香港文學與電影中的城市與身份再現
Representations of the City and Identity in Hong Kong Literature and Cinema
| 節 | 週二 |
|---|---|
5 13:20–14:10 | 香港文學與電影中的城市與身份再現 HK119 3 節連堂 |
6 14:20–15:10 | |
7 15:30–16:20 |
* 根據陽明交大上課時間表所列
What is Hong Kong identity? How has Hong Kong identity been understood and transforming? What is the relationship between the city and identity of Hong Kong? How can we understand the changing and transforming city and identity of Hong Kong through literature and cinema? Through literary works and films of different themes produced in different periods of time, the course will explore the ‘city’ and ‘identity’ of Hong Kong. Students can also use Hong Kong as a reference point to understand identity politics and transformation in other places. Ability to understand Cantonese is an advantage but not required. We use Microsoft Teams for online teaching. Make sure you download the app before the 1st week. 何謂香港身份?如何理解香港身份?香港身份又是如何轉變? 城市與香港身份認同又有甚麼關係? 我們如何可以透過香港文學和電影,理解香港城市地景和身份認同的轉變? 透過不同時期、不同主題的香港文學與電影文本,本課程將探討香港的城市和身份認同。香港,也可以成為一面鏡子,反思其他地方的身份認同與身份政治之事。 註:能夠理解粵語對修讀課程有幫助,但不是必要要求。 本課程使用Microsoft Teams作網上教學及討論之用,請於開學前下載Microsoft Teams。 Upon the successful completion of the course, students will be able to: 1. Explain key concepts on identity and city 2. Apply relevant theories to analyze the literary and cinematic texts 3. Evaluate the strengths and weakness of the interpretations and claims 在完成本課程後,學生能夠: 1. 解釋身份認同和城市的主要觀念 2. 運用適當的理論去分析文學與電影文本 3. 評鑑演繹與主張的優缺點
Medium of Instruction: English & Mandarin 英語、華語雙語授課 Ability to understand Cantonese is an advantage but not required. All literary texts are provided with English translation. All cinematic texts are with English or Chinese subtitles. 能夠理解粵語對修讀課程有幫助,但不是必要要求。 所有文學作品皆有提供英文譯本。 所有電影皆有英文或華文字幕。
You are expected to finish the literary texts and essential readings before each week. You are advised to consult recommended readings to achieve intended learning outcomes. In order to provide a safe learning environment that encourages discussion, no video-recording, audio-recording, or filming is allowed, unless approved otherwise. Plagiarism refers “presenting someone else’s work or ideas as your own, with or without their consent, by incorporating it into your work without full acknowledgement” . To avoid plagiarism, remember to attribute and cite properly. Plagiarism is STRICTLY FORBIDDEN in our class. In case of plagiarism, students will receive “0” in the said assignment. Check Purdue Online Writing Lab for further writing resources, including reference and citation guides and how to avoid plagiarism: https://owl.purdue.edu/owl/purdue_owl.html 你需要在每周課堂開始前完成閱讀文本和Essential Readings,而為了達到預期學習成果,亦建議你閱讀Recommended Readings。 為保障安全及開放的討論環境,未經批准,不得錄影或錄音。 剽竊(Plagiarism)指的是:「把他人的作品或見解,當成自己的,而沒有完整的披露,不論對方是否同意」(“presenting someone else’s work or ideas as your own, with or without their consent, by incorporating it into your work without full acknowledgement”)1。為避免剽竊,你必須緊記正確的徵引。本課程嚴禁剽竊,一經發現,該項作業/測驗將會是零分。
