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Course Description
This is a historical survey of Asian American involvement in media production,
beginning in the silent film era and concluding with the current digital age. In this course, we will focus on the shifting yet continuous
participation of Asians in the production of media in North America, from
the careers of silent films stars Anna May Wong and Sessue Hayakawa to the
birth of the Asian American Movement in the 1960s and '70s - which also
triggered the birth of Asian American independent films - to the lure of
(relatively) big-budget narrative films in the '80s, punk-inspired rebellion
and video art in the '90s, and finally landing right into the contemporary media landscape. Throughout the course, we will look at how changing political,
social, and cultural discourses have affected Asian American participation
in media production, as well as how these forces have shaped media representations
of Asians. Form, content, funding, and circumstances of production will
also enter our discussions of how these films, videos, and new media works
came to be.
*You may have noticed that this class has no prerequisites. The reason for this is to enable students from disciplines other than Media Studies, including Asian American Studies and other Ethnic Studies, Gender and Feminist Studies, etc. to take the class, thus creating what we feel are important connections between Media Studies and these disciplines. Thus, there will be students from a variety of of levels and backgrounds in the class, and with knowledge from these different fields. I encourage you to see this as an opportunity to learn from each other, and to be patient if i have to explain certain concepts and information that you already know to the other students in the class, as I am sure you would appreciate if the same courtesy and respect is extended to you in turn.
Course Organization
The course format consists of lecture, screening, and discussion. We study
at least one film, video, or new media work per class. Films are screened both in and outside of class—during designated class screenings, or students can watch the films on their own at PItzer A/V Services in McConnell Hall, and will be announced in class. Myself or student
presenters introduce the work with a short lecture, and an interactive,
integrative discussion follows. Participation in the class
discussion will contribute to your final grade. You are expected to draw
from reading assignments as well as first-hand observations in the discussions.
Please turn off all
cell phones and pagers during class. These and other diversions are not
acceptable during class time, and will lower your grade.
| Course Requirements
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| 1. |
Attend all classes |
| 2. |
Participation in class discussions |
| 3. |
Completion of reading assignments, 1 class presentation, at least 3 blog posts, at least 2 papers and final paper or project |
Attendance
Attendance and participation of all classes is required. Do not miss class
or arrive late! If you
miss class 3 times without a proper excuse, (e.g. a doctor's note if you
are sick) you fail the class.
Absences must be cleared by me before or after (in case of emergencies only)
the class you missed in order for it to not affect your final grade. Attendance
is determined by when I take roll.
Class Participation
Your active, well-prepared participation in class discussions is essential
to creating a dynamic (i.e. not boring!) learning environment. Although
you will not receive a letter grade for class participation, it will figure
into your final grade based on my observations.
We may study sexually explicit, political, and otherwise challenging
material in this course. These are not included for shock value, but are
legitimate investigations of controversial subject matters in media. You
are certainly encouraged to explore difficult and complex subject matters
in your work, and should be prepared to consider these issues intellectually
and emotionally. Our class is a safe space in which students can express
their beliefs and opinions. You always have a voice, but please be respectful
of others as well. Abusive language and behavior are not be tolerated.
Open-mindedness is encouraged!
Class
Assignments
You are responsible for weekly reading assignments, contribution to class
discussions, 2 short papers (3-5 pages), a final paper (8-10 pages)
or media project, and at least three posts on the Asian Americans in Media blog. All written assignments should be typed and double-spaced.
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Two short papers are due on Week 5, and Week 10 in class. They should be 3-5 pages, typed and double-spaced. These papers are assessments of the films seen in class, and should consider these films in relation to each other. They can include comparative analyses of as well as personal responses to the films, reference to the class reading, and thoughts on class discussions. Additional research (outside of class material) is encouraged.
You may substitute a single or series of posts on the Asian Americans in Media blog, at least 700 words in length cumulatively, and ones that systematically address the questions posed in the assignment, for one of the paper assignments.
