國立中興大學教學大綱

課程名稱	(中) 華語電影專題(8030)
	(Eng.) Seminar on Sinophone Cinema
開課單位	跨文化學程
課程類別	選修	學分	3	授課教師	林華源等
選課單位	跨文化學程 / 博士班	授課使用語言	英文	開課學期	1151
課程簡述	The 2026 iteration of this graduate seminar is co-taught by Zhou Hau Liew and Wah Guan Lim and is held in conjunction with the “New Directions in Transnational Asian Studies” series and “Trans-ing Borders: Cultural Performance and Identity Formation in a Fractured World” Workshop. The course examines the Chinese-speaking world(s) through the medium of film. We use film as a lens through which to investigate the commonalities and differences in China, Taiwan and the Chinese diaspora, paying particular attention to how the recent historical developments of these various Chinese societies shape their contemporary political realities. The films we examine will focus on what has now become “classic” in Chinese-language cinema: from the auteur films of the Chinese directors Chen Kaige and Jiang Wen, to the Hong Kong “New Wave” and Taiwanese “New Cinema” of Wong Kar-wai, Mabel Cheung, Ang Lee, and Tsai Ming-liang, as well works from filmmakers in Singapore and Malaysia such as Yasmin Ahmad, Woo Yen Yen, and Colin Goh, which complicate the diverse linguistic map that forms these Chinese communities even more.
先修課程名稱

課程與核心能力關聯配比(%)

課程目標之教學方法與評量方法

課程目標

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教學方法

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As we explore these themes––auditory travels, personal histories, intersections, grand narratives, media and transmission––throughout the course, it might be useful to keep some of these questions in mind as you attempt to seek your own answers to them: What is the relationship between culture and political reality? Does “Chinese culture” mean the same thing to the people living in these various locales? Why have these films become classics, and what impact have the critical interventions of these filmmakers had on the Chinese-speaking world, if any? Are these preoccupations unique to Chinese societies?

專題探討/製作

討論

講授

書面報告

出席狀況

口頭報告

作業

授課內容(單元名稱與內容、習作/每週授課、考試進度-共16週加自主學習)

