599042060 文光慶

When I was young , my mother always take me went to theater on the weekend.

And my favorite movie is Green Snake .I even bought the dvd for my dvd collection.I think this movie is better than the novel version "Green Snake".

599041353 李紫婷

 Last week I saw Extremely Loud and Incredibly Close which describes how a child felt heartbroken when he lost his father in 911 Incident.  I thought the movie deeply details the child's  love toward his father.

599041339傳二甲 楊智雄

課堂分鏡表，

畫面是，張國榮說要和師兄唱一輩子的戲。

http://www.youtube.com/watch?v=kaDVovGjNOc

Hollywood Chinese

http://deepfocusproductions.com/HollywoodChinese/index.html

Hollywood Chinese is a captivating look at cinema history through the lens of the Chinese American experience. Directed by triple Sundance award-winning filmmaker, Arthur Dong, this documentary is a voyage through a century of cinematic delights, intrigues and treasures. It weaves together a wondrous portrait of actors, directors, writers, and movie icons who have defined American feature films, from the silent era to the current new wave of Asian American cinema. At once entertaining and enlightening, Hollywood Chinese reveals long-untold stories behind the Asian faces that have graced the silver screen, and weaves a rich and complicated tapestry, one marked by unforgettable performances and groundbreaking films, but also by a tangled history of race and representation.

-------------------------------

Hollywood Chinese

From the sexed-up Suzie Wong to the kung fu fighting Bruce Lee, THIRTEEN’s American Masters tackles issues of race and representation in Hollywood Chinese.

The 90-minute film illuminates a century of Chinese American cinematic history, from rare silent classics such as Marion Wong’s The Curse of Quon Gwon (1916) to the contemporary critical and commercial success of Ang Lee’s Brokeback Mountain (2005). Timed for broadcast during Asian Pacific American Heritage Month, American Masters: Hollywood Chinese premieres nationally Wednesday, May 27, 2009 at 9 p.m. (ET) on PBS (check local listings). The film features a treasure trove of clips, punctuated with personal accounts from the movie industry’s most accomplished Chinese and Chinese American talent.

“American Masters is proud to share with our viewers the extraordinary stories of pioneering Chinese and Chinese American artists in Hollywood,” says Susan Lacy, creator and executive producer of American Masters, a six-time winner of the Emmy Award for Outstanding Primetime Non-Fiction Series. “Their immeasurable contribution to American cinema continues today with a new wave of critically-acclaimed Asian films and Oscar-winning blockbusters. The film gives strong perspective to this little-known chapter of motion picture history.”

American feature films often portray the Chinese as exotic and devious characters – or simply the “other” – reflecting the entertainment industry’s inherent racial prejudices as well as its fascination with the Far East. Hollywood Chinese features candid interviews and back lot stories from artists in front of and behind the camera, including Joan Chen, James Hong, David Henry Hwang, Nancy Kwan, Ang Lee, Christopher Lee, Justin Lin, Luise Rainer, Amy Tan, Wayne Wang, and BD Wong.
The documentary chronicles the full gamut of Chinese representation in Hollywood. It brings to light the controversial yellowface casting of Luise Rainer in The Good Earth (1937) and the stereotyped caricatures played by Chinese American actors such as James Hong in Bloodsport 2 & 3 (1996 and 1996). It also addresses the eventual trend of Asian empowerment in films such as Flower Drum Song (1961) staring Nancy Kwan and the film-adaptation of Amy Tan’s The Joy Luck Club (1993) directed by Wayne Wang.

American Masters: Hollywood Chinese is a production of DeepFocus Productions, Inc. Productions in association with WNET.ORG and the Center for Asian American Media for PBS. The film is produced, directed, written, and edited by Arthur Dong. Susan Lacy is the creator and executive producer of American Masters.

American Masters is produced for PBS by THIRTEEN. To take American Masters beyond the television broadcast and further explore the themes, stories, and personalities of masters past and present, the companion Web site offers interviews, essays, photographs, outtakes, and other resources. American Masters is made possible by the support of the National Endowment for the Arts and by the Corporation for Public Broadcasting. Additional funding for American Masters is provided by Rosalind P. Walter, The Blanche & Irving Laurie Foundation, Jack Rudin, The André and Elizabeth Kertész Foundation, and public television viewers.

Major funding for Hollywood Chinese provided by Center for Asian American Media, Ford Foundation, California Council for Humanities’ California Stories Initiative, National Endowment for the Arts, Media Arts Fellowship, Gee Family Foundation, Independent Television Service, with funds from the Corporation for Public Broadcasting and public television viewers.
For more about Chinese American culture, explore the Chinese American Museum online or at its home in historic downtown Los Angeles. Beginning October 23, 2009, Arthur Dong, director of AMERICAN MASTERS: HOLLYWOOD CHINESE, will present Hollywood Chinese: The Arthur Dong Documentary Collection at the museum.

annoucement

Feb 17 introduction, blogging, grouping, defining Film/CS
Dear moviegoers,
Following is your work to complete before next week.
blogging: two photos (one of you, the other of a film director, or a film poster)
                two paragraphs (one of your film experience, th other of a film with a discursive argument,
                       defining what CS means for you)
grouping: four members in a group, list ready before Feb 24

All the blogging should be in English, and don't need to be very long. Try, please.
albert

請在下週(3/5)前上傳兩張照片(一張你自己、一張電影導演或海報)，並請勿重覆。
      另外，以英文書寫，上傳兩段文字(一段描述你的電影經驗、一段你對電影的論述看法)
我們將在3/5日完成分組，請事先找好你的夥伴。

Gender in Chinese Cinemas

This entry in the British Film Institute-sponsored international centenary celebration of cinema -- in which noted directors presented a film exemplifying their country or region's cinema and its origins -- represents China, or rather one aspect of the country's large body of work as seen through the eyes of Hong Kong filmmaker Stanley Kwan.