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2. Final Paper or Project
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There are several options for this assignment, the topic and format to be determined by the student with the instructor's approval. Go to assignment link for format options. Generally speaking, final papers are 8-10 page research papers, typed and double-spaced, must include footnotes, a bibliography and filmography. Additional research is required.
Students must submit an abstract by Week 8 for approval of paper topic, and may continue to meet with instructor to discuss ideas and progress on the paper.
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| 3. Asian Americans in Media Blog |
Throughout the semester, students are required to post at least 3 blog entries on the Asian Americans in Media blog.
The blog is a forum designed to allow students to respond to the film shown in class in relation to a specific essay or chapter in the assigned reading, pose relevant questions raised by the film or the reading, comment on class discussion, or all of the above! You are welcome to post more than the required number, and to incorporate multi-media content into your posts (e.g. links to other sites, images, web video, etc.) This would a good way to connect some of the historical materials we study in class to the contemporary context.
Posts should be on-line for the class when the film in question is discussed (in cases where the film is screened before class) or one week after (in cases where the film is screened in-class), and will most likely be used as a part of our class discussion—you will be asked to present your post to the class. You can also use them to start formulating ideas and arguments for your papers. These will not be graded, but they will count as a part of your class participation grade. In the cases when paper assignments are done on the blog, please notify instructor which posts should be graded.
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| 4. Class Presentation |
Students are required to participate in 1 class presentation. Working in groups of 2-3 students, you will view the film before class, discuss and write a 1 page introduction to the film, and formulate questions for the class discussion following. Each group will begin the presentation by reading the paper, followed by the film screening (in cases where the film is screened outside of class, each group will select up to 15 mins. of clips from the film as a part of your presentation). The introduction will be posted on the blog, and will count for one of your three posts. Guidelines for class presentations. |
Unless an extension is approved by myself in advance of the due date, your grade will be reduced by one letter grade (i.e. B to C) per class day your paper is late. You are encouraged to meet with me individually during my office hours to discuss your assignments, your grades, and your overall performance in class. I am always open to suggestions and feedback!
IDAAS Public Art Commission
Upon the completion of the new Asian American Studies center at the Lincoln building in Pomona College, (now home of IDAAS, Intercollegiate Department of Asian American Studies at the Claremont Colleges) Korean American artist Yong Soon Min was commissioned to create an original public art work for the new IDAAS space. Based on her previous work, Movement (2008, 2001), Min plans to create a piece that engages with Asian transnationality, music, and identity. During this semester, Min will work through our class to initiate the first phase of production for the piece, where she will invite the Asian and Asian American communities at Claremont to participate in shaping and contributing material towards the realization of the piece itself. The second phase of the production will occur over the summer, and the piece is anticipated to premiere during the IDAAS/IDCS/IDBS open house during the Fall 2009 Semester. Students in this class will be able to participate in the process in a variety of ways—by contributing music, discussing in the conception and design of the piece, and by participating in the project as collaborators and community liaisons for Min (acceptible as a final project option).
Visiting Speakers
For this semester, I am planning to invite 3-4 Asian American filmmakers who have new works (most were released in the past year) to come to present their works to the class. These include a historical documentary about Chinese in American feature films, a portmanteau feature by four women filmmakers that tackle four different stories about lives of marginalized women in Indonesia, a portrait of art and activism in Peru by a Japanese American filmmaker, and a film about the Los Angeles Miss Chinatown beauty pageant, featuring the guerilla interventions of performance artist Kristina Wong. The number of guest mediamakers/speakers who will come depends on funding
and availability. As much as I can, I will invite them to come during our class time, but you should be prepared to attend out-of-class screenings.
Reading
Assignments
Required readings are drawn from the required textbooks (see below) and
articles I post on the class web site. Readings are for the day when they are posted. You should be able to draw from
them during class discussions and are required to reference them in all written assignments.
