PG SEMINAR 2021: KEYWORDS IN RETHINKING ASIAN MEDIA AND CINEMA CULTURE

Required Reading Flaxman, G. (2018). Cinema in the Age of Control. In Beckman F. (Ed.),  Control Culture: Foucault and Deleuze after Discipline  (pp. 121-140). Edinburgh: Edinburgh University Press. Retrieved March 29, 2020, from www.jstor.org/stable/10.3366/j.ctv7n08g6.12 Hagener, M., Hediger, V., & Strohmaier, A. (2016). Introduction: Like Water: On the Re-Configurations of the Cinema in the Age of Digital Networks. In M. Hagener, V. Hediger, & A. Strohmaier (Eds.), The State of Post-Cinema (pp. 1–13). Palgrave Macmillan. https://doi.org/10.1057/978-1-137-52939-8

Required Reading Bryan-Wilson, J., & Piekut, B. (2019). Amateurism. Third Text , 8822 . https://doi.org/10.1080/09528822.2019.1682812 Lee, R. L. M. (2016). Diagnosing the Selfie: Pathology or Parody?: Networking the Spectacle in Late Capitalism. Third Text , 30 (3–4), 264–273. https://doi.org/10.1080/09528822.2017.1315901

Required Reading Huang, A. (2017). Precariousness and The Queer Politics of Imagination in China . Culture, Theory and Critique: QUEER ASIA AS CRITIQUE , 58(2), 226-242. Siegel, M. (2016). The Secret Lives of Images . In M. Hagener, V. Hediger, & A. Strohmaier (Eds.), The State of Post-Cinema (pp. 195–209). Palgrave Macmillan UK. https://doi.org/10.1057/978-1-137-52939-8

Submit it via email to maran@nagoya-u.jp NOTE: if you have not received my confirmation mail after the submission, mail me again; my university mail sometimes is not compatible with your mail system. BASICS 1)      All my postgraduate students (PhD/MA) students (regardless of your registration status) are expected to submit ONE 500-800 word response paper (in WORD document); for research students, it is an option; 2)      For this assignment, you should work on a specific topic from the syllabus (NOT possible to work on irrelevant topics, like a chapter from your own thesis), and you should engage with at least TWO reading(s) from the syllabus, and ONE external reading ; 3)      The submitted WORD file should contain “ SEMINAR20” + the student’s name in its file name; 4)      Preferred referencing style is Harvard (a link of the style has been embedded in the first post in our course blog) . Please self-study the style (Citation Tools will help you to do the jo

Week 12 ★ July 10th GENDER & BIOPOLITICS I Week 13 ★ July 17 th GENDER & BIOPOLITICS II Week 14 ★ July 24th  DIGITAL FILMMAKING & NEW MEDIA II Week 15 ★ July 31st DIGITAL FILMMAKING & NEW MEDIA II

Required Reading Hagener, M. (2016). Cinephilia and Film Culture in the Age of Digital Networks . In M. Hagener, V. Hediger, & A. Strohmaier (Eds.), The State of Post-Cinema (pp. 181–194). Palgrave Macmillan UK. https://doi.org/10.1057/978-1-137-52939-8 McKenna M. (2017) Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution . In: Wroot J., Willis A. (eds) Cult Media . Palgrave Macmillan, Cham

if you do not know what it is, please email to Ma Ran. best Ran

Required Reading Ranc ière, Jacques. (2016). 'One Uprising can Hide Another'  Uprisings . Gallimard.pp 62 -70 [you have the book] Baumbach, Nico.   (2010)   Jacques Rancière and the fictional capacity of documentary ,   New Review of Film and Television Studies ,   8:1,   57-72,   DOI:  10.1080/17400300903529356 [we will focus on this one more; and I will also invite you to send us your questions in a OneNote page later on]

Homework Screening: Sans Soleil ( S unless , 1983 ) Dir. Chris MARKER China Concerto ( 中国 协奏曲 , 2012 ) Dir. WANG Bo ( 王博 ) [streaming/sharing methods TBA]

Dear all, Instead of question sheets, I experimented with Prezi slides. For this reading,  Baumbach, Nico, Damon R Young, and Genevieve Yue. 2016. “Introduction: For a Political Critique of Culture.”  Social Text  34 (2 (127)): 1–20.  https://doi.org/10.1215/ 01642472-3467942 . please refer to this: https://prezi.com/ e1hcc6v90sm8/?token= f6f15f2d7cea122fe9aa18a1542cf9 88c0a1a28b2abb91c1f1f141b237c6 fddf&utm_campaign=share&utm_ medium=copy It is a simple version. But it includes videos and stuffs, so, I hope it offers a better experience reading the THEORY.