Kwan uses the film as not only a means to examine the role of homosexuality and transgender issues in the films of China, Hong Kong and Taiwan, but also to look at the evolving roles of family and cultural attitudes in Chinese society. Kwan begins the film on a personal note by recounting a number of early and innocent encounters with men that led to his fascination and love of them.

As a film-buff Kwan was fascinated by the almost exclusively male world of Hong Kong action cinema and by the almost homoerotic (in his opinion) bonds formed by the heroes. To further his theories, Kwan also cites the widespread use of swords, knives and other phallic symbols in the story. From there Kwan moves to films in which women portray men and men portray women (as in Farewell My Concubine), ending the film on a more personal note.

Keywords:

camp (Susan Sontag)

cinema and collective consciousness

film and identity (Stuart Hall)

archaeology of knowledge (M. Foucault)

histories (not History)

sex/gender nexus

difference(s), sameness

queering Chinese cinema

political cultural poltics and inter-Chinese Cinema(s)

fatherhood/ Law of the Father, Oedipus Complex, 

psychoanalysis and film studies

mirror stage, the Symbolic

-----------------------------------------
A Transcription by Steven Feldman of the Opening Fifteen Minutes of
Yang ± Yin: Gender in Chinese Cinema,
A Film to Celebrate 100 Years of Cinema by Stanley Kwan:

[Title:] Chapter 1: ABSENCE OF FATHER (1)

VOICE-OVER BY STANLEY KWAN: When my father took me to a bath house, it was the first time I'd seen so many male bodies. These shots from my film, Actress, evoke that memory. My father died when I was fourteen. My memories of him are mostly memories of longing for his love, because I always felt that he preferred his daughters to his sons. We were so poor when I was young that I had to sleep with him, head to toe, on a sofa, and I recall touching him while pretending to be asleep. I also vividly recall the smell of his body. This picture is one of the few that I have of him. He didn't like to be photographed.
[Title:] Chapter 2: FEMININE AND MASCULINE FACE AND BODY
V.O. (VOICE-OVER): Most of the films I've directed have centered on women. They include Red Rose White Rose, Actress, Rouge, and Love Unto Waste. Why do I make so many films about women? Does it mean that I'm rather feminine myself? I'm sure that it does have something to do with the women in my family. As the eldest son, I became the official head of the family at the age of fourteen. The others' lives suddenly came second to mine. My sisters had to leave school and start work to help pay for my education, and my mother became a resilient woman who worked tirelessly to hold the family together and provide for her children. As a result, I felt less like a surrogate father than like a child. The women of the family supported and protected me.

Like everyone in Hong Kong, I grew up fascinated by martial arts films. The genre was always popular, but it peaked in the early 70's when Bruce Lee came back from America and starred in four kung fu films. His premature death in 1973 was shattering. It really was as if a legend had died. [footage of Bruce pummelling Chuck Norris in Way of the Dragon]
V.O.: For me, the appeal of the genre was less the kung fu or the swordfighting than the spectacle of male bodies in action, very often half naked. The master of the genre was Zhang Cher, who discovered stars like Wong Yu, Di Long, David Chiang, and Fu Shung. Actually, Bruce Lee wasn't really my type. I preferred Wong Yu, an ex-swimming champion from Guang Jo. Unfortunately, I can only show these images from his films. Shaw Brothers, the company which produced them in the 60's, wouldn't allow us to use any clips.