Required Textbooks:
Peter X. Feng, ed., Screening Asian Americans, Rutgers University
Press, 2002.
Darrell Hamamoto & Sandra Liu, eds., Countervisions: Asian American
Film Criticism, Temple University Press, 2000.
Russell Leong, ed., Moving The Image: Independent Asian Pacific American
Media Arts, UCLA Asian American Studies Center and Visual Communications,
Los Angeles, 1991.
Recommended Textbooks:
Robert G. Lee, Orientals: Asian Americans in Popular Culture, Temple
University Press, Philadelphia, PA, 1999.
Gina Marchetti, Romance and the "Yellow Peril," University
of California Press, 1993.
Additional References:
Karin Aguilar-San Juan, The State of Asian America, Activism and Resistance in the 1990s, South End Press, 1994.
Bad Object-Choices, eds, How Do I Look: Queer Film and Video, Bay Press, 1991.
Anthony B. Chan, Perpetually Cool: The Many Lives of Anna May Wong (1905-1961), The Scarecrow Press, 2003.
Jachinson Chan, Chinese American Masculinities: From Fu Manchu to Bruce Lee, Routledge, 2001.
Hye Seung Chung, Hollywood Asian: Philip Ahn and the Politics of Cross-Ethnic Performance, Temple Univ. Press, 2006.
Shilpa Dave, Leilani Nishime, Tasha G. Oren, Robert G. Lee, eds., East Main Street: Asian American Popular Culture, NYU Press, 2005.
David L. Eng and Alice Y. Hom, eds., Q&A: Queer in Asian America, Temple Univ. Press, 1998.
Peter X. Feng, Identities in Motion, Duke Univ. Press, 2002.
Russell Ferguson, Martha Gever, Trinh T. Minh-Ha, Cornel West, eds., Out
There: Marginalization and Contemporary Culture, MIT Press/New Museum, 1990.
Roger Garcia, ed., Out of The Shadows: Asians in American Cinema,
Olivares/Locarno Film Festival, 2001.
Martha Gever, John Greyson, Pratibha Parmar, eds., Queer Looks: Perspectives on Lesbian and Gay Film and Video, Routledge, 1993.
Laura Hyun Yi Kang, Compositional Subjects: Enfiguring Asian/American Women, Duke Univ. Press, 2002.
Alex Juhasz and Jesse Lerner, eds., F is For Phony: Fake Documentary and Truth's Undoing, Univ. of Minnesota Press, 2006.
Helen Lee and Kerri Sakamoto, eds., Like Mangoes in July: The Work of Richard Fung, Images Festival, 2002.
Jennifer Lee, ed., Asian American Youth: Culture, Identity and Ethnicity, Routledge, 2004
Russell Leong, ed., Asian American Sexualities, Routledge, 1995. Also available as an issue of the Amerasia Journal: Dimensions of Desire, Vol. 20, NO. 1, 1994.
Steve Louie and Glenn Omatsu, eds., Asian Americans: The Movement and the Moment, UCLA Asian American Studies Center Press, 2001.
Lisa Lowe, Immigrant Acts: On Asian American Cultural Politics, Duke Univ. Press, 1996.
Laura U. Marks, The Skin of the Film, Duke Univ. Press, 2000.
---, Touch: Sensuous Theory and Multisensory Media, Univ. of Minnesota Press, 2002.
Diasuke Miyao, Sessue Hayakawa: Silent Cinema and Transnational Stardom, Duke Univ. Press, 2007.
Jose Munoz, Disidentifications,
Univ. of Minnesota Press, 1999.
Celine Parreñas Shimizu, The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene, Duke Univ. Press, 2007.
Ella Shohat & Robert Stam, Unthinking Eurocentrism, Routledge, 1994.
Susan Sontag, Against Interpretation, Farrar Straus and Giroux, 1966.
Trinh T. Minh-Ha, Framer Framed, Routledge, 1992.