Student-led seminars 學生主導研討 10% Mid-Term test 期中測驗 30% End-Term proposal 期末口頭報告 20% End-Term essay 期末書面報告 40%
| 週次 | 主題 |
|---|---|
| 第 1 週 | Literary Text: • 魯迅〈略談香港〉 Lu Xun “On Hong Kong”. Translated by Zhu Ziyu and Don J. Cohn. Renditions, Nos. 29 & 30 (Spring & Autumn 1988) : 47 – 53 https://www.cuhk.edu.hk/rct/pdf/e_outputs/b2930/v29&30P047.pdf • 梁秉鈞〈老殖民地建築〉 Leung Ping-kwan “An Old Colonial Building” https://www.hkmemory.hk/MHK/collections/Yasi/All_Items/prints/201607/t20160705_79912.html https://www.hkmemory.hk/collections/Yasi/All_Items/prints/201607/t20160705_79911.html Recommended Readings: • 也斯(1995/2012) 香港的故事:為甚麼這麼難說? • Stuart Hall (1994) “Cultural identity and diaspora”. Patrick Williams and Laura Chrisman (eds.) Colonial Discourse and Post-colonial Theory: A Reader. London: Harvester Wheatsheaf, pp. 227 – 237. • 王宏志、李小良、陳清僑(1997) 《否想香港》,麥田,pp. 11 – 18 |
| 第 2 週 | Mid-Autumn Festival (No Class) 中秋節假期 |
| 第 3 週 | Cantonese Opera and the Loyalists 粵劇與遺民 Literary Text: • 唐滌生《帝女花》(第四節與第七節) https://doi.org/10.2307/j.ctt1pc5dk7.9 Tong Dik Sang. The Flower Princess: A Cantonese Opera by Tong Dik Sang. (Acts IV & VII). Translated, edited and introduced by Yung Bell, Sonia Ng, Katherine Carlitz. Chinese University Press. 2010. https://doi.org/10.2307/j.ctt1pc5dk7 Recommended Reading: • Daphne P. Lei (2011) “Pacification and Silent Resistance: Performing Hong Kong in The Flower Princess”. Alternative Chinese Opera in the Age of Globalization. Palgrave, pp. 64 – 97. • 陳智德(2019)〈流動與根著〉,《根著我城》,導論二 |
| 第 4 週 | Hong Kong, Shanghai, and Southeast Asia 香港、上海與東南亞 Cinematic Text: • In the Mood for Love花樣年華 (Dir.: Wong Kar Wai王家衛) Essential Readings: • Desmond Sham (2017) Hong Kong as a Port City. In Y-W. Chu (Ed.), Hong Kong Culture and Society in the New Millennium (Vol. 4, pp. 91-110). (The Humanities in Asia). Springer Nature. https://doi.org/10.1007/978-981-10-3668-2_5 OR 岑學敏(2019) 〈港口城市〉,朱耀偉編《香港關鍵詞》,香港中文大學出版社,pp. 219 – 230 • Lai Chee Kien (2015) “Imagining Nanyang: Hong Kong and Southeast Asia in Wong War-wai Movies”. In Lilian Chee & Edna Lim, eds. Asian Cinema and the Use of Space, Ch.8 https://www.taylorfrancis.com/chapters/edit/10.4324/9781315885575-16/imagining-nanyang-hong-kong-southeast-asia-wong-kar-wai-movies-lai-chee-kien Recommended Reading: • E. K. Tan (2010) Hong Kong cinema and the portrayal of the Nanyang Chinese in the 1950s and 1960s, Journal of Chinese Cinemas, 4:2, 155-168, DOI: 10.1386/jcc.4.2.155_1 |
| 第 5 週 | My City 我城 Literary Texts: • 西西《我城》(#12, #13) Xi Xi (Sai Sai). My City. (#12, #13). Translated by Eva Hung. Renditions, 1994. Essential Reading: • Lo Kwai-cheung (2009) “Hong Kong Literature and Its City”. Hong Kong Urban Culture & Urban Literature. Edited by Leung Ping Kwan, Amanda Hsu, and Lee Hoi Lam Hong Kong: Hong Kong Story Association, pp. 134 – 151. OR 羅貴祥(2009)〈香港文學與城市〉,梁秉鈞等編:香港都市文化與都市文學,pp. 152 – 167 • 羅永生〔安徒〕(2006)〈天星:香港意識的搖籃〉 https://www.inmediahk.net/%E7%A4%BE%E9%81%8B/%E5%A4%A9%E6%98%9F%EF%BC%9A%E9%A6%99%E6%B8%AF%E6%84%8F%E8%AD%98%E7%9A%84%E6%90%96%E7%B1%83 Recommended Reading: • 西西(1986) 浮城誌異 Xi Xi (Sai Sai) Marvels of a floating city, translated by Eva Hung |
| 第 6 週 | Hong Kong and Vietnam 香港與越南 Cinematic Text: • Boat People 投奔怒海 (Dir. Ann Hui 許鞍華) Essential Readings: • Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018. • Mirana M. Szeto (2011) Ann Hui at the Margin of Mainstream Hong Kong Cinema https://www.jstor.org/stable/j.ctt1xwcs9.9 Recommended Reading: • Rey Chow (1992) “Between Colonizers: Hong Kong’s Postcolonial Self-Writing in the 1990s”. Diaspora. 2(2): 151 – 170. DOI: 10.1353/dsp.1992.0011 • Vinh Nguyen (2016) Ann Hui’s Boat People: Documenting Vietnamese Refugees in Hong Kong DOI: https://doi.org/10.36019/9780813579962-009 |
| 第 7 週 | Politics of Nostalgia (I) Cinematic Text: • Rouge 胭脂扣 (Dir.: Stanley Kwan) Essential Reading: • Esther M.K. Cheung (2010) “On Spectral Mutations: The Ghostly City in The Secret, Rouge and Little Cheung”. Hong Kong Culture: Word and Image. Edited by Kam Louie. Hong Kong: Hong Kong University Press, pp. 169 – 192. DOI: 10.5790/hongkong/9789888028412.003.0011 OR 張美君(2020)〈 幻變我城:《瘋劫》、《胭脂扣》與《細路祥》的鬼魅城市〉,《幻魅都市》,蕭恒譯,手民:pp.149 – 182 Recommended Reading: • Laurajane Smith & Gary Campbell (2017) “‘Nostalgia for the future’: memory, nostalgia and the politics of class”. International Journal of Heritage Studies, 23:7, 612-627, DOI: 10.1080/13527258.2017.1321034 |
| 第 8 週 | Mid-term Test (Due Date) 期中測驗 All take-home mid-term test should be submitted via email by 18:00, Tuesday 2 Nov 2021 期中測驗交卷時間:2021年11月2日下午6時 |
| 第 9 週 | Politic of Nostalgia (II) Literary Texts: • 董啟章〈永盛街興衰史〉 Dung Kai-cheung “The Rise and Fall of Wing Shing Street”. Translated by Flora Lam and Simon Patton. To Pierce the Material Screen: An Anthology of 20th-Century Hong Kong Literature. Research Centre for Translation, the Chinese University of Hong Kong. 2008, pp. 235 – 267. • 廖偉棠〈女燒衣〉 Liu Wai Tong “Woman Burning Clothes” https://www.poetryinternational.org/pi/poem/23204/auto/0/0/Liu-Waitong/WOMAN-BURNING-CLOTHES/en/tile Essential Reading: • Esther M. K. Cheung (2001) “The Hi/Stories of Hong Kong”. Cultural Studies 15(3-4): 564 – 590. DOI: 10.1080/095023800110046704 Recommended Reading: • 危令敦(2010)〈客途秋恨憑誰說?─論〈永盛街興衰史〉的香港歷史、記憶與身份書寫〉,《都市蜃樓:香港文學論集》,pp.359 – 377 |
| 第 10 週 | Floating City and Migration 浮城與移民 Film : To Liv(e) 浮世戀曲 (Director: Evans Chan陳耀成) Essential Reading: • Amy Lee (2015) The Film Essay and Political Discourse in Evans Chan’s To Liv(e). In Tony Williams (eds.) Postcolonialism, Diaspora, and Alternative Histories, Ch. 2 Recommended Readings: • Michael Ingham (2007) “‘Crossings’: Documentary elements and essayistic devices in the fiction and non-fiction films of Evans Chan”, Studies in Documentary Film, 1:1, 21-33, DOI: 10.1386/sdf.1.1.21_1 |