Zhang Cher was a Shaw Brothers contract director at that time. Virtually all of his films focused on men and male relationships. CHANG CHEH: At that time, Chinese cinema was unique in the world. No other film industry gave top billing to women. Women stars in western films still come second today. Back then, even Ingrid Bergman got second billing. I felt the Chinese emphasis on women stars was strange, so I set out to make very masculine films. It was one way to move Chinese cinema forward. 'Martial chivalry' films were an old Chinese genre. They showed swordplay for its own sake. But King Hu and I set out to make more of fight scenes. We tried to make the fights express ideas and themes. Realism didn't come into it. We explored our fantasies. [an amiable, brotherly clip from The Slaughter in Xian, 1990]
V.O.: One of the action stars who became popular in Zhang Che's films was Di Long.
TI LUNG: Men relate to each other much as they relate to women. I agree with Chang Cheh about this. Men have their own charisma, their own way of moving, that can be attractive, too.
PEGGY CHIAO, CRITIC: Those Chang Cheh films are all about male bonding. He worships the male body. All those muscles, all that nudity. It's all very sexual. I think it's his vision of male paradise! Very interesting.
CHANG CHEH: It's my reading of a Chinese tradition, nothing else. No Chinese reader thinks of homosexuals when he reads a book like The Three Kingdoms. Nobody thinks the heroes of Water Margin are gay.
V.O.: There's a strong emphasis on phallic weaponry, bodily penetration and even disembowelment in many of Zhang's films. I asked him how much he was aware of the symbolic undercurrents.
CHANG CHEH: Freud tells us that everything has sexual origins. He finds sexual symbolism everywhere. Swords, knives, even guns can be male sexual symbols.
[A foreboding clip from The Slaughter in Xian starts.]
CHANG CHEH: I don't know if it's true or not.
[As the Slaughter in Xian clip continues, a man is graphically impaled by being lowered onto a two-foot-long spike.]
V.O.: I wondered what considerations Zhang had in mind when he cast his action heroes, especially when he introduced newcomers, like Wong Yu.
CHANG CHEH: Wang Yu and Ti Lung were traditional hero types, tall and well-built. The exceptional one was David Chiang. I chose him because I liked him, and I liked the fact that he wasn't a traditional hero. Men in old Chinese films were weak, book-reading types. The swordplay genre gave us the classical hero type: tall, well-built, square torso. David is nothing like that, so I took a risk with him. There's an attractive sense of evil about him, too.

When I began making films, I wanted to do something new, so I tried to see some old traditions in a fresh way. The traditional Chinese hero has no truck with women. He's much more concerned with his male friends. The classical archetype is the novel The Three Kingdoms. Its heroes are the brothers Liu, Guan and Zhang. They're the epitome of what I wanted to show in my films.

[two clips from A Better Tomorrow]
V.O.: John Woo was Zhang Cher's assistant director on several Shaw Brothers films in the early 70's. He started directing kung fu films himself soon after, but the films which eventually led him to Hollywood were his gangster thrillers of the mid-80's: A Better Tomorrow, The Killer, and A Bullet in the Head.

Many critics have seen links between his films and Zhang Che's, especially in their celebrations of male bonding. I asked Zhang Che if he sees the connection himself. CHANG CHEH: I doubt I had any direct influence on John Woo. Maybe we have similar tastes. Maybe that's why people compare our films. He's obsessed with love/hate relationships and inner turmoil. That's why his A Better Tomorrow resembles my Blood Brothers [a film John Woo worked on]. The parallels are obvious.
V.O.: In The Killer, John Woo shows the intense bond which develops between a charismatic hitman and the cop who sets out to catch him. Scenes like this one, in which the cop helps the hitman to extract a bullet from his arm seem consciously homoerotic. I asked John Woo if he saw it that way himself.
JOHN WOO, DIRECTOR: Any homo-erotic feelings in this are unconscious. There may well be some, I'm not sure. I just set out to express emotion very directly.

Some things in The Killer couldn't be said verbally. Their mutual admiration is expressed visually. The scene in which Danny Lee helps remove the bullet from Chow Yun-Fat's arm: I didn't conceive of it in sexual terms. I just saw them as people who'd got beyond the 'first date' stage.

Whenever I deal with such romantic relationships -- whether the characters are men or women -- it always comes out strongly in the films. I don't mind how the public takes such scenes or how they react to the film as a whole. Once the film is finished, it no longer belongs to me; my original feelings no longer matter. Viewers will have their own feelings. [clip from The Killer, in which Danny Lee says, "His eyes are so intense. Easy to empathize. Eyes full of passion."]
V.O.: I wondered if John Woo would feel able to include scenes like these in the Hollywood films he makes now.
JOHN WOO: To make films here like the ones I made in Hong Kong -- films on male bonding or 'martial chivalry' -- I'd have to work outside the mainstream. Otherwise, no way.

blog membership helper

hi, students,
In order for you to become a blog member, please kindly ask help from Kyle 智雄 (ad19920224@gmail.com) to get the permission of the web administrator. 
You will soon get a letter of invitation automatically delivered from the blogger.com.  Just follow the instruction. It's easy.

You should post
a) one image of you 
b) one paragraph to share with us your image quotient (just like IQ, EQ, but here ImageQ) with real example(s)
c) one film (plus an image) you think valuable in serious discussion related to cross-cultural communication and cultural politics (not necessarly the one you mention in class).

Next week, we'll confirm your group list. Be sure to find your partner(s) before we meet next week.
minimun 2, and maximun 4 in a group, please!

Albert enjoys talking to you tonight.  Great to hear your screening experience(s)!  Albert look forward to seeing your high spirit, and excitement again.  BTW, we forgot taking a group photo tonight.  Can somebody remind me next week?

albert

電影與文化研究 syllabus for Film and Cultural Studies

                                                 Mission (Lin)possible?

An Essay cum Syllabus (課程大綱)

for the course Film and Cultural Studies

provided by Albert Tang, Ph.D.
csalbert@mails.fju.edu.tw
http://www.anobii.com/csalbert  華影文研

Hey, welcome to the blog.Thanks for taking a look here.  If you are here, I bet you should be quite interested in Film and  perhaps you've been familiar with some kinds of stories about film genres, directorship, filmmaking, film criticism, and (if possible) film and/or cultural studies.