週次	授課內容
第1週	Course Introduction
第2週	Whither Chinese-language Cinema 9/17 Required Reading Sheldon H. Lu and Emilie Yueh-yu Yeh, “Introduction: Mapping the Field of Chinese-Language Cinema”, in Sheldon H. Lu and Emilie Yueh-yu Yeh (eds), Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawaii Press, 2005, pp. 1-24. Recommended Reading Song Hwee Lim, “Six Chinese Cinemas in Search of a Historiography”, in Song Hwee Lim and Julian Ward (eds.), The Chinese Cinema Book. London: BFI Publishing and New York: Bloomsbury, 2020, pp. 42-51. Recommended Viewing Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
第3週	History as Grand Narratives 9/24 Required Reading Wendy Larson. “The Concubine and the Figure of History: Chen Kaige’s Farewell My Concubine.” Transnational Chinese Cinemas: Identity, Nationhood, Gender. Ed. Sheldon Hsiao-peng Lu. Honolulu, HI: University of Hawaii Press, 1997. 331–346. Recommended Reading Jerome Silbergeld. “A Farewell to Arts: Allegory Goes to the Movies.” China into Film: Frames of Reference in Contemporary Chinese Cinema. London: Reaktion Books, 1999. 96–131. Recommended Viewing Farewell My Concubine (Chen Kaige, 1993)
第4週	Guest Lecture 10/1 Jason Lim Independent Scholar “Cold War Aesthetics: the Kuomintang’s Involvement in Southeast Asia.”
第5週	Film Art: An Introduction 10/8
第6週	Personal Histories 10/15 Required Reading Jerome Silbergeld, “Body Visible: In the Heat of the Sun (Yangguang canlan de rizi).” Body in Question: Image and Illusion in Two Chinese Films by Director Jiang Wen. Princeton, NJ: P.Y. and Kinmay W. Tang Center for East Asian Art, Department of Art and Archaeology, Princeton University in association with Princeton University Press, 2008. Recommended Reading Wendy Larson, “Extracting the Revolutionary Spirit: Jiang Wen’s In the Heat of the Sun and Anchee Min’s Red Azalea.” From Ah Q to Lei Feng: Freud and Revolutionary Spirit in 20th Century China. Stanford, Calif.: Stanford University Press, 2009. 155–96. Recommended Viewing In the Heat of the Sun (Jiang Wen, 1994).
第7週	The Happy Family? 10/22 Required Reading Wah Guan Lim. “To Dream, at What Price? Interrogating “Success” in Singapore Dreaming.” Concentric: Literary and Cultural Studies 51.1 (March 2025): 63–90. Recommended Reading Kenneth Paul Tan. “One-Dimensional Singapore.” Cinema and Television in Singapore: Resistance in One Dimension. Leiden; Boston: Brill, 2008. 1–36. Recommended Viewing Singapore Dreaming (Woo Yenyen and Colin Goh, 2006).
第8週	Workshop 10/29 Seminar participants are strongly encouraged to participate in the “Trans-ing Borders: Cultural Performance and Identity Formation in a Fractured World” Workshop held on Oct 29–30.
第9週	Mid-term Break 11/5
第10週	Auditory Travels and Globalization 11/12 Required Reading David Bordwell and Kristin Thompson, Film Art: An Introduction, 2008. 54–64; 275–287. Recommended Reading Kenneth Chan, “Goodbye Dragon Inn: Tsai Ming-liang’s Political Aesthetics of Nostalgia, Place, and Lingering.” Journal of Chinese Cinemas 1, no. 2 (2007): 89–103. Recommended Viewing Goodbye Dragon Inn (Tsai Ming Liang, 2003). Scene analysis exercise: sight and sound
第11週	Intersections 11/19 Required Reading David Bordwell and Kristin Thompson, Film Art: An Introduction, 2008. 244-257. Decade: Wong Kar-wai on “In The Mood For Love” (indiewire.com) Recommended Reading Audrey Yue, “In The Mood for Love: Intersections of Hong Kong Modernity.” In Chris Berry (ed.), Chinese Film in Focus: 25 New Takes, British Film Institute: 128–136. Recommended Viewing In The Mood for Love (Wong Kar Wai, 2000) Scene analysis exercise: editing
第12週	A “Sinophone” Director 11/26 Required Reading David Bordwell and Kristin Thompson, Film Art: An Introduction, 2008. 257–286. Recommended Reading Adrian Yuen, “‘Beyond Multiculturalism’: The Malaysian Postethnic Cosmopolitan Cinema,” Malaysian Cinema in the New Millennium: Transcendence Beyond Multiculturalism, 100–157. Recommended Viewing Sepet (Yasmin Ahmad, 2005) Scene analysis exercise: editing
第13週	Media and Transmission 12/3 Required Reading David Bordwell and Kristin Thompson, Film Art: An Introduction, 2008. 138–166. Ackbar Abbas, “Culture in a Space of Disappearance,” Hong Kong: Culture and the Politics of Disappearance, University of Minnesota Press, 1997: 1–15. Recommended Reading Siu Leung Li, “Kung Fu: Negotiating Nationalism and Modernity.” Cultural Studies 15 (3/4) 2001, 515–542. Cheung, Mabel (張婉婷) – Hong Kong Women Filmmakers (wordpress.com) Recommended Viewing Painted Faces (Mabel Cheung and Alex Ng, 1988) Scene analysis exercise: mise-en-scene
第14週	Class Presentation 12/10 Provide a 15-min in-class oral presentation of your final essay topic.
第15週	Essay Workshop 12/17 Bring 3 hard copies of your final paper drafts (double-spaced, type-written) to class.
第16週	Essay Due 12/24
自主學習內容	01.參與專業論壇、講座、企業分享等產官學研相關交流活動 05.參與本校各單位舉辦之各類工作坊活動

學習評量方式

1. i-Learning Posts 20%
2. Research paper (approx. 3000 words, due Week 18, Jan 8) 60%
3. Attendance & participation 20%

教科書＆參考書目(書名、作者、書局、代理商、說明)

Seminar participants are required to locate the films on your own and complete the viewings and readings prior to coming to class. All readings can be found on our i-Learning course site.

課程教材（教師個人網址請列在本校內之網址）

課程輔導時間

Appointment by email only.

請尊重智慧財產權及性別平等意識，不得非法影印他人著作及受保護的電子檔案。
更新日期西元年/月/日：2026/08/01 16:28:50	列印日期西元年/月/日：2026 / 9 / 12
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