taipei (Arvin Chen, 2010) Reading: Rigger 117-132 E-Screening: What Time Is It There? (2001 你那邊幾點; FVLDV 3783-1) Week 6 Ang Lee: Jack of All Trades E-Screening; Pushing Hands (1992 推手; FVLDV 6137-1) May 3-9 UCSD’s Asian American Heritage Week