---, Woman, Native, Other , Indiana Univ. Press, 1989
Jun Xing, Asian America Through The Lens, AltaMira Press, 1998.
Jean Yu-Wen Shen Wu, Min Song, eds. Asian American Studies: A Reader, Rutgers Univ. Press, 2000.
Grading
Your final grade will be based on the following |
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Final paper/project 30% |
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2 short papers (20% each) 40% |
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Class participation* 30% |
* This includes your general class participation, blog posting, class presentation, discussion, attendance,
and punctuality (except in the special cases listed above, such as if
you have more than 3 un-excused absences).
Generally, outstanding ('A') students in this class have good attendance
and completed all their assignments on time. They are consistently well
prepared for class, and actively participate in and advance our discussions
with pertinent information, questions, and observations. Their work demonstrate
their awareness of the issues at hand, the historical context for the
film and videos they are discussing, as well as their ability to articulate
their observations and analyses in a clear and concise manner. Only letter
grades are given out in this class.
Academic honesty -
all work done for this course must be the original work of the student
submitting it, and should have been undertaken exclusively for this course.
No work done prior to this class maybe used to fulfill the class assignments. Plagiarism will result in the student receiving an F for the class grade.
Extra credit - Students are
encouraged to attend screenings, conferences, lectures, exhibitions and
web events related to this course. Write a two-page (typed and double-spaced)
report of the event or activity. Incorporate the event's relevance to
the class as well as your personal responses to it. Proof of attendance
is required (keep your ticket stubs, programs, etc.) Students are allowed
two extra credit papers. Announcements for events of interest to this
class are done in the first 5 mins. of each class.
* I try my best to make my grading criteria as clear as possible,
and you are welcome to come and discuss your grades and your class performance
with me. However, I only consider legitimate concerns, and be aware that
your grade is as likely to go down as it is to go up after I reassess
your assignment. I do not tolerate haggling, bribing, threats, and any
other pointless arguments. I consider all aspects of your performance
before I assign a grade, please respect my assessment as I respect your
efforts.
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Course Schedule:
Week 1: Introduction, The Silent Film
Era
Wednesday 1/21: Broken Blossoms
Film
BROKEN BLOSSOMS (1919) Directed by D.W. Griffith, 98 min.
Required Reading
Romance and the "Yellow Peril": Ch.
2 pp. 10-45
Suggested Reading
Orientals: Introduction, Ch. 1-4
Moving the Image: pp. 121-156
Romance and the "Yellow Peril": Ch. 1
Suggested Viewing
THE CHEAT (1915) Directed by Cecil B. De Mille, 59 min.
Week 2: The Yellow Peril Genre
Wednesday 1/28: Daughter of The Dragon
Film
DAUGHTER OF THE DRAGON (1934) Directed by Lloyd Corrigan
Required Reading
Screening Asian Americans: pp.
53-70
Countervisions: pp. 23-39
Orientals: Ch. 3 and 4, read pp. 113-117, (and pp.117-144 if you have time, skim the rest), part 1, part 2
Suggested Reading
Moving the Image: pp. 156-170
Screening Asian Americans: pp. 21-52
Hypersexuality of Race: Ch. 3, pp. 58-101
Suggested Viewing (last two films starring Anna May Wong)
THE MASK OF FU MANCHU (1932) Directed by Charles Brabin, 67 min.
CHU CHIN CHOW (1934) Directed by Walter Forde
SHANGHAI EXPRESS (1932) Directed by Josef von Sternberg
Week 3: The 1940s: The 'Good'
Chinese Vs. The 'Bad' Japanese, Paper #1 Assignment
Wednesday 2/4: The Good Earth
Film
THE GOOD EARTH (1937) Directed by Sidney Franklin, 138 min.
Screening: Tuesday 2/3 7pm SC230
Required Reading
Moving the Image: pp. 125-132
Suggested Viewing
DRAGON SEED (1944) Directed by Jack Conway, 148 mins.