也許你也正奇怪，為什麼有一大堆英文字? 或者，就乾脆關閉網頁，走了?
且慢，如果你耐著性子，讀下去，也許你會多瞭解Albert. 對於這堂課程的操作想法，以及如何幫助各位同學建立屬於你自己關於電影(and the rest of everything)的知識架構、視覺經驗和跨文化溝通能力。

Let's move on. As you might expect, here is basic info about the course. Check it out, right now!

---------------------------------------------
Course:Film and Cultural Studies
Facilitator: Associate Professor Albert TANG, Ph.D. 
Class: Sophomore, Program in Mass Communication, School of Communication
Fu Jen Catholic University, Taiwan
Time: Friday 20:30-22:10  (LF 107)

By now, you should get more used to English expression?! Slowly, but also smoothly, you will learn how to get balanced between how to learn new knowledge and talk about film matters with more profound skills in using significant keywords in both English and Chinese.  (Take a breathe? OK!) Now, following is the Goal of the course, both for you and me, in the visual, oral, and discursive arena of the motion pictures.

課程目標(Goal)：
透過大量觀影、對焦討論、策展演練等課程運作取徑，這門課程幫助同學
(1) 啟蒙：建立更完整的電影與文化研究批判視角:如文化政治經濟分析。
(2) 接合：熟悉重要當代文化研究的關鍵概念與其對於電影文化的詮釋論述和批判創意。
(3) 轉型：運用電影場域，進行歷史化、理論化、脈絡化、主體化。

(4) 對話：從理論進入實踐，從實踐反思理論，並刺激更多電影文化生產動能。

(5) 鏈結：由電影場域進行文化研究的再定義，運動、思考、產製、創意、產業。

Goal
1.This course will present a comprehensive picture of filmic culture, both domestic and abroad, in terms of both theoretical training and analytical skills. Film, therefore, is regarded as an experimental site where we can test our interpretative framing/framed (net)work and cultural discursive formation.

In other words, students should be able to obtain alternative critically creative ideas along the path of this course.


2.We will try to examine films in different perspectives, such as industrial, textual, receptive and cultural levels, in order to help students consolidate a sound base in film literacy as well as (cross) cultural understanding in current cinematic and global village.

3.This course offers several (and important, rarely seen) film screening opportunities to enrich students’ textual comprehension and historiographic liaison in order to see films more thoroughly in other contexts.

4.Through essay reading, group discussion, critical analysis, instructor’s guidance, intensive writing and production practices (such as script writing, on-location shooting, post-production, and promotion) students will be aware of various discursive strategies and cultural production techniques in (local/ global) film and cultural studies.

Sound confused to you?
Don't worry.
Let us get to know what exactly we are going to SEE in the near future.
You can widen your screening expriences, hopefully, in the following 3 sections

a. Introduction: Enlightment of Film/Cinema/Image and CS

    Albert will lead the introductory discussion on how to outline a critical interpretation of film studies, firstly by Stanley Kwan's Yang and Ying: Gender in Chinese Cinema(s)(1994), and secondly by Arthur Dong's Hollywood Chinese (2007).  Together, we'll walk through the time spectrum and geopolitical boundaries of Chinese cinema(s) in light of gender ecriture in the past 100 years, and witness the diverse cultural confrontation in the realm of Chinese identification within/beyond Hollywood. Besides, Albert may also arrange some classic films for you, such as Robert Flaherty's  Nanook of the North: A Story Of Life and Love In the Actual Arctic(1922), or Arnold Glassman's Visions of Light: The Art of Cinematograph(s)(1992).  Cinema verite (e.g. Jean Rouch), a documentary film on documentary filmmaking may also be supplementary to those who are mostly dedicated to documentary film culture.

b. Inter-Asia cultural connectedness and communication

     In the second part of the course, we'll showcase the other 3 documentary films on Japanese, Korea, and India cinemas, respectively.   Film cutlure from Singapore, Thailand, the Phillipines, Malay world may be presented when is relevant. Students will be grouped to present their collective interests in film industries, stardom, policymaking, etc., based on the experimental conceptualization of Inter-Asian articulation of cultural interconnectivity.

    By widely observing and analyzing the cultural represenation of film culture in each "Asian" countries, we will gradually map out a sketch of "Filmic Asia", or reversly, "Asian Cinema" with regard to its diverfication in term of religion and practice, race ethnicity, urban modernity, queering culture, and mediated events.

c. Inter-Chinese translocality and

    The last section will deal with the historical background of Taiwan’s Cinema, Hong Kong Cinema, mainland Chinese Cinema and New waves in Chinese diapora (e.g. Wayne Wang's Eat a Bowl of Tea 《吃一碗茶》1989 ) . Problem related to visual representation, casting, film genre, cross-boarder co-operation, hollywoodization, categorization, definition, ideologization, stylization, aestheticization, politics, and economy will be involved when necessary. Each student will choose a research topic in a mini-scale co-productive project, to demonstrate her/his cross-cultural understanding based upon film and cultural re-production and consumption. Topics included (but not limited to) are beginning stage of film production (c.f. Electronic Shadow), the 1930s (Hollywood, Studio Era, Left-wing), local Amoy cinema, and contemporary cinemas. Tibetan film/ Tibe in film (Cup《高山上的世界盃》(2000), (《牧馬人》(1983), Seven Years in Tibet《西藏七年》(1997), Red Corner (紅色角落)(1997), XiuXiu《天浴》(2003) may be good choices, too.

