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Familiarizes students with central objects, questions, and methods in the field. Examines existent critiques of the racial, sexual and environmental politics at stake in techno-scientific cultures.

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Draws on material from popular culture, media, fiction, film, and ethnography. Addressing specific examples from across the globe, students also explore different approaches to build more livable environments that promote social justice. Provides students with analytical tools to approach global concerns and consider Europe and Germany from cross-cultural and interdisciplinary perspectives.

Familiarizes students with the ways in which histories of migration, travel, and colonial encounters shape contemporary Europe.

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Introduces the concepts of transnationalism, diasporic cultures, racism, ethnicity, asylum, and mobility via case studies and materials, including film, ethnography, fiction, and autobiography. Stoetzer No required or recommended textbooks. Introduces a set of ideas and arguments that have played a formative role in European culture, and acquaints students with exemplars of critical thought.

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Class discussions set these texts into the context of European culture. Topics to be considered are artworks by Goya, David, and Duchamp; the architecture of Schinkel; the music of Bach; and the literature of Goethe. Discusses Japan's substantial share of the TV cartoon market and the reasons for anime's worldwide success. Focuses on cultural production and the ways anime cultures are created through the interactive efforts of studios, sponsors, fans, broadcasters, and distributors. Uses anime scholarship and media examples as a means to examine leading theories in media and cultural studies, gender and sexuality, technology and identity, and post-industrial globalization.

Readings on contemporary Japan and historical evolution of the culture are coordinated with study of literary texts, film, and art, along with an analysis of everyday life and leisure activities. Directors include Akira Kurosawa and Hiroshi Teshigahara. Authors include Kobo Abe and Yukio Mishima. Films shown with subtitles in English. Roquet Textbooks Fall Focuses on digital media use and abuse , including the internet, streaming and mobile media, gaming, robots, and augmented realities; the digital remediation of older media; and methods for the study of online life.

By considering how digital media use has developed in each country and reshaped identity, politics, public space, and creative practice, students build a conceptual and critical vocabulary for the comparative study of algorithmic cultures. Roquet No required or recommended textbooks. Explores transatlantic intellectual debates since and the "new" French theory.

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Topics include: communism, decolonization, neo-liberalism, gender and mass media. Learn how environmental, linguistic, and musical sounds are construed cross-culturally as well as the rise of telephony, architectural acoustics, sound recording, multi-channel and spatial mix performance, and the globalized travel of these technologies. Questions of sound ownership, property, authorship, remix, and copyright in the digital age are also addressed. Ian Condry. Examines how culture and politics addressed the need to conceptually organize a series of events that were equally momentous and confusing.

Questions the established stereotypes and assumptions about Latin America and the sixties that are portrayed in its contemporary, often nostalgic, revivals. Focuses on the ideas that defined Latin America's participation in a global trend of political upheavals, emerging youth cultures, and demands for social justice. Debates the concept of contemporary in these texts and whether we can still talk about a Latin American novel.

Reflects on issues of interpretation, authorship, gender, genre, media, ideology and theories of the novel, Latin American literary history, and translation. Selected literary, historical, and cultural texts serve as vehicles for a deeper understanding of the major political and social shifts that have affected the landscape of the contemporary Portuguese-speaking world: from Brazil's military dictatorship to its transition to democracy; from Portugal's New State to membership in the European Union; and from the wars of independence in Africa to the formation of newly independent nations.

Covers migration to diverse venues across the globe, including tropical colonies, settler societies, Chinese frontiers, and postcolonial metropoles. Topics include the varied roles of Chinese migrants in these diverse venues, the coolie trade and anti-Chinese movements, overseas students, transnational networks, cultural adaptation, and the creolization of Chinese food in migrant communities.

Critically examines the degree to which this transnational migration has produced a "Global Chinese" identity. Focuses on their approaches to portraying self and society, and on literary responses to fundamental ethical and philosophical questions about justice, freedom, free will, fate, love, loyalty, betrayal, and forgiveness. Taught in English; students interested in completing some readings and a short writing project in Russian should register for 21G. Weekly movies provide a window through which to analyze themes such as colonialism, national formation, revolution, gender, race relations, popular mobilizations and counterinsurgency.

Examines films for how they represent a particular group or country, the reality they capture or obscure, and the message they convey.

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Surveys geography, economic development, and race, religion, and gender in Latin America. Special emphasis on the Salvadoran civil war, human rights and military rule in Argentina and Chile, and migration from Central America and Mexico to the United States.

Students analyze films, literature, visual art, journalism, historical documents, and social scientific research. Padilla Textbooks Fall Compares reforming and revolutionary impulses in the context of serfdom, the rise of the intelligentsia, and debates over capitalism. Focuses on historical and literary texts, especially the intersections between the two. Wood Textbooks Fall Covers the creation of a revolutionary regime, causes and nature of the Stalin revolution, post-Stalinist efforts to achieve political and social reform, and causes of the Soviet collapse.

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Also examines current developments in Russia in light of Soviet history. Investigates a variety of topics: defining the borders of the country and shaping its relationship with the outside world; changes in living spaces from rural to urban, development of cultural centers; and daily life, customs, and traditions. Includes readings in literature, history, and cultural studies, as well visual arts, music, and film.