Week 4: Assimilation, Model Minorities and the Cold War
Wednesday 2/11: Flower Drum Song, Student Presenters: Liana Engie & Bailey Busch
Film
FLOWER DRUM SONG (1961) Directed by Henry Koster, 133 mins.
Screening: Tuesday 2/10 7pm SC230
Required Reading
Orientals: Ch
5 pp. 145-179
Screening Asian Americans: pp. 21-52
Suggested Reading
Countervisions: pp. 40-58
Romance and the "Yellow Peril": Ch. 5, 6, 7, 8, 9
Suggested Viewing
SAYONARA (1957) Directed by Joshua Logan
LOVE IS A MANY-SPLENDORED THING (1955) Directed by Henry King
THE CRIMSON KIMONO (1959) Directed by Sam Fuller
THE WORLD OF SUZIE WONG (1960) Directed by Richard Quine
Week 5: The 1970s—Birth of Asian
American Independent Films, IDAAS Public Art Commission (Guest Speaker Yong Soon Min) Paper #1 Due
Wednesday 2/18: Early Asian American Documentaries
Film
HOMECOMING GAME (1970) by Danny Kwan, 20 min.
YELLOW BROTHERHOOD (1970) by Brian Maeda, 10 min.
MANZANAR (1970) by Robert Nakamura, 16 min.
Required Reading
Moving the Image: Introduction, pp. 1-9
Or Screening Asian Americans: pp. 101-110 (same article as above)
Week 6: Early Asian American Documentaries, Notions of Community, Part
I, Paper #2 Assignment
Wednesday 2/25: The Fall of the I Hotel, Student Presenters: Michelle Fong & Rylee Rubalcava
Film
THE FALL OF THE I HOTEL (1977-83) by Curtis Choy, 58 min.
Required Reading
Moving the Image: pp. 10-39
Suggested Viewing
CRUISIN' J-TOWN (1976) Directed by Duane Kubo
Week 7: Notions of Community, Part
II
Wednesday 3/4: Chan Is Missing, Student Presenters: Fred Chang & Brandon Sze
Film
CHAN IS MISSING (1981) by Wayne Wang, 80 min.
Required Reading
Screening Asian Americans: pp. 185-216
Suggested Reading
Out of the Shadows: pp. 177-182
Moving The Image: pp. 71-73
Suggested Viewing
HITO HATTA: RAISE THE BANNER (1980) Directed by Duane Kubo and Robert A. Nakamura
Week 8: Meanwhile, in Hollywood... Final Paper/Project Abstract Due
Wednesday 3/11: Year of The Dragon, Student Presenters: Steve Pankratz & Matthew Park
Film
YEAR OF THE DRAGON (1981) by Michael Cimino, 136 min.
Screening: Tuesday 3/10 7pm SC230
Required Reading
Romance and The 'Yellow Peril": pp. 202-221
Orientals: Ch
6 pp. 180-203 Ch. 6
Suggested Reading
Orientals: Ch 6 pp. 203-231 Ch. 7-8
Suggested Viewing
RISING SUN (1993) Directed by Philip Kaufman, 129 mins.
Week 9: Spring Break
No Class Meeting
Week 10: Asian American Documentaries, Part 1; Paper #2 Due
Wednesday 3/25: Who Killed Vincent Chin?
Film
WHO KILLED VINCENT CHIN? (US, 1988) Directed by Christine Choy & Renee Tajima, 82 min.
