Overview
Hi,
Here is how the review will be graded:
Grading criteria is as follow (10 points total):
1. On-time Submission
2. Length(300-400 words)
3. Pick one scene from the required film this week
4. Originality (Your own idea about why and how the scene is impressive)
5. Reference to assigned reading
6. Image
7. Clarity of expression (appropriate grammar; clear meanings of words
8. Coherent structure of argument (No bullet point or itemization)
9. Present the Keyword from this week’s lecture
10. Explanation of the keyword
Duality of the Golden Age of Japanese Cinemain the 1950s
Duality(today’s keyword): Films for domestic audience: Tearjerkers (victimization of innocent women and children)
vs. Films for international audience: Exoticism (Kabuki, samurai, geisha, Zen Buddhism)
So in some, there was a duality during the golden age of Japan in the 19 fifties. So duality, the sequences keyword y, this is the key word of today because that's their representative. That's the simple recall term, or 19 fifties Japanese cinema. Gap between the domestic market and an international market. So the success has a dualism. In the 19 fifties, differences of popularity between the domestic market and international wanted. So films for the domestic audience. Cheer Turkers. Victimization narrative of innocent women and children. Films for international audience, exoticism, Kabuki, some Lai Gai Shi, Zen Buddhism, so on and so forth. And the films that were successful in the domestic market, like 24 eyes, they were never exported to international markets. And the films like Ubuntu, Rashomon B1, not me Safari, popular in the domestic market. There was a gap. There wasn't due, arisen due, alrighty. Throughout the 19 fifties. To give you an idea how those exotic films looked like. I want to, I want you to look at the third clip of this sequence.
The above is the keyword(duality), and some explaination from the lecture.
Film: Ugetsu (Ugetsu monogatari, Mizoguchi Kenji, 1953)
Readings: Keiko I. McDonald, “Ugetsu: Why Is It a Masterpiece?” in Ugetsu, ed. Keiko
McDonald (New Brunswick, N.J.: Rutgers University Press, 1993), 3-16.
Ueda Akinari, “The House Amid the Thickets,” in Ugetsu, 79-85.