file

1

LTEA 120C Hong Kong Films

Hong Kong Cinema Through a Global Lens Fall 2024

Paper Topic Ideas for LTEA 120C Response Paper

For this response paper, you may choose any paper topic you find interesting, as long as you engage key concepts, themes, topics, and ideas that we are addressing and discussing in class. You may choose to write about a film on our syllabus or another film beyond our syllabus. The following are some possible topic ideas. You are not limited to these and may define your own topic. Please also review the Response Paper Assignment Sheet and Guidelines on Canvas. Be sure to focus on a well-defined topic, state a clear central argument in your introduction, and present a close reading of key elements of one film in the body of your paper. You must also cite and engage ideas in at least one relevant secondary source. Have fun exploring and enjoy writing your first paper for this class!

1. What did you learn from watching the 1991 film by Stanley Kwan titled Center Stage 阮 玲玉 ? Who is the figure at the heart of this film and why is she important to Chinese film history? How does this film tell her story? What do we learn about both early Shanghai film culture and Hong Kong cinema by viewing this film? What are some of the most striking cinematic techniques used by director Stanley Kwan in this film, and how is it very much a “self-reflective meta-narrative” in visual form? Please write a brief film review and share your thoughts. Focus on both the subject matter and the cinematic language and visual elements of the film and their effects upon you, the viewer.

2. What are the key qualities and characteristics of wuxia 武俠 martial arts cinema in

1970’s Hong Kong? How does classical Chinese culture become reinterpreted in this genre of cinema, and what are some of the key qualities and characteristics of this type of film? How does this genre engage issues of history, the national, and cultural identity? Choose and analyze one wuxia film, such as King Hu’s A Touch of Zen (1971) or Lo Wei’s Fist of Fury (1972). Do your best to identity particular elements of cinematic technique that stood out in each film and trace their effects upon the viewer (i.e.: camera angles, editing, speed of images and cuts, dialogue, color, sound, music, mise-en-scène, costumes, make-up, and other aspects of filmmaking).

3. In the article “Burning Asia: Bruce Lee’s Kinetic Narrative of Decolonization,” Kato argues that Lee’s performance has “a sphere of meaning of its own” and seems to establish “an autonomous sphere of narrative via kinetic expression” (Kato 62). What is the significance and symbolic power of Bruce Lee’s performances and kinetic movements in his films, particularly his fight scenes? How do Lee’s martial arts deeds and performances become a kind of “narrative of decolonization” that inspires viewers around the world? Please discuss by closely analyzing at least one of Bruce Lee’s films.

4. How are Bruce Lee’s martial arts performances carefully choreographed in order to present kinetic translations of the Daoist concept of “wu wei” 無為 (effortless non-

2

action) as well as other key concepts of Daoist thought? How do you understand Bruce Lee’s philosophy and purpose, and how can you see this philosophy in action by “reading” the careful choreography of his movements? What messages do his martial arts movements and his acting convey to his viewers? Please discuss by closely analyzing at least one of Bruce Lee’s films.

5. How is the transnational martial arts actor Jackie Chan similar to, yet also very different from, his predecessor Bruce Lee? How does Jackie Chan continue Bruce Lee’s legacy while also embodying and deploying a “cosmopolitical consciousness” that is linked to “comic displacement” in his films? How do we see a different kind of comedic hero in Jackie Chan’s films? How does the humor work in Jackie Chan’s films, and how is it linked to both his Chinese and his transnational identity? Read Kin-Yan Szeto’s article very closely, and then think deeply about the mode and style of Jackie Chan’s martial arts cinema in comparison to Bruce Lee’s. Please discuss by closely analyzing at least one of Jackie Chan’s films.

6. What are the key qualities and characteristics of Hong Kong New Wave cinema that emerged in the late 1970’s and early 1980’s? How was this type of cinema totally new and how did it reflect Hong Kong people’s consciousness, culture, and experience of that time? Choose one Hong Kong New Wave film and read it closely to illustrate key elements of the New Wave. For this assignment, you may choose to focus on and analyze one of Tsui Hark’s films.

