Postmodern Japan Midquarter Spring 2002

Postmodern
Japan


Spring 2002

Earl
Jackson, Jr.


talkingcure2000@aol.com

 

Midquarter  Due electronically by Five PM, Monday,
May 13, 2002
Choose any one of the questions
below and write a 5-7 page paper, double-spaced. Full citations and bibliography
in accordance with the MLA Style Sheet. Answers should be in essay format,
typewritten, double-spaced, 5-7 pages, with proper references (footnotes,
etc.). Papers should be theoretically provocative, but methodologically
and conceptually coherent. Do not allow plot summaries to dominate, but
be sure that the paper is intelligible to any educated native speaker of
English, whether or not they have read the texts in question. Do not hand
in summaries or paraphrases of my lectures. References to lectures, properly
contextualized and responsibly cited are permissible to support a point,
but it would be better to find the primary or critical texts I was discussing
and engage with them. I will help you find the necessary sources.

    These questions
require research
– both ordinary and Internet. Internet research is
to be documented and any online sources are to be cited in accordance with
MLA guidelines. The questions cover a wide range of interests, abilities,
and predelictions. If you find certain questions impossible, don’t do them.
Some questions stress independent research more than others. Other questions
require familiarity with texts besides those we did in class. Those questions
are designed for people who either are already familiar with the extra-mural
texts, or whose facility with the discipline or interest in the topic area
would warrant reading the texts. [Note I do not call the reading of extra-mural
texts „extra reading.“ There is no such thing as „extra
reading
„.  All reading is justified, and most of it is necessary.]
1. Describe, compare, and contrast the differences between
„coherence“ and „meaning“ in any two of the following:


A
Wild Sheep Chase


Charisma
(Kurosawa
Kiyoshi
1999)


Tokyo Drifter (Suzuki
Seijun
1966)
2. Describe and substantiate the meaning and function
of the figure of the yakuza in Tokyo Drifter (Suzuki
Seijun
1966) and Afraid
to Die
(Masumura
Yasuzo
1960).
3. Construct a working model for the difference between
shukan
and shutai
as they are articulated in two of the following. Substantiate all your
claims:


Fires on the Plain (Ichikawa Kon 1958)

Swallowtail Butterfly (Iwai
Shunji 
1996)


Cure (Kurosawa
Kiyoshi
1997)


The
Day He Himself Shall Wipe My Tears Away
.
4. Describe the interimbrication of the shutai with the
agonistic spectacle in any two of the following:


Elegy to Violence (Suzuki
Seijun
1965)


Branded to Kill (Suzuki
Seijun
1967)


Battle Royale (Fukasaku
Kinji
2000)


Water Boys (Yaguchi Shinobu 2001)
5. Develop a theory of postmodern romance using two of
the following:


Any text/s by Murakami
Haruki


Love Letter (Iwai
Shunji 
1995)


Chungking Express (Wong Kar-wai 1994)

Okinawa Rendezvous (Gordon Chan 2000)

Manji (Masumura Yasuzo 1965)
6. Develop a theory of difference as it is articulated
in Swallowtail Butterfly (Iwai
Shunji
1996).
7. Contrast the Psychosexual spectacles of Water Boys
and Iron Ladies with the Repressive Spectacle of Ghost Dog
and at least one other masculinist film of your choice.
8. Develop a theory of the cinematic poetics of a single
director. Use at least three films of that director. Directors that are
available for this topic include: Suzuki
Seijun
; Iwai
Shunji
; Kurosawa Kiyoshi; Miike
Takashi
; Masumura Yasuzo. Contrast the director you choose with at
least one other director. 
9. Delineate and compare the sublimated drives in any
two of the following films:


Elegy to Violence (Suzuki
Seijun
1965)


Giants and Toys (Masumura Yasuzo 1958)

Water Boys (Yaguchi Shinobu 2001)
9. Delineate and compare the psychopolitical affects
of the desublimated drives in any two of the following films:


In the Realm of the Senses (Oshima Nagisa 1976)

Lost Paradise (Morita Yoshimitsu 1997)

Visitor
Q
(Miike
Takashi
2001)


Manji (Masumura Yasuzo 1965)
10. Do specific readings of the relation of space to
screen surface in Kurosawa Kiyoshi’s films, especially:


License
to Live
(Kurosawa Kiyoshi 1998)


Kairo
(Kurosawa
Kiyoshi
2001)


Cure (Kurosawa
Kiyoshi
1997)


Charisma
(Kurosawa Kiyoshi 2000)
11. Do a comparative reading of Manji
(Masumura Yasuzo 1965) and A Berlin Affair (Liliana
Cavani
1976).
12. Develop a model for the technology of subjectivity
for each of two or three of the following films. Present them separately
and then compare.

Kairo
(Kurosawa Kiyoshi 2001)


Cure
(Kurosawa Kiyoshi 1997)


Blind Beast (Masumura Yasuzo 1969)

Ghost in the Shell (Oshii Mamoru 1998)

Focus
(Isaka Satoshi 1996)


Angel Dust (Ishii Sogo 1994)

Tetsuo the Iron Man (Tsukamoto Shin’ya 1989)
13. Define and delineate the libidinal economies of Gate
of Flesh
(Suzuki
Seijun
1965) and Story of a Prostitute (Suzuki
Seijun
1964).

Postmodern Japan

Spring 2002

Earl
Jackson, Jr.


talkingcure2000@aol.com