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AnalyticalPaperWritingselfReview-3.pdf
AnalyticalPaperAssignmentSheet-2.pdf
youcanchooseTopicsandReadings.docx
AnalyticalPaperWritingselfReview-3.pdf
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Hong Kong Films HongKong Cinema Through a Global Lens
Paper Writing Review
1. Read entire the paper carefully. 2. Read the argument / thesis set out in the introduction of the paper and evaluate the
following: o Does the introduction feature a well-defined and well-rounded thesis that can
actually be argued? In other words, would it be possible to argue against the argument? If the answer is yes, then it most likely is an actual argument?
o Does the author clearly state the primary sources he/she will analyze in this paper, and are these sources properly introduced (giving the title, author, year of publication, and other necessary contextual information)?
o Does the author present a clear “road map” for the reader in the introduction, which will allow the reader to understand the purpose, argument and methodology of the paper?
3. Read and evaluate the analysis of primary sources / films in the paper: o Does the author present a careful, well-organized critical reading of the primary
sources, in order to prove the central argument laid out in the introduction? o Does the author provide textual evidence and citations from the primary sources,
and are quotes properly analyzed and discussed? o Does the author critically examine the content and ideas within a given text, as
well as the narrative and/or cinematic techniques that are used in the literary and/or visual text under discussion? In other words, does the author focus on the “what” as well as the “how” of a text?
4. Evaluate the engagement of one or more secondary / scholarly sources in the paper: o Does the author engage with ideas or concepts in at least one secondary source?
Please note that this may be a scholarly article or book from our syllabus or another source that the author found by him or herself.
o Does the author properly cite this secondary source, and attribute ideas to the author of the source?
5. Read and evaluate the conclusion of the paper: o Does the paper have a clearly-defined and well-organized conclusion? o Does this conclusion present a concise overview of the central argument and the
textual evidence revealed in the paper, to underscore that the argument has been substantiated?
6. Evaluate the overall format of the paper: o Does the paper have an effective title and a cover page stating the author’s name
and course title?
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o Does the paper use correct MLA or Chicago Manual of Style format to give in- text citations or footnote citations?
o Are in-text citations / quotations properly formatted? Are longer quotations indented and single-spaced?
o Does the paper include a properly formatted bibliography of all primary and secondary sources used?
o Has the paper been proofread and spell-checked? o Does the paper have page numbers, which should begin on the first page of
written text, not on the cover page? o Does the paper have proper margin, font and spacing?
AnalyticalPaperAssignmentSheet-2.pdf
1
Hong Kong Films HongKong Cinema Through a Global Lens
This assignment is an opportunity for you to showcase the knowledge you have acquired in this course as well as your strengths in research; critical thinking; and articulate, concise writing.
Choose a topic that you are interested in and craft an essay of about 1000 – 1200 words (4-5 pages double-spaced in length using Times New Roman Font Size 12) in which you present a central argument and close reading of a limited body of primary sources (Hong Kong films). Your essay should be based on research you have done about your chosen topic, and you are welcome to study and write about any of the films we are examining in this class. Your paper should present a clear thesis and sufficient proof to substantiate your argument. You must present a close analytical reading of at least one film and engage at least one secondary source in your paper.
You may choose from a broad variety and options of paper topics, depending on what you are most interested in. You may trace a key idea or theme in several films of your choosing. Or you may choose to focus on only one film and carefully explain one or more key elements within it.
In order to write a strong and successful research paper, do the following: 1. Look on the syllabus and Canvas, and choose a topic you find interesting and
would like to learn more about. This can be a topic/session we have already studied in the course, or one that we will study in the coming weeks.
2. Spend some time researching and reading about your chosen topic by using the resources posted on Canvas, the materials on course reserves, and other resources, such as JSTOR.
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3. Choose a imited number of texts and/or films you wish to analyze in your essay. You may choose to focus on only one text, or more than one.
4. Craft a central thesis / argument about your chosen topic that can be substantiated with evidence from the primary text(s) you are focusing on.
5. Organize the essay by presenting a clearly-defined introduction, body and conclusion.
6. Present a careful, rigorous analysis of the primary source(s) you are focusing on. Rather than merely citing or paraphrasing the story or plot of a given film, analyze the ideas you want to highlight in the film and show how they substantiate and strengthen your central argument / thesis.
7. Choose at least one secondary scholarly source and engage with the ideas in this text while citing it correctly. If you wish, you may also read another secondary source that is not on our syllabus, and engage it in your critical reading of the primary text.
8. Utilize correct citation format, using either the MLA or Chicago Manuals of Style.
9. Provide footnotes (if needed) and a correctly formatted bibliography at the end of your paper. Clear guidelines regarding the format for direct quotes, paraphrased text, footnotes and bibliography can be found in the section entitled “How to Write Excellent Papers” in the “Assignments” folder on the Blackboard course web site.
10. Always write in your own voice and never “appropriate” another scholar’s texts, ideas or points as your own, as this is a form of plagiarizing. Whenever you cite a primary or secondary source, it is always important to give appropriate credit to the author of the work.
11. Carefully spell-check and proofread your paper so as to avoid spelling or punctuation mistakes.
12. Provide a cover page that features the title of your paper, your name, the date and the title of the course.
Your analytical paper will be graded according to the following criteria: 1. The content, substance, accuracy and depth of your argument, discussion and analysis. 2. Your analysis of at least one primary source, as substantiation of your central thesis / argument. 3. Your citation and critical engagement of at least one secondary scholarly source in your essay 3. The organization and structure of your essay overall, as well as the clarity, style and format of your work.
youcanchooseTopicsandReadings.docx
Topics and Readings:
I. Early Hong Kong Cinema
Session 1 (Wednesday, April 3): Introduction to the Course and An Overview of Hong
Kong History, Culture, and Cinema
Stephen Bordwell, “All Too Extravagant: Too Gratuitously Wild - Hong Kong and/as/or
Hollywood” in Planet Hong Kong: Popular Cinema and the Art of Entertainment. 1-16.
Esther Yau, “Introduction: Hong Kong Cinema in a Borderless World” in At Full Speed: Hong
Kong Cinema in a Borderless World.
Session 2 (Wednesday, April 10): Early Hong Kong Cinema: The Shanghai “Hangover”
Lisa Odham Stokes and Rachel Braaten, eds. Preface, Chronology, and Introduction in Historical
Dictionary of Hong Kong Cinema. xi-14.
Stephen Teo, “Early Hong Kong Cinema: The Shanghai Hangover” in Hong Kong Cinema: The
Extra Dimensions. 3-28.
Emilie Yueh-yu Yeh, “Translating Yingxi - Chinese Film Genealogy and Early Cinema in Hong
Kong” in Early Film Culture in Hong Kong, Taiwan, and Republican China. 19-50.
Film: Center Stage 阮玲玉 directed by Stanley Kwan 關錦鵬, 1991.
II. Wuxia, Kung Fu, and Hong Kong Martial Arts Cinema
Session 3 (Wednesday, April 17): The Wuxia Films of the 1970’s: King Hu, Lo Wei, and
Bruce Lee
David Bordwell, “Motion Emotion: The Art of the Action Movie” in Planet Hong Kong. 127-
156.
Stephen Teo, Introduction in Chinese Martial Arts Cinema: The Wuxia Tradition. 1-16.
Stephen Teo, “The Martial Arts Film in Chinese Cinema: Historicism and the National” in Art,
Politics, and Commerce in Chinese Cinema. 99-109.
Stephen Teo, “The Rise of Kung Fu: From Wong Fei-Hong to Bruce Lee” in Chinese Martial
Arts Cinema.
Stephen Teo, “The Wuxia Films of King Hu” in Chinese Martial Arts Cinema.115-142.
Man-Fung Yip, “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial
Arts Cinema” in Cinema Journal. 76-97.
Films: A Touch of Zen 俠女 directed by King Hu 胡金銓, 1971 and Fist of Fury 精武門
(aka The Chinese Connection) directed by Lo Wei 羅維, 1972. 7
Session 4 (Wednesday, April 24): Bruce Lee and Jackie Chan: Transnational Stardom and
Identity
David Bordwell, “Local Heroes: Bruce Lee and Jackie Chan” in Planet Hong Kong.17-38.
M.T. Kato, “Burning Asia: Bruce Lee’s Kinetic Narrative of Decolonization” in Modern Chinese
Literature and Culture.
Yvonne Tasker, “Fists of Fury: Discourses of Race and Masculinity in the Martial Arts Cinema”
in Asian Cinemas: A Reader and Guide. 437-456.
Paul Bowman, “Spectres of Bruce Lee” in Beyond Bruce Lee. 162-172.
Kin-Yan Szeto, “Jackie Chan’s Cosmopolitical Consciousness and Comic Displacement” in
Modern Chinese Literature and Culture. 229-261.
Raechel Dumas, “Kung Fu Production for Global Consumption: The Depoliticization of Kung
Fu in Stephen Chow’s Kung Fu Hustle.”
Films: Enter the Dragon 龍爭虎鬥 directed by Robert Clouse (1973) and Drunken Master
醉拳 directed by Yuen Woo-ping 袁和平 (1978). Optional additional film: Kung Fu Hustle
功夫 directed by Stephen Chow 周星馳, 2004.
III. The Hong Kong New Wave: Entertainment, Aesthetics, and
Reinvention
Session 5 (Wednesday, May 1): The “Accented Cinema” of Tsui Hark and the Politics of
Disappearance
Ackbar Abbas, “The New Hong Kong Cinema and the ‘Déjà Disparu’” in Hong Kong: Culture
and the Politics of Disappearance.
Law Kar, “An Overview of Hong Kong’s New Wave Cinema” in At Full Speed.
Tony Williams, “Under ‘Western Eyes’: The Personal Odyssey of Huang Fei-Hong in Once
Upon a Time in China in Asian Cinemas.