      Serving as Film Histories for Taiwan cinema in the Chinese cultural circle, students can benefit from browsing over the following film archive, including Old Cinema Re-visited: Hisotries of Taiwan Cinema (《舊影重溫：台灣電影史》, PTS 1994), Reviewing Chinese Cinema(s)(《華語電影回顧》VCD, Commission for cultural construction, 2001) , News Waves of Taiwan Cinema (《台灣電影新潮》, GIO, VHS, 1998). For an Overview of Hong Kong Cinema, be sure to take a look at A Century of Light and Shadow (《百年夢工廠》, RTHK, 2007).

d. Inter-cultural studies and visual activism
grassrooted-ness into internationalist localist cultural practices, such as exploring issues related to class, gender, ethnicity, sub-culture, etc, and investigating various contemporary theory into real practice, or
festivalizing cultural studies with a wide-circulational event.  Be sure to look at Jut Jhally's Media Education Foundation, Taiwan's Media Watch, and Taiwan Documentary Association.  Or you may hear about directors (like 賀照緹、蔡崇隆。陳俊志、蔡明亮、李安) whose instilling into culturalization with/in Taiwan society, or you will definitely know such important film festivals held in Taiwan, including  Feminist Film Festival (女性影展), International Labor Film Festival (國際勞工影展)、Biennial Documentary Film Festival (紀錄片雙年影展).

關注焦點：

新浪潮New Waves
階級、性/別、族裔、族群、酷兒、都市、節慶、後現代、後殖民。
亞際(Bollywood, Korean, Japanese) inter-Asia cinema
華際(Chinese Diapora)
紀錄片

--------------------------------------
When talking about Grading, students, please don't get on your nerves.
Albert believes learning by doing. YOU, under my guidance and your devotion, will definitely acquire more profound understanding by real comprehension including seeing, analyzing, presenting diversified film cultural ingredients.

Group project: national profile
1. Filmmaking (post-)National Cinema

Following .K .K. Tam’s stylish writing in New Chinese Cinema (London: Oxford University Press, 1998) or RTHK's A Century of Light and Shadow (2007), students, divided into small groups, will  choose film directors from different countries, be them cinematographers, actors/actresses,  film critics, or film scholars, to form a well-organized research-based video work.

Students will try to study and evaluate his/her contribution to film culture in terms of industrial (cinematic), cultural (filmic), historical (reception), and discursive (political economy) perspectives.

Personal project: (examples)
1. Critical Review on film text, festivalization and cultural industrialization
Seeing as many films as possible, and find a cultural studies-oriented problematic within the films you’ve seen. Try to discussion how the problems are represented, interpreted, and framed in the films.
Topics suggested: Minority, femininity, trauma, motherhood, fatherhood, nationalism,

2. Production analysis/ Analytical production

A chance to do some Shooting, editing, and post-production, promotion of your OWN work, either original or adaptive. No more than 15 mins.

3. Curating/Programming proposal

selection of film titles for a film festival, a movie channgel, a cultural event, or simply for fun! Students should explain the essential creativity in your design and demonstrate your film knowledge as detailed as possible.  The proposal can be considered based upon genre, casting, generation, similar period, director....

------------------------------------------------
Schedule
Feb 17    introduction, blogging, grouping, defining Film/CS
Feb 24    Screening: Yang and Ying: Gender in Chinese Cinemas
March 2  Screening: Hollywood Chinese
March 9  Screening: Nanook of the North
               Screening: Visions of Light

Inter-Asia Cultural Studies
March 16  India
                 *group topic due
                 suggested themes: malaysia, thai, indonesia, singapore, vietnam, india, japan, korea
March 23  Japan
March 30  Korea

April 6       off
April 13   video presentation (Inter-Asia CI(ne)magin(g)ation)
                *video: 3 mins (for two members)
April 20   video presentation
April 27   video presentation

Inter-Chinese Cultural Studies and Visual activism
May 4      film with a radical/ progressive/ revolutionary discourse!  class, gender, subculture, 
                 hegemony, postmodernity, postcoloniality, glocalist, queer culture, diaspora, urbanism,
                 cyber, orientalism, transbordering,
                preliminary proposal: personal
                *Spielberg's Empire of the Sun《太陽帝國》(1987), The World of Suzie Wong (1960)
                  Eat a Bowl of Tea (1989)

May 11    Screening: Buddha Bless America (太平天國), A Borrowed Life, The Daughter-in-law
                Screening: East Palace, West Palace (東宮西宮), I don't want to sleep alone (黑眼圈)
May 18    Screening: Let It Be, The Strawman (稻草人), Stone Dream (石頭夢)
May 25    Screening:  Comrades: Almost a Love Story (甜蜜蜜),
                                   In the Heat of the Sun (陽光燦爛的日子)
                 *one-min minute due

June 1      poster fair
June 8      poster fair
June 15    ending/

*In other words, all you need to do, is be on time for the class, never miss any screening, working on the group report project (short video introduction) and personal project (video and poster).