Required Reading
Screening Asian Americans: pp. 159-172
Suggested Reading
Moving the Image: PP. 46-61, 83-92, 109-117, 248-253
Orientals: Ch 2 pp. 51-82
Suggested Viewing
THE COLOR OF HONOR (1988) Directed by Loni Ding
SLAYING THE DRAGON (1988) Directed by Deborah Gee
DAYS OF WAITING (1988) Directed by Steven Okazaki
FORBIDDEN CITY, USA (1989) Directed by Arthur Dong
MY AMERICA (OR HONK IF YOU LOVE BUDDHA) (1997) Directed by Renee Tajima-Peña
Week 11: Asian American Documentaries, Part 2
Wednesday 4/1: Hollywood Chinese, Guest Speaker Arthur Dong - Please note that we are meeting in Broad Performance Space today
Student Presenters: Tommy Meyer & George Rowe
Film
HOLLYWOOD CHINESE (US, 2007) Directed by Arthur Dong, 90 mins.
Required Reading
Arthur Dong, "Bridging
The Hollywood Divide with 'The Good Earth' and 'Flower Drum Song'," in Moving Pictures Magazine web site
Erica Marcus,
"Hollywood Chinese," in Bay Times web site
G. Allen Johnson, "Arthur Dong's Documentary: Hollywood Chinese" in SF Gate web site
Patricia Thompson, "The Documentary in Action"
Suggested Reading
Romance and The 'Yellow Peril": Introduction and Ch. 6
Countervisions: Ch. 2, 3, 5, 6
David Noh, "Hollywood Chinese," in Film Journal International, May 2, 2008
David Lamble, "Beyond the Flower Drum Song", in SF Bay Area Reporter, April 10, 2008
Anne Burke, "Moving Pictures", in SF State Magazine, Spring/Summer 2008.
Suggested Viewing
FORBIDDEN CITY, USA (1989) Directed by Arthur Dong
Week 12: Asian American Documentaries, Part 3; Asian American Performance Art
Wednesday 4/8: Yours Truly, Miss Chinatown, Guest Speaker Daisy Lin Shapiro, Kristina Wong, plus surprise guest! Student Presenters: Extra Credit!
Film
YOURS TRULY, MISS CHINATOWN (2008) Directed by Daisy Lin Shapiro
Required Reading
Film web site
Judy Tzu-Chun Wu, "'Loveliest daughter of our ancient Cathay!': Representations of Ethnic and Gender Identity in the Miss Chinatown U.S.A. Beauty Pageant", in Journal of Social History, Volume: 31, Issue: 1,1997.
Cassidy C Browning, "A Room of Wong's Own: Identity Politics in the Life and Work of Kristina Wong." (Please read Chapters 1 or 2 - your choice - and Chapter 3, as well as the foreward and table of contents)
Suggested Reading
Two LA Times articles on Miss Chinatown pageant linked to the film's web site
YTMC Blog
Suggested Viewing
www.kristinawong.com
Week 13: History and Memory: Asian American Video Art, IDAAS Commission Follow Up Discussion, Draft of Final Paper Due (hand in 2 copies)
Wednesday 4/15: Soo Jin Kim, Tran T. Kim-Trang, Rea Tajiri
Screening: Tuesday 4/14 7pm SC230 - HISTORY AND MEMORY and EKLEIPSIS
Video
COMFORT ME (1993) Directed by Soo Jin Kim, 5 mins.
EKLEIPSIS (1998) Directed by Tran T. Kim-Trang, 22 mins.
HISTORY AND MEMORY (1991) Directed by Rea Tajiri, 32 min.
Required Reading
Countervisions: pp. 150-162
Screening Asian Americans: pp. 173-184
Ming-Yuen S. Ma, "The Voice of Blindness: On The Sound Tactics of
Tran T. Kim-Trang's Blindess Series", in More Than Meets the Eye: Critical Essays on Tran T. Kim-Trang's Blindness Series, eds. Tran T. Kim-Trang & Holly Willis, forthcoming.
