Pentium - History of Audiovision: Asian Film 1

Display Schedule

Subject guarantor:

Viera LANGEROVÁ

Name of lecturer(s):

Viera LANGEROVÁ

Learning outcomes of the course unit:

The course provides basic coordinates of individual cultures and the optics which allow an understanding of film as a reflection, symptom of the internal life of a far-away society.

Mode of study:

Lecture (45 min.) Screening

Prerequisites and co-requisites:

No other requirements

Course contents:

Even though films from Asia on domestic TV and in cinemas are rather sporadic events, learning about this area considering the gradual economic and cultural dynamics of Asia make it more and more current.

The course description is primarily from a cultural-historical context of Asian countries. Individual topic focus on issues in cultural comparisons of the East-West Axis, cultural communications and cultural differences and manners reflected in film. Finally, in the program, there are wider topics of globalization and its role in film.

This approach enables a focus on the content aspect of individual films and provides a deeper look into Asian Cultures. We will cover topics, characteristics important for this area from the viewpoint of their society identification. The idea of the compilation of lectures is synthetic in character and tries to avoid encyclopedic culminations of facts and names. It also avoids the to date practice of dividing national cinemas and their chonological history or the profiling of individual artists.

The topic hierarchy will be in socio-cultural reference terms of three main areas:

China

India

Islamic areas

The selection of individual films for screening may change, or possibly only demonstrative examples will be shown.

The lecture program is scheduled over two semesters of the school year.

Recommended or required reading:

China.

Yingjin Zhang : Screening China. Center for Chinese Studies, Universtiy of Michigan. 2002

Federico Rampini: Čínské století. Dokořán. 2008

Ľubica Obuchová: Číňané 21. století. Academia 1999

Viera Langerová: Filmový zemepis : kontinentálna Čína, Hongkokng, Tchajwan. SFÚ 2010

Miriam Lowensteinová: V Koreji se Korejcům nevyhnete. Lidové noviny 2010

Jiří Janoš: Japonsko a Korea. Dramatické sousedství. Academia 2008

Antonín Líman: Mistři japonského filmu. Paseka 2012

Viera Langerová: Vietnamský tucet. Slovenské divadlo 3/2012

India

Nasreen Munni Kabir: Bollywood. The Indian Cinema Story.Chanel 4 Books 2004

Derek Bose: Brand Bollywood. A New Global Entertainment Order. Sage Publications.2006

Lalitha Gopalan: Cinema of Interruptions. Oxford University Press 2003

William Dalrymple: Věk bohyně Kálí. Rub a líc dnešní Indie. Metafora 1999

Islamic areas

Hamid Dabashi : Close-up. Iranian Cinema, Past, Present and Future. Verso, 2001

Jean-Pierre Filiu : Apokolypsa v islámu. Volvox Globator 2009

Afshin Molavi: Toulky Persií. BB/art 2004

Asuman Suner: New Turkish Cinema. I.B.Tauris 2010

www.kinokultura.com (Central Asia)

Assessment methods and criteria:

Grading based on attendance and final written test results.

Exam topic for the Winter 2014 semester

Course: Asian film

For the exam it is required that a paper be submitted written absed on the viewed films. The selection is comprised of six topics. The minimum is 6000 characters without spaces.

1.Based on the recommeded films, compare fifth and sixth generation Chinese filmmakers.

5th. generation: Sbohem moje konkubína. 1993 (Farwell, My Concubine) Dir: Chen Kaige (Alternative Svůdny měsíc ,Tempress Moon)

Zvedněte červené lucerny. 1991 (Raise the Red Lanterns) Dir: Zhang Yimou

Rudé pole. 1987 (The Red Sorghum) Dir: Zhang Yimou

6th. generation: Svět.2004 (The World.) Dir: Jia Zhangke. (Alternative: Neznámé radosti (Unknown Pleasures) , Nástupiště (The Platform.)

Pekingské kolo.2001 (Bejing Bicycle) Dir: Wang Xiaohuai (Alterantive: So Close to Paradise)

Čínske lázně 1999 (Shower)Dir: Zhang Yang ( Alternatíve: Coming Home)

2.Characterize Hong Kong film focusing on it multicultural and hybrid symbols.

