essay about compare 2 chinese films film homework help
Papers must be typed, double-spaced (not 1.5 spaced), with one-inch or larger margins on all four sides of the page. The length is limited to 3 pages, excluding references.
Keywords: A, B, C, D
Discussion of film 1
Discussion of film 2
(you could move between two films but must provide smooth transitions in between)
Bibliography (at least 4 sources from the files, listed in a separate page)
Authorâ€™s name, Book Title (City: Publisher, year).
Authorâ€™s name, â€œarticle title,â€ Volume Title, ed. Editorâ€™s name (City: Publisher, year), pp. #-#.
Authorâ€™s name, â€œarticle title,â€ Journal Title, volume #, issue # (year), pp. #-#.
Content First, your paper must be comparative; namely, choose to compare two of these films: Plunder of Peach and Plum, Itâ€™s My Day Off,Ermo and Suzhou River. You may focus on a similar theme, a shared critical problem, or a combination of some of them. Second, your paper must be researched; namely, citing what critics have said about the directors and/or films you are discussing and indicating how you respond to their interpretations. You must use at least 4 print sources assigned in the syllabus. Each article in an edited book counts as one source, but merely listing sources without incorporating them in analysis does not make your paper a researched one. Third, your paper must be critical; namely, examining texts in detail and engaging different arguments in relation to the issues you are addressing. This also means that you have to maintain your own line of arguments while moving between primary and secondary sources. A summary of narrative plot or biographic information is descriptive rather than critical.
The following sample topics are for you to brainstorm,combine, and expand if you want. Remember this time you are expected to come up with your OWN argument and statement and support it with your film analysis and engage critics’ ideas.
- The female body and female sexuality in Ermo and Suzhou River
- Changing gender relationships in Plunder of Peach and Plum and Ermo
- Changing concepts of family and community in Plunder of Peach and Plum and Itâ€™s My Day Off (or Ermo)
- Changing roles of the individual in Itâ€™s My Day Off and Ermo (or Suzhou River)
- The city as a site of disillusionment and destruction in Plunder of Peach and Plum andSuzhou River
- The city as a communal space in Itâ€™s My Day Off versus an enigmatic space in Suzhou River
- Different/similar attitudes to the forces of urban corruption in Plunder of Peach and Plum and Suzhou River
- The impact of money on human relationships in Ermo and Suzhou River
- Idealism and its fates in Plunder of Peach and Plum and Suzhou River
- Challenges to male or patriarchal values in Ermo and Suzhou River
Keywords are central ideas you discuss in your paper. Sample keywords include: market, modernity, romance, value, woman, and the like. 4 keywords must be listed upfront below the title of your paper.
4 required sources refer to different works by authors listed. Again, a chapter in an edited volume counts as one source. All chapters in a single-authored book (like mine) count as 1 source. 2 books by the same authors (like mine) count as 2 sources.
1.Zhang, Yingjin. Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Michigan, Center for Chinese Studies, 2002. ISBN: 0892641584. PN1993.5.C4 Z54 2002
2.Berry, Chris, ed. Chinese Films in Focus II. Palgrave, 2008. ISBN: 1844572374. PN1993.5.C4 C4624
Chinese National Cinema. Routledge, 2004. ISBN: 9780415172905. PN1993.5.C4 Z49 2004
4.Xiao, Jiwei. â€œThe Quest for Memory: Documentary and Fiction in Jia Zhangkeâ€™s Films.â€ Senses of Cinema 59 (June 2011). http://sensesofcinema.com/2011/feature-articles/the-quest-for-memorydocumentary-and-fiction-in-jia-zhangke%E2%80%99s-films/.
5.Zhang, Zhen. â€œUrban Dreamscape, Phantom Sisters, and the Identity of an Emergent Art Cinema.â€ In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the Twentyfirst Century. Duke UP, 2007. 344-387