Suggested Reading
Countervisions: pp. 163-173, 177-202
Moving The Image: pp. 206-207, 230-239
Laura Marks, The Skin of The Film, Ch. 2-3
Suggested Viewing
MEMORIES FROM THE DEPARTMENT OF AMNESIA (1989) and WHO'S GOING TO PAY FOR THESE DONUTS, ANYWAY? (1992) both directed by Janice Tanaka
Week 14: Postcolonial Migrations, Peer Review of Final Paper Due (hand in 2 copies)
Wednesday 4/22: Against The Grain, Guest Speaker Ann Kaneko, Student Presenters: Extra Credit!
Film
AGAINST THE GRAIN: AN ARTIST'S SURVIVAL GUIDE TO PERU (US/Peru, 2008) Directed by Ann Kaneko, 65 mins.
Required Reading
Jennifer Chen, "Louder Than Words" in Audrey: The Asian American Women's Lifestyle Magazine, April/May 2009, Vol. 7, No. 2, pp. 34-35
Interview, "Ann Kaneko on Overstay," in Amerasia Journal 25:2, 1999, pp. 145-156
Ann Kaneko, "Cross-Cultural Filmmaking, Japanese Style," in Feminism and Documentary, Diane Waldman and Janet Walker, eds., Minneapolis: University of Minneasota Press, 1999, pp. 158-181
Suggested Reading
Jordan Ikeda, "From Cookies to Politics," Rafu Shimpo, Friday, May 2, 2008
Lynda Lin, "Going 'Against The Grain' with A Japanese American in Peru," Pacific Citizen, July 4-17, 2008.
Ann Kaneko, "In Search of Ruby Moreno," AMPO Japanese-Asia Quarterly Review, Vol. 25, No. 4-Vol. 26-1, pp. 66-70
Homi K. Bhabha, "The Other Question: Difference, Discrimination and
the Discourse of Colonialism," in Out There: Marginalization and
Contemporary Culture, pp. 71-87
Teshome H. Gabriel, "Thoughts on Nomadic Aesthetics and Black Independent
Cinema: Traces of A Journey," in Out There: Marginalization and
Contemporary Culture, pp. 395-410
Ella Shohat and Robert Stam, Unthinking Eurocentrism, PP. 13-54
F is for Phony : pp. 116-129
Screening Asian Americans: pp. 111-132, pp. 235-242
Moving The Image: pp. 83-92
Suggested Viewing
SURNAME VIET GIVEN NAME NAM (US/Vietnam, 1989) Directed by Trinh T. Minh-ha, 108 mins.
WHITE CHRISTMAS (1993) Directed by Michael Magnaye, 27 min.
BONTOC EULOGY (1995) Directed by Marlon Fuentes, 60 min.
Week 15: Asian American Feature Films
Wednesday 4/29: Perempuan Punya Cerita, Guest Speaker Fatimah Rony, Student Presenters: Extra Credit!
Film
PEREMPUAN PUNYA CERITA/CHANT OF THE LOTUS (US/Indonesia, 2007) Directed by Upi Avianto, Nia Di Nata, Fatimah Rony, and Lasja F. Susaty, 105 mins
Required Reading
Peter Feng, Identies in Motion: Asian American Film and Video, Durham: Duke University Press, 2002. Ch. 1, pp. 23-37
Jane Perlez, "Indonesian Filmmaker’s Personal Take on Polygamy", New York Times (On-Line), August 21, 2006.
Suggested Reading
Moving the Image: PP. 173-184
Screening Asian Americans: pp. 217-235
Unthinking Eurocentrism: pp. 178-219
Suggested Viewing
DIM SUM: A LITTLE BIT OF HEART (1985) Directed by Wayne Wang
THE WEDDING BANQUET (1993) Directed by Ang Lee
THE JOY LUCK CLUB (1993) Directed by Wayne Wang
MASALA (Canada, 1993) Directed by Srinivas Krishna
MISSISSIPPI MASALA (US, 1991) Directed by Mira Nair, 118 mins.
Week 16: Last Class, Final Paper Due
Wednesday 5/6
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Final papers due today! |
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Class evaluation |
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