Films:

Kung fu mela. 2004 (Kung Fu Hustle) Dir : Stephen Chow (Alternative Shaolin Soccker)

Chunking express. 1994 Dir: Wong Kar wai (Alternative - Happy Together, In the Mood of Love)

Psanci. 2006 (Exiled) Dir: Johnnie To

3.Explain the historical and cultural context of the presence of agression and its aesthetization in Korean and Japanese film.

Films:

Mentolky. 2000 (Peppermint Candy) Dir: Lee Chang dong

Krokodíl. 1996 (The Crocodile) Dir: Kim Ki duk (Alternative - Wild Animals, Real Fiction, The Island, Bad Guy )

Pohřeb slunce. 1960 (The Sun Burial) Dir: Nagisa Oshima (Alternative - Cruel Story of Youth, Empire of Passion, In the Realm of Senses, Merry Christmas, Mr. Lawrence)

Battle Royale. 2000 Dir: Kinji Fukasaku

4.Poetic lines in film in the Sinosphere - name its main indicators and origins.

Films:

Vůně zelené papaji. 1993 (The Scent of Green Papaya.) Dir: Tranh An Hung (Alternative - Vertical Ray of Sun, Three Seasons, Dir. Tony Bui, The Buffalo Boy, Dir. Minh Nguyen Vo)

Jar v malém městečku. 2002 (Spring in the Small Town) Dir: Tian Zhuangzhuang (Spring in a Small Town, 1948, Spring River Flows East, 1947)

Jaro, léto, podzim, zima... a jaro. 2003 (Spring, Summer, Autumn, Winter... and Spring) Dir: Kim Ki duk

Třikrát. 2005 (Three Times) Dir: Hou Hsiao Hsien

5.Jasudžiró Ozu . Characterize his work and location the context of Japanese film.

Films:

I Was Born, But... (1932)

Pozdní jaro. 1949 (Late Spring)

Tokijský příběh.1953 (Tokyo Story)

Pozdní podzim.1960 (Late Autumn)

6.Akira Kurosawa. Characterize his work considering the Samurai Film tradition.

Films:

Rašomon. 1950

Sedum samurajů. 1954

Krvavý trůn. 1957 (The Throne of Blood)

Kagemuša.1980

Course web page:

Note:

Lecturer: PhDr. Viera Langerová PhD.

Film journalist and publicist; Graduate of Film and Theatre Research at the Fine Arts College in Bratislava; Post-graduate studys in Culturology at the Charles University in Prague and Inter-cultural Communications at Bussines School (Tallinn, Estonia).

She worked as an editor of the magazines Film and Theatre, Dialog, Slovak Views, and Chief editor of the Czech-Slovak monthly paper Listy, and a collaborator with the Associated Press in Slovakia. After residing for four years in Kazahstan, Kyrgyzstan and five years in Pakistan she covers Asian cinema and Post-communist Europe cinema. She is the author of the book: „Filmovy Zemepis: Continental china, Hong Kong, Taiwan“ (2010) and a travelogue of Urdu, Parda, Burka, "Five Year in Pakistan (2011), and a number of studies and professional articles.

She has lectured on film at the Tallinn University and the Baltic Film and Media School in Estonia. She is also a consultant at the Karlovy Vary Film Festival, The International Film Festival of Muslim Film in Kazan (Russian Federation), The International Film Festival Duhok in Iraq and is a program consultant on the Festival of Iranian Film in Prague. She is also a curator, taking part on preparations for a retrospective of Kazah film at the Karlovy Vary International Film Festival (1999), and in the program of the Focus on Kurdish Film at the Karlovy Vary Internationl Film Festival (2013)

Further information:

This course is an elective for all AMU students

Schedule for winter semester 2015/2016:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Wed	místnost 207 Učebna 2 (Lažanský palác) LANGEROVÁ V. 14:50–18:05 (přednášková par. 1)
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Wed	14:50–18:05	Viera LANGEROVÁ	Učebna 2 Lažanský palác		přednášková par. 1

Schedule for summer semester 2015/2016:

The schedule has not yet been prepared

The subject is a part of the following study plans: