I. Literary Theory and Criticism
Plato, Republic (Book X)
--. Phaedrus
Aristotle, Poetics
Horace, The Art of Poetry
Longinus, “On the
Sublime”
Sir Philip Sidney, “An
Apology for Poetry”
Edmund Burke, A Philosophical Inquiry
Gotthold E.
Lessing, Laocoon
David Hume, “Of the
Standard of Taste”
Friedrich von
Schiller, “On Naïve and Sentimental Poetry”
Immanuel Kant, From
Critique of Judgment
William Wordsworth,
Preface to Lyrical Ballads
Hegel, Introduction to The Philosophy of Art
Karl Marx, “Consciousness
Derived from Material conditions”
Charles Baudelaire, * “The Painter of Modern Life”
Matthew Arnold, “The
Function of Criticism at the Present Time”
Friedrich Nietzsche,
The Birth of Tragedy from the Spirit of Music
Leo Tolstoy, From
What Is Art?
T.S. Eliot, “Tradition
and the Individual Talent”
i. Marxism and Culture Criticism
Walter Benjamin,
“Author as Producer”
--. “Theses on the
Philosophy of History”
--. * “The Work of
Art in the Age of Mechanical Reproduction”
Georg Lukacs, Part
I, 1-5, Part II, 4, from The Theory of
the Novel
Terry Eagleton,
“Introduction,” “Political Criticism,” from Literary
Criticism
Siegfried Kracauer,
“The Cult of Distraction: On Berlin’s Picture Palaces”
--. “The Mass
Ornament”
Max Horkheimer and
T. Adorno. The Dialectic of Enlightenment
Theodor Adorno, “The
Culture Industry Reconsidered”
Williams, Raymond. “Dominant, Residual and
Emergent,” “Structures of Feeling” from Marxism
and Literature
Frederic Jameson, “On
Interpretation”
ii. Structuralism/Post-structuralism
Roland Barthes, “The
Death of the Author”
--. “From Work to
Text”
Michel Foucault, “What
Is an Author?”
--. The History of Sexuality. Volume One:
Introduction
--. “Truth and
Power”
Jacques Derrida, “Structure,
Sign, and Play in the Discourse of the Human Sciences”
--. “Signature
Event Context”
--. “Plato’s
Pharmacy”
iii. Postmodernism
Jean-Francois Lyotard, “Answering the Question: What is
Postmodernism?”
Jean Baudrillard, Simulacra and Simulation
Fredric Jameson, “Postmodernism,
or the Cultural Logic of Late Capitalism”
David Harvey, The Condition of Postmodernity (Part I, II,
& IV)
Paul Crowther,
“Postmodernism in the Visual Arts: A question of ends”
Rey Chow, “Rereading Mandarin Ducks and
Butterflies: A Response to the ‘postmodern’ condition”
A. Films
Georges Melies, A Trip to the Moon (1902)
Edwin S. Porter, The Great Train Robbery (1903)
D.W.Griffith, The Birth of a Nation (1915)
Robert Wiene, The Cabinet of Dr. Caligari (1920)
Sergei Eisenstein, Battleship
Potemkin (1925)
Fritz Lang, Metropolis (1926)
F.W.Murnau, Sunrise (1927)
Luis Buñuel, Un Chien andalou (1929)
Josef von Sternberg,
Blue Angel (1930)
Ernst B. Schoedsack, King Kong (1933)
Frank Capra, It Happened One Night (1934)
Wu Yonggang, *Goddess
(1934)
Charles Chaplin, Modern Times (1936)
Jean Renoir, Rules
of the Game (1939)
Orson Welles, Citizen
Kane (1941)
Maya Deren, Meshes of the Afternoon (1943)
Michael Curtiz, Mildred Pierce (1945)
Jacques Tourneur, Out of the Past (1947)
Cai Chusheng and Zheng Junli, *Spring River Flows East (1947)
Billy Wilder, Sunset
Blvd. (1950)
Akira Kurosawa, Rashomon (1950)