The narration and subtitle/ inter-title will also be in English, not to mention, the credit list should be presented in English, too.

NO EXAMs.  

Please notice that the course will mainly be conducted in English. But  don't worry, Albert will
guide you through the dark path.  Even before you grasp the meaning of any discussion, you should try to map our your imagery (by the clips we see in the class) and multi-channel sound track.

Albert Wei-min Tang, Ph.D.

Probing Culture via Language, Literature, Media, Arts, Education and Creative Industries

Albert Tang, a Fu Jen Catholic University alumnus and Associate Professor in Media and Cultural Studies, has been teaching professional English, Cultural Studies, popular media and visual Communication in his alma mater for over a decade.

After Albert obtained his undergraduate degree in English Language and Literature (drama par excellence), He then pursued his postgraduate study in visual media and critical theory. Upon finishing a master thesis on "Semiotic/ Ideological/ Textual Analysis of TV Commercials", he went to serve in the army for two years. He later continued his doctoral research in comparative literature, focusing on issues in the field of Chinese Cinema(s) and (inter-)Cultural Studies, and Taiwan Literature.

Language: Multiple Lingua Franca

As a connecting bridge for cultural exchange, Albert has briefly worked for several translation agencies (translator and interpreter), China News (aka Taiwan News, journalist and editor), and Taipei Golden Horse Film Festival Executive Committee (chief receptionist, chief editor for special TGHFF annual album, coordinator of cross-strait affairs), before he obtained a teaching position in Fu Jen.

Besides listening, speaking, reading and reading, Albert keeps improving his command of English proficiency through translation and interpretation (plus performance, reception). Since his graduate study era, he has translated several critical western publications, relevantly theoretical ideas and new disciplinary ideas, into Chinese. As coordinator and conference organizer, Albert also edited several conference anthologies. His translation contributes significantly in the field of media and Cultural Studies in the post-Martial Law epoch. For example, one of his book (Cultural Studies: Interviews with Stuart Hall, by Meta-publishing Co.) has won top 10 best book Prize awarded by China Times Book Prize in 1998.

In addition to English, Albert has learned Deutsch (German) for some years, first in Deutsch Kultur Zentrum (now Goethe Institute), and later in Fu Jen campus. Albert also audited one-year Latin course given by a German Vater in sophomore year, and took one-year French (reading and conversation) in senior year. He is lucky to either participate in or take lead roles in several dramatic presentations in his college life. He then received more intensive and strict training in oral communication, body movement, and audience persuasion. Intriguingly, Albert's mother tongue "should" be Fukien (Taiwanese), but thanks to the language policy in his childhood, he didn't have acceptable command of his native language until he served the army. He also listened to Hakka radio programs for many years before he found himself partly biologically "Hakka" in 2000 (mother side), and very likely owned "Hakka" identity in 2007 (father side).

Travel: Beyond 10 Hundreds Miles

Albert has traveled to some countries in this "McLuhanian" global village. He has been to various tribal communities, such as UK (London3, Stratford-on-Avon, Oxford2, Bath, Bradford, Bedford, Durham, Leeds etc), Holland (Amsterdam 3, Rotterdam, Hague, Leiden, Nimegen), West Germany (Hamburg, West Berlin, Koln, Stuttgart, Munich), Germany (Koeln, Frankfurt3, Berlin3, Potsdam, Heidelberg2, Karlsruhe, Berlin, Stuttgart, Tuebingen), Czech (Brno, Prague), Luxemberg, Belgium (Brussels 2, Liege), France (Paris 4, Lille, Nante, Anger), Austria (Wien4 aka Vienna, Linz2, Salzburg2), Ireland (Dublin), Italy (Rome, Florence), Vatican (the Holy See), Greece (Athens), Jordan (Anman), Bahrain (Persian Gulf), Tailand (Bangkok), Hong Kong, Macau, PRC (Beijing 10+, Shanghai 10+, Congqing, Chendu, Xichan, Kunming, Guanchou, Canton, Tienjin 2, Hanchou, Chende, Xian) , USA (LA, Austin, NYC, DC, Baltimore, Boston, San Francisco, Chicago, Memphis, St.Louis, Kansas City), Canada (Toronto, Ontario, Montreal), Australia (Sydney, Brisbane), Guam, Malaysia(Kuala Lumpur, JB), Thailand (Bangkok2) , Singapore 8, Japan (Fukuka, Tokyo) 2. He believes that walking for over 10 miles is more useful than reading 10 thousands volumes. He usually attends international conferences abroad and sometimes undergoes research trips to special archives.

