You are on page 1of 4

The following syllabus may be modified and the number of screenings adjusted.

Korean Cinema
Instructor: Michelle Cho Contact: Yonsei International Summer School This course offers an introduction to South Korean cinema, proceeding chronologically through its development and transformation from the post-war period to the present. Throughout the course, our task will be to think about cinema's role—as a medium for visual storytelling and as a site for producing cultural norms and values—in assessing the consequences of historical events and in helping to construct official histories. We will begin with the earliest examples of popular film, in Korean cinema's "golden age" in the early 1960's, and move towards the contemporary era of globalized, transnational genre films. As our time will be brief, our ambitions will not go beyond a preliminary mapping of the questions, themes, and debates on the formation and effects of South Korea's cinematic imaginary of nation. Course Requirements: · Regular attendance at all classes and screenings. Per the Yonsei Summer School Guidelines, absences in excess of 5 (30% of the total number of class meetings) is grounds for failure in the course, regardless of performance on exams and assignments. 2 tardies (more than 5 minutes late) will count as 1 absence. No exceptions to this policy can be made. · Quizzes (20%) – Daily quizzes will cover readings and film screenings and will be graded on the basis of your ability to demonstrate that you are keeping up with course material. Quizzes will be administered in the first 5 minutes of class, and will be the method by which you receive credit for attendance. · · Participation (15%) – will be evaluated on the basis of engagement with and contributions to class discussion. Film Notes (20%) – you are required to take notes on each film screened. These notes should then be typed up and organized according to the guidelines provided. The purpose of the film notes is to ensure focused, attentive viewing,

Hyung Hyun. and National Cinema. · · · Eunsun Cho. 2005. Detroit: Wayne State University prepare you to analyze the films in detail in your midterm and final essays. Film notes will be collected twice during the term: at the end of the 3rd week (Thursday. "Lethal Work: Domestic Space and Gender Troubles in Happy End and The Housemaid. double-spaced. Screening: Aimless Bullet (Obalt'an) Yu Hyun-mok. “Scream and Scream Again: Korean Modernity a House of Horrors” in Seoul Searching: Culture and Identity in Contemporary Korean Cinema. Golden Age cont. Madame Freedom and Women. 1960. Madame Freedom (Chayu puin) Han Yông-mo. 125 min. Kim Soyoung. Chris Berry. · · Midterm Paper (20%) – 4-5 pages. "Questions of Women' Film: The Maid. Week Two: Itself Reading: · · Kim. Week One: Reading: · Golden Age Cinema: Postwar Subjects Onscreen Postcolonial Studies: Key Concepts. 8/4). Ed." in South Korean Golden Age Melodrama. and the Korean New Wave: Society Talking to . Selections. Eds Nancy Abelmann and Kathleen McHugh. Final Exam (25%) – In-class essay exam Course Texts/Materials In class film screenings. Genre. A course reader containing all course readings is required and will be available for purchase during the first week of class. 1" margins. 12 pt Times New Roman. Nancy Abelmann and Kathleen McHugh: “Introduction” from South Korean Golden Age Melodrama: Gender. 110 min. and on the last day of the course (Thursday." in South Korean Golden Age Melodrama. 1956. “The Stray Bullet and the Crisis of Korean Masculinity” in South Korean Golden Age Melodrama. will constitute the primary sources of our analysis. 7/14).

Eds David James and Kyung Hyun Kim. Aestheticism. Bruce Burgett and Glenn Hendler. "Modern. Chilsu and Mansu. 108 mins. Kim. 120 mins. 2007." in Keywords for American Cultural Studies. Detroit: Wayne State University Press. New Korean Cinema: Breaking the Waves. 2009. Global Provocateurs. CT: Wesleyan University Press. andCultural Nationalism in Sôpyônje and The Genealogy” in Im Kwon-Taek: The Making of a Korean National Cinema. New York: NYU Press. Selections Chungmoo Choi. Midterm Paper and 1st Installment of Film Notes Due: 7/14 Week Four: Reading: · · Choi Jinhee. 109 mins. 2000. Screening: The Housemaid (Hanyeo) Kim Ki-Young. Im Kwon-taek. 2010. Im Kwon-taek. Durham: Duke University Press. 1993." The Remasculinization of Korean Cinema. Selections Darcy Paquet. 1960. · · Chandan Reddy. Kyung Hyun. 2009. New Korean Cinema: Breaking the Waves. 1988. 2010. 2002. Park Kwang-su.Frances Gateward. 112 mins. Middletown. Screening: Sopyonje. CT: Wesleyan University Press. "Korean Cinema and Im Kwon Taek: An Overview" from Im Kwon Taek. 2007. Global Provocateurs. "Male Crisis in the Early Films of Park Kwang-su. 2004. Week Three: Kwon Taek Reading: · · · Choi Jinhee. “The Politics of Gender. Selections Darcy Paquet. (New York: Wallflower Press. Ed. Selections Korean Cinema to the World II: The Age of the Blockbuster Korean Cinema To the World I: National Cinema Auteur Im . · Kyung Hyun Kim. Middletown. The South Korean Film Renaissance: Local Hitmakers. (New York: Wallflower Press. Chunhyang. The South Korean Film Renaissance: Local Hitmakers. Albany: SUNY Press.

Week Six: Reading: · Arjun Appadurai. 2008. 1999. 2000. 110 mins. "Disjuncture and Difference in the Global Cultural Economy. Final Exam and 2nd Installment of Film Notes Due: 8/4 Postmodern Returns Korean Cinema to the World III: Genre-bending ." Public Culture 12:1 (Winter 2000): 233-57. Park Chan-Wook. James Bell. 1996. Choi Dong-hoon." Modernity at Large: The Cultural Dimensions of Globalization. Screening: The Host. 110 mins. 136 mins. Kim Ji-Woon. Week Five: Reading: · · David Desser. 2006. 120 mins." Film Genre Reader III. Screening: Jeon Woo-chi: the Taoist Wizard. Leo. the Weird.· Ching. 125 mins. Minneapolis: University of Minnesota Press. 2009. "Interview: James Bell talks to Kim Ji-Woon" Sight and Sound 16:2 (2006) 20. Regionalizing the Global: Mass Culture and Asianism in the Age of Late Capital. The Good. "Globalizing the Regional. Bong Joon-ho. Kang Je-gyu. Screening: Shiri. JSA. "Global Noir: Genre Film in the Age of Transnationalism. the Bad.