Stanley Donen, Singin’in the Rain (1952)
Yasujiro Ozu, Tokyo Story (1953)
Douglas Sirk, Written on the Wind (1956)
Ingmar Bergman, Wild
Strawberries (1957)
Michael Powell, Peeping Tom (1959)
Alfred Hitchcock, Psycho (1960)
Jean-Luc Godard, Breathless (1960)
Akira Kurosawa, Yojimbo
(1961)
Terence Young, Dr. No (1962)
Federico Fellini, 8
½ (1963)
Xie Jin, Stage Sisters (1965)
Michelangelo
Antonioni, Blowup (1966)
Sergio Leone, Once Upon a Time in the West (1968)
Andréi Tarkovsky, Solaris (1971)
Stanley Kubrick, A Clockwork Orange (1972)
Steven Spielberg, Jaws (1975)
Martin Scorsese, Taxi Driver (1976)
Francis Ford
Coppola, Apocalypse Now (1979)
Ridley Scott, Blade Runner (1982)
Chen Kaige, Yellow
Earth (1984)
Zhang Yimou, Raise the Red Lantern (1991)
Clint Eastwood, Unforgiven
(1992)
Tsui Hark, Once Upon a Time in China (1993)
Quentin Tarantino, Pulp
Fiction (1994)
i. Early Film Theory
Hugo Munsterberg, “Introduction” “The Psychology of the Photoplay” “The Means of
the Photoplay” from The Film: A
Psychological Study
Sergei Eisenstein, “Dialectic Approach to
Film Form” “Cinematographic Principle and the Ideogram” “Film Language” from Film Form
Dziga Vertov, From Kino-Eye
Rudolf Arnheim, “Film
and Reality” “The Complete Film” from Film
as Art
Andre Bazin, “The Myth of Total Cinema” “The Evolution of the Language of the Cinema”
Siegreid Kracauer, *From Caligari to Hilter
ii. Cine-semiology
Erwin Panofsky, Studies in Iconology
Christian Metz, Film Language: A Semiotics of the Cinema
--.
“Story/Discourse: Notes on Two Kinds of Voyeurisms”
Daniel Dayan, “The
Tutor-Code of Classical Cinema”
Kaja Silverman, The Subject of Semiotics
Geoffrey
Nowell-Smith, “A Note on Story/Discourse”
Colin MacCabe, Tracking the Signifier: Theoretical Essays,
Film, Linguistics, Literature
Boris Eichenbaum, The Poetics of Cinema
iii. Genre Theory
Stephen Neale, Genre and Hollywood
Barry Keith Grant, Film Genre Reader II
Rick Altman, Film/Genre
Nick Browne, Refiguring American Film Genre: History and
Theory
Christine Gledhill, “The Melodramatic Field: An Investigation”
Thomas Elsaesser, “Tales
of Sound and Fury”
Wimal Dissanayake ed., Melodrama
and Asian Cinema
Frank Krutnik, In a
Lonely Street
iv. Theorizing Spectatorship
Yuri Tsivian, Early Cinema in Russian and Its Cultural
Reception
Mary Ann Doane, “Film and the Masquerade: Theorizing the Female Spectator”
Miriam Hansen, “Introduction” and Part I from Babel and Babylon
--. “Early Cinema, Late Cinema: Transformation of the Public Sphere”
Judith Mayne, “The Paradoxes of Spectatorship”
Vivian Sobchack, “Phenomenology and Film Experience”
Jackie Stacey, Star Gazing: Hollywood Cinema and Female
Spectatorship
A. Texts
i. Prose Fiction
Franz Kafka, Metamorphosis
James Joyce, A Portrait of the Artist as a Young Man
Marcel Proust, Swann’s Way
Thomas Mann, Death in Venice
Virginia Woolf, Mrs. Dalloway
André Breton, Nadja
Lu Xun, Diary of a Madman
Yu Dafu, Sinking
Ding Ling, The Diary of Miss Sophie
Natsume Soseki, Kokoro
ii. Drama
Anton Chekhov. The Cherry Orchard
Eugene O’Neil, The Hairy Ape
Bertolt Brecht, Mother Courage and Her Children