Tan See Kam, “Tsui Hark: Accented Cinema” in Hong Kong Cinema and Sinophone
Transnationalisms.
Tan See Kam, “Shanghai and Peking Blues: Fiction as Imagined History” in Tsui Hark’s Peking
Opera Blues. 103-118.
Craig Reid, “Interview with Tsui Hark” in Film Quarterly.
Films: Peking Opera Blues 刀馬旦(1986) and Once Upon a Time in China 黃飛鴻 (1991)
directed by Tsui Hark 徐文光.
*** Response Paper Due on Canvas by Friday, May 3 ***
Session 6 (Wednesday, May 8): The Crisis Cinema of John Woo and its Global Influence
Tony Williams, “Space, Place, and Spectacle: The Crisis Cinema of John Woo” in Cinema
Journal.
Kenneth Hall, “Style and Structure in The Killer” in John Woo’s The Killer . 23-43.
Kenneth Hall, “Woo’s Inheritors: The Killer as Influence” in John Woo’s The Killer. 56-71.
Jinsoo An, “ The Killer: Cult Film and Transcultural (Mis)reading” in At Full Speed. 95-114.
Robert Hanke, "John Woo's Cinema of Hyperkinetic Violence - A Better Tomorrow to Face/Off"
Films: A Better Tomorrow 英雄本色 (1986) and The Killer 喋血雙雄 (1989) directed by John Woo 吳宇森.
Session 7 (Wednesday, May 15): Constructing Identity from the Margins: The Woman
Director Ann Hui 許鞍華
Ka-Fai Yau, “Looking Back at Ann Hui’s Cinema of the Political” in Modern Chinese Literature
and Culture. 117-150.
Mirana Szeto, “Ann Hui at the Margin of Mainstream Hong Kong Cinema” in Hong Kong
Screenscapes.
Patricia Erens, “Crossing Borders: Time, Memory, and the Construction of Identity in Song of
the Exile” in Cinema Journal, 43-59.
Esther Cheung et al, “Interview with Ann Hui – On the Edge of the Mainstream” in Hong Kong
Screenscapes.
Films: Boat People 投奔怒海 (1982) and Song of the Exile (1990) directed by Ann Hui 許鞍
華. Optional Additional Film: A Simple Life 桃姐 (2011)
Session 8 (Wednesday, May 22): The Poetics of Hong Kong New Wave Cinema: Wong
Kar-wai 王家衛
Esther Cheung, “Do We Hear the City? Voices of the Stranger in Hong Kong Cinema” in Hong
Kong Screenscapes.
Gary Bettinson, “Wong Kar-wai and the Poetics of Hong Kong Cinema” in The Sensuous
Cinema of Wong Kar-wai.
Olivia Khoo, “Love in Ruins: Spectral Bodies in Wong Kar-wai’s In the Mood for Love” in
Embodied Modernities: Corporeality, Representation, and Chinese Cultures.
Ewa Mazierska and Laura Rascaroli, “Trapped in the Present: Time in the Films of Wong Kar
wai” in Film Criticism.
View at least two of the following Films:
Chungking Express 重慶森林 (1994), In the Mood for Love 花樣年華 (2000), and 2046
(2004) directed by Wong Kar-wai 王家衛.
IV. Contemporary Queerscapes in Postcolonial Hong Kong
Session 9 (Wednesday, May 29): LGBTQ+ Cinema in Hong Kong, Before and After 1997
Natalia Sui-hung Chan, “Queering Body and Sexuality: Leslie Cheung’s Gender Representation
in Hong Kong Popular Cultre” in As Normal as Possible. 133-149.
Hugo Cordova Quero, “Queer(N)Asian Im/Migrants’ Connectedness; An Inter-Contextual
Decolonial Reading of Wong Kar-Wai’s Happy Together.”
Marc Siegel, “The Intimate Spaces of Wong Kar-wai in At Full Speed.
Films: Happy Together 春光乍洩 (1997) directed by Wong Kar-wai 王家衛 and All About
Love 得閒炒飯 directed by Ann Hui (2010).
Session 10 (Wednesday, June 5): Postcolonial Identity and Struggle in Hong Kong from
1997 to Today: The Ghostly Cinema of Fruit Chan 陳果
Esther Cheung, “In Search of the Ghostly in Context: Fruit Chan’s Made in Hong Kong”
Vivian Lee, “Ghostly Returns: The Politics of Horror in Hong Kong Cinema.”
Chia-rong Wu, “Hong Kong Identity in Question: Fruit Chan’s Uncanny Narrative and (Post) 97
Complex” in American Journal of Chinese Studies, 43-56.
Wendy Gan, “Re-imagining Hong Kong–China from the Sidelines: Fruit Chan’s Little Cheung
and Durian Durian” in Hong Kong Screenscapes.
Films: Made in Hong Kong 香港製造 (1997) and Little Cheung (1999) directed by Fruit
Chan 陳果 (2004). Optional Additional Film: The Midnight After 那夜凌晨,我坐上了旺角 開往大埔的紅 VAN (2014)