タイトル
     2021 年度   国際日本学部
  
日本文学・文化演習5   
時間割コード
19J4058
担当教員(ローマ字表記)
  イリス ハウカンプ [Iris HAUKAMP]
授業開講形態 授業形態 単位数 学期 曜日・時限 実務経験のある教員による授業
対面   2 春学期 月3 -
授業題目(和文)   
 
Title(English)   
A Critical Overview of the Japanese Cinema 1
 
授業の目標   
 
Goals of the course   
Understanding the history of Japanese cinema, from its birth to the postwar period.
Recognising the transnational nature and relevance of Japanese cinema
Becoming familiar with English-language scholarship on Japanese cinema
Presenting and writing knowledgable about issues related to Japanese cinema
 
授業の概要   
 
Overview of the course   
This course critically surveys the Japanese cinema up until the postwar period from a film-historical standpoint. The Japanese film industry, with its long history, vibrant culture, and prolific output as produced a wide range of works, many of them reaching “canonical” status in film history, others remaining largely obscure, both in Japan and abroad. It has also produced an expansive array of scholarly responses, and played a crucial role in the development of film studies as an academic discipline.
In this class, we will survey the history as well as the historiography of Japanese narrative film by reading a selection of the aforementioned scholarly responses, chosen either for their prominence (or notoriety) or due to their discussion of a significant film or film-historical movement. By focussing on articles or book chapters published in English, we will also gain an impression on how Japanese cinema is being presented, received, discussed, and categorised outside Japan.
This is a presentation- and discussion-centred class, in which students will take turns in presenting the assigned reading for the week to the class, followed by discussion and if possible more in-depth readings of crucial passages. We will also consider examples of films related to the readings. In order to experience cinema as it was intended to, in a darkened room with other people around you, we will watch and discuss two relevant films in light of our findings from the readings.
After two terms, students will have gained a good knowledge of key texts in the discipline, as well as experience in reading and applying scholarly articles and giving academic presentations. They will also have produced several smaller pieces of writing, such as screening reports, and one more substantial essays (topics to be discussed in class).
 
キーワード   
 
Keywords   
Japanese cinema, film, film studies, film history
 
授業の計画   Plan  
No.内容Content
第1回
Introduction and Orientation
第2回
What is Japanese Cinema? Richie, Donald. ‘Introduction’, in Donald Richie, Japanese Cinema: Film Style and National Character. New York: Anchor, 1971: pp. Xx-xxvi. and Burch, Noel, ‘Preface’, in Noel Burch, To the Distant Observer: Form and Meaning in the Japanese Cinema. London: Scolar Press, 1979: pp. 11-17
第3回
When Cinema Came to Japan: High, Peter B. “The Dawn of Cinema in Japan.”, in Journal of Contemporary History 19, no. 1 (1984): pp. 23–57.
第4回
What Should Japanese Cinema Be? Bernardi, Joanne. ‘Journalistic Discourse and Tanizaki’s “The Present and Future of the Motion Pictures”’ in Joanne Bernardi, Writing in Light: The Silent Scenario and the Japanese Pure Film Movement. Detroit: Wayne State University Press, 2001: pp. 167-204.
第5回
Film in focus: Tokyo Chorus (Tōkyō no kōrasu, 1931, Ozu) Hansen, Miriam, 'Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film As Vernacular Modernism', Film Quarterly Vol. 54 No. 1, Autumn, 2000
第6回
Responses to Modernity I: The New Middle Class Genre: Wada-Marciano, Mitsuyo. ‘Construction of Modern Space: Tokyo and Shochiku Kamata Film Texts,” in In Praise of Film Studies: Essays in Honor of Makino Mamoru, in Aaron Gerow and Abe Mark Nornes (eds.), Victoria: Kinema Club; Traffort Publishing, 2001: pp. 158-175.
第7回
Finding out about resources (Presentations and discussion)
第8回
Wartime Conditions High, Peter B, 'The unsatisfactory mirror', in The Imperial Screen: Japanese Film Culture in the Fifteen Years' War, 1931-1945. University of Wisconsin Press, 2003: pp 51-91
第9回
Film in focus: Muhomatsu no issho (Rikshaw Man, 1943 and 1958, Inagaki) extract from: Kurosawa Akira, Something Like an Autobiography, 1982
第10回
Between Two Systems: War and Occupation Hirano, Kyoko. Mr Smith Goes to Tokyo. 1992
第11回
No Regrets For Whose Youth? Chow, Rey. “A Filmic Staging of Postwar Geotemporal Politics: On Akira Kurosowa’s No Regrets for Our Youth, Sixty Years Later.” in boundary 2 34, no. Spring (2007): pp. 67–77.
第12回
Thinking again about Japanese cinema Higson, Andrew. “The limiting imagination of national cinema,” in Mette Hjort and Scott Mackenzie (eds.) Cinema and Nation. London: Routledge, 2000: pp. 63-74.
第13回
Focus on essay writing and summing up
第14回
ALH1
Report on online resources (due before session 7)
第15回
ALH2
Preparation of an essay proposal. (due before session 11)


 
成績評価の方法・基準   
 
Grading system for assessment   
Active Learning 1: 15%
Active Learning 1: 15%
Presentation: 20
Final essay: 30%
Participation: 20%
 
事前・事後学習【要する時間の目安】   
 
Preview/review   
Students are required to come to class having read the set text(s) for the session, regardless of whether they are leading that day’s discussion or not. Students must prepare their own presentation and be ready to actively contribute to every discussion.
 
履修上の注意   
 
Notes   
Videos will be shown with English subtitles.
Depending on running time, classes might not finish on time.
This syllabus is subject to change at the discretion of the instructor, changes will be announced in class and in Moodle.
 
教科書  
備考 no textbook used; further information will be given in the first meeting
 
参考書  
 
使用言語  
英語(E)
 
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