George Bernard
Shaw, Mrs. Warren’s Profession
Antonin Artaud, The Cenci
Cao Yu, Sunrise
Xia Yan, Under Shanghai Evas
T.S. Eliot, The
Love Song of J.Alfred Prufrock
Ezra Pound, In a
Station of the Metro
Vladimir
Mayakovsky, The Cloud in Trousers,
--, Brooklyn Bridge
Wen Yiduo, The
Dead Water
Li Jinfa, The
Abandoned Woman
from Photography of
Eugène Atget
from Photography of Alfred Stieglitz
from Photography of Weegee
from Photography of Aleksandr Mikhalovich Rodchenko
from Photography of
Man Ray
v. Film
Sergei Eisenstein, *Battleship Potemkin
Dziga Vertov, Man
with the Movie Camera
Fritz Lang, *Metropolis
F.W. Maurau, * Sunrise
Wu Yonggang, *Goddess
Charles Chaplin, *Modern Times
--. The Great Dictator
Cai Chusheng and Zheng Junli, *Spring River Flows East
Fei Mu, *Spring in a Small Town
Kenji Mizoguchi, Genroku Chushingura
B. Critical Works
i. Criticism on Specific Works
Virginia Woolf, A
Room of One’s Own
Natsume Sōseki,
“My Individualism”
Liang Qichao, “On
the Relation Between Fiction and Society”
Zhou Zuoren, Sources
of Chinese New Literature
Bertolt Brecht, “A
Short Organum for the Theatre”
Antonin Artaud,
from The Theatre and Its Double
Charles Baudelaire, “The Modern Public and
Photography,”
Roland Barthes, “Rhetoric of the Image,” “Diderot,
Brecht and Eisenstein” from The
Responsibility of Form
Christopher Phillips, Photography in the
Modern Era
Graham Clarke, The
Photograph
Patrick Maynard, Engine
of Visualization: Thinking through Photography
ii. Criticism on Modernism
Charles Baudelaire, * “The Painter of Modern
Life,” “Eyes of the Poor”
Jean-Paul Satre, “The Preface to inaugural
issue of Modern Time”
Walter Benjamin,
*“The Work of Art in the Age of Mechanical Reproduction”
Harry Levin, “What
Was Modernism?”
György Lukacs, “The
Ideology of Modernism”
Jürgen Habermas,
“Modernity – An Incomplete Project”
Marshall Berman, All That is Solid Melts into Air: The
Experience of Modernity
Andreas Huyssen. Chapter 1-3 from After the Great Divide: Modernism, Mass
Culture, Postmodernism
Charles Taylor, Sources of the Self (Part V)
Judith Walkowitz, “Urban Spectatorship”
Fredric Jameson. *Postmodernism, or the Cultural Logic of Late Capitalism, “Modernism and Imperialism,” “Note
Toward a Theory of the Modern”
Sun Yu, Wild Rose (1931)
--. Small Toy (1933)
--. Big Road (1934)
Wu Yonggang, *Goddess (1934)
Ying Yunwei, The Plunder of Peach and Plum (1934)
Cai Chusheng, New Women (1934)
Luo Mingyou, Tian Lun (1935)
Shen Xiling, Boatman’s Daughter (1935)
Wu Yonggang, Zhuang Zhi Ling Yu (1936)
Cheng Bugao, New and Old Shanghai (1936)
Yuan Muzhi, Street
Angel (1937)
Shen Xiling, Crossroads (1937)
Chen Liting, Far Away Love (1947)
Cai Chusheng and Zheng Junli, *Spring River Flows East (1947)
Shi Dongshan,Eight Thousand Miles of Clouds and the Moon (1947)
Fei Mu, *Spring in a Small City (1947)
Sang Hu, Sadness and Happiness of a Middle-Aged Man (1948)
Zheng Junli, Crows and Sparrows (1949)
Ling Zifeng and Zhai Qiang, Zhong Hua Er Nű (1949)
Wang Bin and Shui Hua, White-Haired Girl (1950)
Zheng Junli, Nie Er (1959)
Shui Hua, Lin Family Shop (1959)
i. National
Cinema