7. What are the unique qualities and characteristics of Tsui Hark’s films and how are many of his films, particularly Once Upon a Time in China, “intensely Chinese in theme and design”? At the same time, how are Tsui Hark’s films also “products of the here and now Hong Kong (1979-1984), which is facing a very uncertain future” (Kam 178)? How can you see elements of the Hong Kong New Wave in Tsui Hark’s films? Please explain by discussing one Tsui Hark film. Focus not only on the story and plot but also on the cinematic techniques used in the film (i.e.: camera angles, editing, speed of images and cuts, dialogue, color, sound, music, mise-en-scène, costumes, make-up, and other aspects of filmmaking).

8. The film Peking Opera Blues has been described as “a women-centered film that casts actresses in roles usually played by male actors” (Kam 104). At the same time, the film “meshes historicity and fictionality,” creating a narrative framed by historical fiction (history imagined into fiction) and fictionalized history (fiction imagined as history) (Kam 108). How do you see these elements in this film, and how do they identify this film as belonging to the Hong Kong New Wave? Please explain.

1

LTEA 120C Hong Kong Films Hong Kong Cinema Through a Global Lens

Spring 2024

How to Write an Excellent Response Paper: Step by Step

1. Choose a topic on the syllabus you are interested in learning more about. Do all assigned and additional recommended readings, and watch the films for that topic.

2. “Marinade” for a while. Spend some time reading and learning about the course topic you are interested in and build a knowledge base. Utilize the resources posted on Canvas and/or use the Course Reserves List, or other resources (libraries, JSTOR, internet,….)

3. Narrow down your focus and choose the exact film you want to focus on in a critical-

analytical way. Re-view that film very closely and list analytical points you will make about it. Pay attention not only to the content, plot or subject matter of the film (the “what”), but also to the cinematic devices and techniques the filmmaker uses (the “how”).

4. Take a step back and think about what you really want to say about this film in the

context of this topic on the syllabus. Craft the Thesis / Argument you want to make. This argument should be very specific (not broad and abstract), and you should be able to actually argue it. Ask yourself: could someone potentially argue against this thesis? If the answer is yes, then you most likely have an actual argument. Hot Tip: The more specific and concrete you make your thesis, the more likely it is that it will work as an argument.

5. Create an outline of your paper. Keep in mind that the essay should feature a clear

introduction, body and conclusion. The introduction should also serve as a “road map” for your reader.

6. Write a first draft of your essay. Be sure to present analytical points in support of your

central argument. Then provide evidence for each point you make. You may wish to describe some key scenes in the film and also discuss the specific cinematic techniques that were used to create the scene, as well as their effects upon the viewer.

7. Re-read, edit and revise your essay, both in terms of analytical content and style. Write a

second draft if needed. Write a good conclusion to round out your analytical essay. Be sure to spell-check your paper and to perfect your language and style.

8. Format your paper correctly: Use the MLA or Chicago Manual of Style format guidelines

for references, footnotes and bibliography.

9. Give your paper a cover page and a title; be sure to include your name and course title on the cover page.

2

10. Submit your essay via turn-it-in by the deadline. Keep in mind that it will automatically be checked for similarity to published sources and other submitted papers.

1

LTEA 120C Hong Kong Films

Hong Kong Cinema Through a Global Lens Fall 2024

Paper Topic Ideas for LTEA 120C Response Paper

For this response paper, you may choose any paper topic you find interesting, as long as you engage key concepts, themes, topics, and ideas that we are addressing and discussing in class. You may choose to write about a film on our syllabus or another film beyond our syllabus. The following are some possible topic ideas. You are not limited to these and may define your own topic. Please also review the Response Paper Assignment Sheet and Guidelines on Canvas. Be sure to focus on a well-defined topic, state a clear central argument in your introduction, and present a close reading of key elements of one film in the body of your paper. You must also cite and engage ideas in at least one relevant secondary source. Have fun exploring and enjoy writing your first paper for this class!