Research: Critical Creativity

Albert likes to combine his research interest with his teaching. He has offered courses like Chinese Cinema(s), Popular Music, New Media Arts, Literary Media and Cultural Studies, Media Research Methods and Communication Theories. Currently, as Executive Director for the Preparatory Office of International College at Fu Jen, he is involved in coordinating a new master program in the field of Taiwan Studies which aims at attracting more foreign students to pursue higher education degree in Fu Jen, and better their understanding about Taiwan in the context of Greater China and Asian region. He has been awarded Excellence Teaching Award(FJU), Creative Teaching Award(FJU), Fu Jen Research Award(FJU), Father Chang Se-heng Academic Award (Fr. CSH Foundation, 2000 and 2003), Senior Teaching Award (MOE)

Service: Student-based, Alma Mater-feedback

Albert has served as Chair of Mass Communication Department, SOCE, Chief of Academic Section, SOCE, Chief of Curriculum Section, Office of Academic Affairs, and director of Academic Exchange Center, Deputy-director of European Union Centre at Fu Jen. He also serves as Deputy-Secretary-General of UMAP Taiwan since January 2011. He has worked as project coordinator for "English Corner" under the Excellence Teaching Program, MOE. He helped produced, among other intensive and provoking training programs, Penalty of Piety, a unique English radio documentary of the Beginning of Fu Jen Catholic University in 1925. He is also the founding Secretary-in-chief of Cultural Studies Association (Taiwan) from 1999-2000.

He has given presentations about Higher Education in Taiwan in many international workshops, conference, forums, and educational exhibitions. Among them, he attended APAIE 2(2010, 2011), NAFSA(2010, 2011), EAIE(2011), QSAPPLE(2010, 2011), JAFSA(2010), FICHET(10+), etc. He was invited to be the round table discussant for NATSA 2010, and participated in EATS (2010, 2011) as well as EATS graduate student workshop 2010 in Brno, Czech. He also lectures in SOAS Taiwan Studies Summer School (July 2011).

Collection and Hobby

Albert likes seeing thought-provoking, idea-stimulating films, be it features or documentary. Currently he owns over 1000 copies, domestic and abroad, including some rarely found productions. Besides, he has a personal library which houses over 6,000 books ranging from English, Chinese (both traditional and simplified), Francaise, Deutsch, to Japanese publications. He not only bought books through on-line bookstores, like Amazon, ABE, Kongfz, etc., but also visiting used bookstore regularly for historic documents. You can take a look at Chinese Cinema(s) and Cultural Studies, his Virtual Library. He is still updating his archive and will extend his collection in the future.

student list

電影與文化研究

班級	學號	姓名	學籍	修課狀況
C:進修部 0G12:大傳學程二甲	599022424	黃曉涵	在學
C:進修部 0G12:大傳學程二甲	599041028	劉家妤	在學
C:進修部 0G12:大傳學程二甲	599041042	宋紫薇	在學
C:進修部 0G12:大傳學程二甲	599041054	曾御忠	在學
C:進修部 0G12:大傳學程二甲	599041092	任偲萍	在學
C:進修部 0G12:大傳學程二甲	599041119	劉品圻	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041145	林映君	在學
C:進修部 0G12:大傳學程二甲	599041157	邱新育	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041171	林 臻	在學
C:進修部 0G12:大傳學程二甲	599041183	李佳穗	在學
C:進修部 0G12:大傳學程二甲	599041250	邱雅苑	在學
C:進修部 0G12:大傳學程二甲	599041274	趙靜儀	在學
C:進修部 0G12:大傳學程二甲	599041286	黃思潔	在學
C:進修部 0G12:大傳學程二甲	599041303	王怡文	在學
C:進修部 0G12:大傳學程二甲	599041327	余緒紳	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041339	楊智雄	在學
C:進修部 0G12:大傳學程二甲	599041341	曾廷暐	在學
C:進修部 0G12:大傳學程二甲	599041353	李紫婷	在學
C:進修部 0G12:大傳學程二甲	599041365	游博宇	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041391	吳胤弘	在學
C:進修部 0G12:大傳學程二甲	599041444	楊玉萱	在學
C:進修部 0G12:大傳學程二甲	599041456	詹雅祈	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041468	陸紹然	在學
C:進修部 0G12:大傳學程二甲	599041511	邱宜婷	在學
C:進修部 0G12:大傳學程二甲	599041547	謝宇綸	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041561	林佳盈	在學
C:進修部 0G12:大傳學程二甲	599041585	鄭惠羽	在學
C:進修部 0G12:大傳學程二甲	599041597	江奕璁	在學
C:進修部 0G12:大傳學程二甲	599041602	胡藝瀕	在學
C:進修部 0G12:大傳學程二甲	599041614	謝明宏	在學
C:進修部 0G12:大傳學程二甲	599041638	張瑋中	在學
C:進修部 0G12:大傳學程二甲	599041652	蔣育圻	在學
C:進修部 0G22:大傳學程二乙	599042046	黃亦伶	在學
C:進修部 0G22:大傳學程二乙	599042058	陳專宜	在學	衝堂
C:進修部 0G22:大傳學程二乙	599042060	文光慶	在學
C:進修部 0G22:大傳學程二乙	599042125	李 昀	在學
C:進修部 0G22:大傳學程二乙	599042137	韓宜靜	在學
C:進修部 0G22:大傳學程二乙	599042151	謝甫玄	在學
C:進修部 0G22:大傳學程二乙	599042187	王威傑	在學
C:進修部 0G22:大傳學程二乙	599042204	陳韋宏	在學
C:進修部 0G22:大傳學程二乙	599042228	黃釋賢	在學
C:進修部 0G22:大傳學程二乙	599042242	許家蓉	在學
C:進修部 0G22:大傳學程二乙	599042307	邱韋傑	在學
C:進修部 0G22:大傳學程二乙	599042345	彭 健	在學
C:進修部 0G22:大傳學程二乙	599042383	周廷翰	在學	衝堂
C:進修部 0G22:大傳學程二乙	599042395	楊家豪	在學
C:進修部 0G22:大傳學程二乙	599042400	王功淳	在學
C:進修部 0G22:大傳學程二乙	599042450	錢盈婷	在學
C:進修部 0G22:大傳學程二乙	599042591	陳逸勳	在學
C:進修部 0G22:大傳學程二乙	599042606	王悅彤	在學
C:進修部 0G22:大傳學程二乙	599042620	陳韋錚	在學
C:進修部 0G22:大傳學程二乙	599042632	李璧如	在學
C:進修部 0G22:大傳學程二乙	599042644	李孟珊	在學
C:進修部 0G22:大傳學程二乙	599042656	陳詩綺	在學

tentative student list

C-0G02-12860- 電影與文化研究

班級	學號	姓名	學籍	修課狀況
C:進修部 0G12:大傳學程二甲	599022424	黃曉涵	在學
C:進修部 0G12:大傳學程二甲	599041028	劉家妤	在學
C:進修部 0G12:大傳學程二甲	599041042	宋紫薇	在學
C:進修部 0G12:大傳學程二甲	599041054	曾御忠	在學
C:進修部 0G12:大傳學程二甲	599041092	任偲萍	在學
C:進修部 0G12:大傳學程二甲	599041119	劉品圻	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041145	林映君	在學
C:進修部 0G12:大傳學程二甲	599041157	邱新育	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041171	林 臻	在學
C:進修部 0G12:大傳學程二甲	599041183	李佳穗	在學
C:進修部 0G12:大傳學程二甲	599041250	邱雅苑	在學
C:進修部 0G12:大傳學程二甲	599041274	趙靜儀	在學
C:進修部 0G12:大傳學程二甲	599041286	黃思潔	在學
C:進修部 0G12:大傳學程二甲	599041303	王怡文	在學
C:進修部 0G12:大傳學程二甲	599041327	余緒紳	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041339	楊智雄	在學
C:進修部 0G12:大傳學程二甲	599041341	曾廷暐	在學
C:進修部 0G12:大傳學程二甲	599041353	李紫婷	在學
C:進修部 0G12:大傳學程二甲	599041365	游博宇	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041391	吳胤弘	在學
C:進修部 0G12:大傳學程二甲	599041444	楊玉萱	在學
C:進修部 0G12:大傳學程二甲	599041456	詹雅祈	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041468	陸紹然	在學
C:進修部 0G12:大傳學程二甲	599041511	邱宜婷	在學
C:進修部 0G12:大傳學程二甲	599041547	謝宇綸	在學	衝堂
C:進修部 0G12:大傳學程二甲	599041561	林佳盈	在學
C:進修部 0G12:大傳學程二甲	599041585	鄭惠羽	在學
C:進修部 0G12:大傳學程二甲	599041597	江奕璁	在學
C:進修部 0G12:大傳學程二甲	599041602	胡藝瀕	在學
C:進修部 0G12:大傳學程二甲	599041614	謝明宏	在學
C:進修部 0G12:大傳學程二甲	599041638	張瑋中	在學
C:進修部 0G12:大傳學程二甲	599041652	蔣育圻	在學
C:進修部 0G22:大傳學程二乙	599042046	黃亦伶	在學
C:進修部 0G22:大傳學程二乙	599042058	陳專宜	在學	衝堂
C:進修部 0G22:大傳學程二乙	599042060	文光慶	在學
C:進修部 0G22:大傳學程二乙	599042125	李 昀	在學
C:進修部 0G22:大傳學程二乙	599042137	韓宜靜	在學
C:進修部 0G22:大傳學程二乙	599042151	謝甫玄	在學
C:進修部 0G22:大傳學程二乙	599042187	王威傑	在學
C:進修部 0G22:大傳學程二乙	599042204	陳韋宏	在學
C:進修部 0G22:大傳學程二乙	599042228	黃釋賢	在學
C:進修部 0G22:大傳學程二乙	599042242	許家蓉	在學
C:進修部 0G22:大傳學程二乙	599042307	邱韋傑	在學
C:進修部 0G22:大傳學程二乙	599042345	彭 健	在學
C:進修部 0G22:大傳學程二乙	599042383	周廷翰	在學	衝堂
C:進修部 0G22:大傳學程二乙	599042395	楊家豪	在學
C:進修部 0G22:大傳學程二乙	599042400	王功淳	在學
C:進修部 0G22:大傳學程二乙	599042450	錢盈婷	在學
C:進修部 0G22:大傳學程二乙	599042591	陳逸勳	在學
C:進修部 0G22:大傳學程二乙	599042606	王悅彤	在學
C:進修部 0G22:大傳學程二乙	599042620	陳韋錚	在學
C:進修部 0G22:大傳學程二乙	599042632	李璧如	在學
C:進修部 0G22:大傳學程二乙	599042644	李孟珊	在學
C:進修部 0G22:大傳學程二乙	599042656	陳詩綺	在學