Benedict Anderson, Imagined Communities:
reflections on the origin and spread of nationalism
Mette Hjort, Cinema and Nation
Andrew Higson, “The Concept of National
Cinema”
Stephen Crofts, “Reconceptualizing
National Cinemas/s”
Tom O’Regan, “A National Cinema”
Cheng Jihua, A History of the Development
of Chinese Cinema
Jey Leyda, Dianying: An Account of Films and the Film Audience in China
Zhang Litao, Chinese Communist Moving Pictures
History
Ding Yaping, Ying Xiang Zhongguo: Zhongguo Dian
Ying Yi Shu 1945-1949
Chen Feibao, A History of Taiwanese Cinema
Paul Fonoroff, “A Brief History of Hong Kong Cinema”
Xia Yan, “Preface to Volume of Film of the
Omnibus of New Chinese Literature (1927-1937),” “Opening Speech of
Retrospection of Chinese Film: from the 1920s to the 1940s”
Li Shaobai, “Methodology of the History of Chinese
Cinema”
Luo Yijun, “Cultural Tradition and Chinese Film
Theory: Preface to Anthology of Chinese Film Theory,” “National Style of
1930’s Chinese Film”
ii. Cinema and Modernity
John Orr, Cinema
and Modernity
Frederic E.
Wakeman, China’s Quest for Modernization:
a Historical Perspective
Paul Cohen, Discovering History in China
Mao Zedong, “Talks at the Yan’an Forum on Literature and Art”
Leo Ou-Fan Lee, “The Tradition of Modern Chinese Cinema: Some Preliminary Explorations and Hypotheses”
Rey Chow,
“Seeing Modern China: Toward a Theory of Ethnic Spectatorship” from Women and Chinese Modernity
Ellen Widmer, From May Fourth to June Fourth: Fiction and Film in Twentieth Century
China
Shu-Mei Shih, “Introduction” from The Lure of the Modern
Jürgen Habermas, The Structural Transformation of the Public Sphere
Zhang Yingjin, “Introduction: Cinema and
Urban Culture in Republican Shanghai” from Cinema
and Urban Culture in Shanghai, 1922-1943
Esther C. M. Yau, “Compromised Liberation:
The Politics of Class in Chinese Cinema of the Early 1950s”
Catherine Yi-Yu Cho Woo, “The Chinese
Montage: From Poetry and Painting to the Silver Screen”
iii. Cinema and
Trans-cultural Practice
E.Ann Kaplan, Looking for the Other
Lydia He Liu, Translingual Practice:
Literature, National Culture, and Translated Modernity—China, 1900-1937
Rey Chow, “Film as Ethnography: or, Translation Between Cultures in the Postcolonial World”
Poshek Fu, “Projecting Ambivalence: Chinese
cinema in semi-occupied Shanghai 1937-1941,” “The Ambiguity of Entertainment:
Chinese Cinema in Japanese-Occupied Shanghai, 1941-1945,” “Patriotism or
Profit: Hong Kong Cinema during the Second World War”
Shelley Stephenson, “ ‘Her Traces Are Found Everywhere’: Shanghai, Li Xianglan, and the ‘Greater East Asia Film Sphere’”
Xiao Zhiwei, “Constructing a New National Culture: Film Censorship and the Issues of Cantonese Dialect, Superstition, and Sex in the Nanjing Decade”
Yu Mo-wan, “The Patriotic Tradition in Hong
Kong Cinema: A Preliminary Study of Pre-War Patriotic Films”
Tony Rayns, “Missing Links: Chinese Cinema
in Shanghai and Hong Kong from the 1930s to the 1940s”
Hong Kong Film Archive, 50 Years of the Hong
Kong Film Production and Distribution Industries
(List for Xiaoning Lu. Approved Fall 2003)