1. In response to the question of "what are automatisms", I got this paragraph out of Cavell's book  (p103),  "One might think of this as the task of establishing a new automatism. The use of the word seems to me right for both the broad genres or forms in which an art organizes itself (e.g. the fugue, the dance forms, blues) and those local events or topoi around which a genre precipitates itself (e.g., modulations, inversions, cadences). In calling such things automatisms, I do not mean that they automatically ensure artistic success or depth, but that in mastering a tradition one masters a range of automatisms upon which the tradition maintains itself, and in deploying them one's work is assured of a place in that tradition."  It seems to be his term for all the "givens" of a particular medium of artistic practices, not just materials or method but also genre, and methods of distribution, etc. (from Hack)

Roberts, A. (2010). Jameson, Fredric. In The Encyclopedia of Literary and Cultural Theory, M. Ryan (Ed.). doi: 10.1002/9781444337839.wbelctv2j001 Jameson's cultural critique is an interrogation of what he calls “late capitalism,” borrowing the term from Marxist philosopher Enrst Mandel. Marx argued that the conflict inherent in capitalism would inevitably bring about its destruction; and the persistence, and indeed global dominance, of capitalism, might be thought to contradict this view. Mandel refined Marx's analysis into a three‐part narrative: first, market capitalism, which dominated the West in the 1800s and early 1900s evolved at the end of the nineteenth century, into, second, monopoly capitalism, which was characterized by the quasi‐imperial domination by capital of international markets. The third phase, late capitalism, is taken by Mandel (and Jameson) as beginning after World War II, and witnesses the complete interpenetration of global culture by the logic of c

1.   How to understand “Thus we ask, when—not what—is an infrastructure” (p.17)? It’s quoted from Star and Ruhleder, “Steps Toward an Ecology of Infrastructure,” and here’s the paper.  (from Xinyi)         https://drive.google.com/file/d/1snt94NAUzt-qPJkO3q9fTMAOnA6_2hOF/view?usp=sharing 2.       Regarding Hyperobject by Timothy Morton, Morton is associated with the object-oriented ontology (OOO) movement in contemporary philosophy. Although Lamarre brings up Morton's hyperobject here, he's dismissive of OOO later on in the book…(from Chris & Brett) 3.       Lamarre writes that in the anime-television complex enacts an intense form of media parasociality: “The boundary between screen world and real world disappears, allowing television entities to swarm into the real world, and conversely real persons to enter the television world. The result is a distinctive social field in which television entities and real-world entities mingle freely” (2018 23). Lamarre poli

NO.1  Jenner, M. (2018).  ‘Introduction’,  Netflix and the Re-invention of Television . In  Netflix and the Re-invention of Television . Palgrave Macmillan. https://doi.org/10.1007/978-3-319-94316-9 .pp1-31 1.       How does Jenner approach her own question regarding, ‘whether Netflix can be considered television at all’? 2.      How to understand these statements suggested by the author,  ‘television as discourse has proven remarkably flexible in accommodating technologies, industrial changes, or changes in the social practices in the history of the medium’ (p.7), and ‘Netflix did not completely re-invent what television is, but it is part of a reconception that was already prefigured by the habits linked to DVDs or DVRs, objects that are made obsolete or in need of technological adjustment’ (p.13)? NO.2  Lamarre, T. (2018).  ‘Introduction’   The Anime Ecology: A Genealogy of Television, Animation, and Game Media . University of Minnesota Press. pp1-29[I think we lay more emp

Week 6 Xiao WEEK 7 ★ JUNE 5TH   UPRISINGS II Yiqin WEEK 8 ★ JUNE 12 CINEPHILIA AND FILM CULTURE Xiaoyi  WEEK 9 ★ JUNE 19TH AKIRA Brett Week 10 ★ June 26th K WANGJU AND BEYOND Sarah Week 11 ★ July 3rd GENDER & BIOPOLITICS I Linxi Week 12 ★ July 10th GENDER & BIOPOLITICS II Jinbo Week 13 ★ July 17 th DIGITAL FILMMAKING & NEW MEDIA I Hao Week 14 ★ July 31st DIGITAL FILMMAKING & NEW MEDIA II Yikan

Dear all, Please download the syllabus of our Spring SEMINAR HERE .

JAN 17TH    NO CLASS

Everybody, Happy New Year!!