1. What did you learn from watching the 1991 film by Stanley Kwan titled Center Stage 阮 玲玉 ? Who is the figure at the heart of this film and why is she important to Chinese film history? How does this film tell her story? What do we learn about both early Shanghai film culture and Hong Kong cinema by viewing this film? What are some of the most striking cinematic techniques used by director Stanley Kwan in this film, and how is it very much a “self-reflective meta-narrative” in visual form? Please write a brief film review and share your thoughts. Focus on both the subject matter and the cinematic language and visual elements of the film and their effects upon you, the viewer.

2. What are the key qualities and characteristics of wuxia 武俠 martial arts cinema in

1970’s Hong Kong? How does classical Chinese culture become reinterpreted in this genre of cinema, and what are some of the key qualities and characteristics of this type of film? How does this genre engage issues of history, the national, and cultural identity? Choose and analyze one wuxia film, such as King Hu’s A Touch of Zen (1971) or Lo Wei’s Fist of Fury (1972). Do your best to identity particular elements of cinematic technique that stood out in each film and trace their effects upon the viewer (i.e.: camera angles, editing, speed of images and cuts, dialogue, color, sound, music, mise-en-scène, costumes, make-up, and other aspects of filmmaking).

3. In the article “Burning Asia: Bruce Lee’s Kinetic Narrative of Decolonization,” Kato argues that Lee’s performance has “a sphere of meaning of its own” and seems to establish “an autonomous sphere of narrative via kinetic expression” (Kato 62). What is the significance and symbolic power of Bruce Lee’s performances and kinetic movements in his films, particularly his fight scenes? How do Lee’s martial arts deeds and performances become a kind of “narrative of decolonization” that inspires viewers around the world? Please discuss by closely analyzing at least one of Bruce Lee’s films.

4. How are Bruce Lee’s martial arts performances carefully choreographed in order to present kinetic translations of the Daoist concept of “wu wei” 無為 (effortless non-

2

action) as well as other key concepts of Daoist thought? How do you understand Bruce Lee’s philosophy and purpose, and how can you see this philosophy in action by “reading” the careful choreography of his movements? What messages do his martial arts movements and his acting convey to his viewers? Please discuss by closely analyzing at least one of Bruce Lee’s films.

5. How is the transnational martial arts actor Jackie Chan similar to, yet also very different from, his predecessor Bruce Lee? How does Jackie Chan continue Bruce Lee’s legacy while also embodying and deploying a “cosmopolitical consciousness” that is linked to “comic displacement” in his films? How do we see a different kind of comedic hero in Jackie Chan’s films? How does the humor work in Jackie Chan’s films, and how is it linked to both his Chinese and his transnational identity? Read Kin-Yan Szeto’s article very closely, and then think deeply about the mode and style of Jackie Chan’s martial arts cinema in comparison to Bruce Lee’s. Please discuss by closely analyzing at least one of Jackie Chan’s films.

6. What are the key qualities and characteristics of Hong Kong New Wave cinema that emerged in the late 1970’s and early 1980’s? How was this type of cinema totally new and how did it reflect Hong Kong people’s consciousness, culture, and experience of that time? Choose one Hong Kong New Wave film and read it closely to illustrate key elements of the New Wave. For this assignment, you may choose to focus on and analyze one of Tsui Hark’s films.

7. What are the unique qualities and characteristics of Tsui Hark’s films and how are many of his films, particularly Once Upon a Time in China, “intensely Chinese in theme and design”? At the same time, how are Tsui Hark’s films also “products of the here and now Hong Kong (1979-1984), which is facing a very uncertain future” (Kam 178)? How can you see elements of the Hong Kong New Wave in Tsui Hark’s films? Please explain by discussing one Tsui Hark film. Focus not only on the story and plot but also on the cinematic techniques used in the film (i.e.: camera angles, editing, speed of images and cuts, dialogue, color, sound, music, mise-en-scène, costumes, make-up, and other aspects of filmmaking).

8. The film Peking Opera Blues has been described as “a women-centered film that casts actresses in roles usually played by male actors” (Kam 104). At the same time, the film “meshes historicity and fictionality,” creating a narrative framed by historical fiction (history imagined into fiction) and fictionalized history (fiction imagined as history) (Kam 108). How do you see these elements in this film, and how do they identify this film as belonging to the Hong Kong New Wave? Please explain.