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| | 76-339 Advanced Studies in Film: Darkness, Despair, Desire: Film Noir & Amerian Culture
Panda bears, Yao Ming, Crouching Tiger, Hidden Dragon . . . the image of China in the West has never been stronger. Clearly the era of ping-pong diplomacy has been succeeded by an era of kung fu diplomacy. And yet, as China fosters constructive relationships to its multiple borders in the Pacific Rim, Southeast Asia, and the West, the meaning of China and Chineseness has begun to be questioned. One crucial site where the meanings of these categories are being actively negotiated, and at times fought over, is cinema. Chinese cinema has become both a stage for ethnic self-celebration as well as critique. When Chinese films do well in international film festivals, they are regularly accused of catering to foreign devils, as has been the case with popular Fifth Generation directors such as Zhang Yimou and Chen Kaige. One of the primary questions this course will address is how China and Chineseness are imagined from different spaces of the Chinese diaspora, such as Taiwan, Hong Kong, the United States, in relation to mainland China. Is there one China, as the PRC would have it? Or are there many Chinas, as many overseas Chinese artists and intellectuals argue? What happens when we add issues of gender, sexuality, and class into the equation? Some of the directors we will study include: Zhang Yimou, Chen Kaige, Tsui Hark, Ann Hui, Hou Hsiao-hsien, Ang Lee, Edward Yang, Wong Kar-wai. | |
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| Spring 2005 times | |
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