Each week examines a different component of film form, using the close analysis of specific films in their cultural and historical context. Explores the use of video essays as a form of critical analysis. Emphasizes examples from Japan, but forays elsewhere, including South Korea and China. Uses writings, videos, and recordings of musical performances, events, and objects in a variety of contexts to better understand how the concept of culture gives insight into gender, class, sexuality, race, ethnicity, nationhood, and individual identities.

Explores ethnographic approaches to musical cultures with a focus on the last thirty years. These chapters serve to establish a framework from which the later chapters can work and space dictates they cannot cover all the myriad aspects of the cinema of this period. With this in mind, I direct interested readers to the many fine studies that exist on the individual national cinemas that are out there in a multitude of languages.

These obvious shortcomings aside, the broad aims of the first two chapters are to explore how cinema developed inside the Japanese Empire. I aim to show the practicalities as well as the ideological tensions that existed in the face of Japanese aggression and control. To this end, Chapters 1 and 2 will examine how colonial and Imperial cinema vicariously constructed, interacted with, and stymied, local film production and culture. Chapter 1 will chart the cinemas of the two longest standing colonies — Korea and Taiwan.

Chapter 2 will then examine other areas of the later Empire including China, Hong Kong and the various South East Asian conquered nations with a specific focus on the Philippines. The later territorial acquisitions operated differently inside the Imperial cinema machine, not least since many of the areas, such as the cities of Shanghai and Hong Kong, already had established cinematic traditions and they, therefore, illustrated the scope and breadth of the Imperial cinematic machine.

The Japanese Empire was marked by two key and often conflicting discourses Saaler and Koschmann Cinema would aid this drive for Asian collectivity and would help educate and encourage the millions that resided in the Japanese Empire. This vision of the Empire of Japan as the site of modernity and liberation was counterbalanced by an oft-frequent engagement with the landscape and cultures of their colonial territories as places of undeveloped cultures and economies. Conceptual landscape transformations whether ideological, discursive or symbolic have 15 been intricately linked to the narratives of colonialism and to the subsequent postcolonial or neocolonial moment as constructed on a local, and then a global, space.

Chapter 3 engages with the display of Imperialism and Imperial narratives that Japan offered via her cinematic products and how this display impacted local film cultures during this period. Colonial structures are highly complex and the colonial machine did not see the colonies as monolithic entities.

There were clear differences between the regions and between Imperial Japanese ambitions for them in the schema of the overall Imperial outlook, and colonial cinema reflects this. The various territories were not presented and engaged with in the same way, and this can be no more clearly seen than in the series of army recruitment films produced specifically for the Korean audience.

The recruitment drive for the Japanese army was an ideal way to focus on the narratives that were being told to the local in this case Korean population about their relationship to Japan and the Empire. The swathes of China that the Japanese military elite hoped to conquer, occupy and then control and exploit were proving far more difficult than they had first assumed and by the Sino-Japanese way was beginning to take its toll.

She would turn to the colony of Korea as the potential source of manpower to feed the military machine. Chapter 4 will explore how the recruitment films attempted to construct a narrative of masculinity that would see Korean men desire to serve in the Japanese army. I will conclude that the very films that were designed to bring the two nations together actually served to highlight the intrinsic inequalities of Empire and therefore operated as disruptive texts in the colonial moment. The Japanese Empire prom ulgated clear roles for both genders, and women, whether Japanese or non-Japanese, were not expected to enter the armed forces and earn their place in the Empire via military service.

These needed to promote narratives of inclusion and equality while simultaneously allowing Japanese notions of superiority and traditional gender hierarchies to be maintained. This challenging process would often lead to the figure of women being a complicated rupture in the Imperial vision. The second part of this book Contemporary Manifestations and the Legacy of Empire will focus on the legacy of the Japanese Imperial project in the modern-day East Asian film industry.

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This section will illustrate how the narratives which were articulated in the previous section have influenced, and continue to impact upon, in a variety of ways, the contemporary period. Films that deal directly with the Imperial past have become more common across Asia since with examples found across the Asian spectrum from Taiwan to Thailand. This is while often simultaneously attempting to keep Japan as a cultural and economic export market — a tension this chapter will discuss.

This chapter will explore the various trends in the representation of this period and how both political and audience desires have heavily informed the remembrance of colonial and Imperial pasts. Chapter 8 will explore a specific case study — the filmic representation of the Nanjing massacre.

Cinema at the Crossroads: Nation and the Subject in East Asian Cinema (Paperback)

What happened in the proceeding weeks has become a matter of international debate, consideration, condemnation and questioning. It is an issue that continues to cause division and anger on national and international levels and will forever mark Sino-Japanese relations.

This chapter will examine how film has become the primary method of international cultural engagement with Nanjing and 17 will illustrate how, via their various narrative and visual engagements, the films engage with wide political purposes and ideologies. The concluding chapter develops and extends the key notion that Japan engaged with cinema as an important aspect of the construction of its Empire as a transnational [13] unit High ; Baskett ; Kushner In terms of film, the desire may often have been economic-based, but many film-makers, producers and stars during this period understood the need to appeal to and engage with the local markets.

The concluding section will examine how the legacy of pan-Asian rhetoric has survived and been re articulated in the modern era.

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