| 第 11 週 | The Colonial Undercover 殖民無間道 Cinematic Text: • Infernal Affairs 無間道 (Dir.: Andrew Lau劉偉強 & Alan Mak麥兆輝) Essential Reading: • Law Wing-sang (2008) “Hong Kong undercover: an approach to ‘collaborative colonialism’”, Inter-Asia Cultural Studies, 9: 4, 522 — 542 OR 羅永生(2007)《殖民無間道》,牛津:pp. 1 – 44 Recommended Reading: • Wing-sang Law (2017) “Decolonisation deferred: Hong Kong identity in historical perspective”. Citizenship, Identity and Social Movements in the New Hong Kong. Edited By Wai-man Lam, Luke Cooper. Routledge |
| 第 12 週 | Heritage Preservation襲產保存 Literary Texts: • 廖偉棠〈中環天星碼頭歌謠〉、〈皇后碼頭歌謠〉、〈宇宙大苦行詩〉 Liu Wai Tong “Ballad of the Central Star Ferry Pier”, “The ballad of Queen's Pier”, “Poem for the universe's prostrating-walk”. Wandering Hong Kong with spirits. Translated by Enoch Yee-lok Tam, Desmond Sham, Audrey Heijns, Chan Lai-kuen and Cao Shuying. Zephyr Press, 2016. • 阮志雄(雄仔叔叔)〈天星〉 Yuen Che Hung “Star Ferry”. Are You Still Writing Poetry. MCCM Creations, 2017. • 陳麗娟〈亡星之城〉 Chan Lai Kuen “City of Dead Stars”, Translated by Kit Kelen and Fang Xia; Essential Reading: • Chun Chun Ting (2013) “The Star and the Queen: Heritage Conservation and the Emergence of a New Hong Kong Subject”. Modern Chinese Literature and Culture, 25(2): 80 – 129. Recommended Readings: • Yun-chung Chen and Mirana M. Szeto (2015) “The forgotten road of progressive localism: New Preservation Movement in Hong Kong”. Inter-Asia Cultural Studies, 16(3): 436 – 453 https://doi.org/10.1080/14649373.2015.1071694 • 岑學敏(2018) 〈城市、土地與文學:2000年代香港華語語系詩的實踐〉,中外文學47(2): 89 – 124 |
| 第 13 週 | Utopia & Dystopia烏托邦與反烏托邦 Cinematic Texts: • Hong Kong will be destroyed after 33 years香港將於33年後毀滅 (2014, Dir: Nero Ng) https://www.youtube.com/watch?v=5YzCXjm2yOU • Ten Years十年 (2015, multiple directors) Essential Readings: • Helena Wu (2020) “Imagining the future in post-millennial Hong Kong cinema: Visualizing the local, the national and the global in cultural imaginaries”, Journal of Chinese Cinemas, 14:1, 32-49, DOI: 10.1080/17508061.2020.1733211 • Stephen Chan (2015) “Delay no more: struggles to re-imagine Hong Kong (for the next 30 years)”. Inter-Asia Cultural Studies, 16(3): 327 – 347. DOI: 10.1080/14649373.2015.1070447 Recommended Readings: • Satish Kolluri & Joseph Tse-Hei Lee (2019) Representing Crisis and Crisis of Representation: Screening Postcolonial Hong Kong in Ten Years (2015) https://activityinsight.pace.edu/jlee/intellcont/Cine-East_no1_2-1.pdf • Stephen Chan (2017) “Un-imagining the local/future: cinematic engagement with the absence of hope”. Cultural Studies, 31(6): 820 – 836. DOI: 10.1080/09502386.2017.1388418 |
| 第 14 週 | TBA |
| 第 15 週 | End-term Proposal Presentation 期末口頭報告 |
| 第 16 週 | End-term Proposal Presentation 期末口頭報告 |
| 第 17 週 | Individual Consultation 個別諮詢 |
| 第 18 週 | End-Term Essay Due Date 期末報告交作業期限: 18:00, Thursday 13 Jan 2022 |
We will use Microsoft Teams for teaching. 本課程將使用Microsoft Teams教學。 https://teams.microsoft.com/l/meetup-join/19%3aJ8I4N6-mzS7HdPQGwgphU6eYoCjI8e5aLXEEA8ddqo41%40thread.tacv2/1629970968879?context=%7b%22Tid%22%3a%22010281b3-d5d6-4bc8-b561-bf4794b97036%22%2c%22Oid%22%3a%22300b5d35-a81d-441f-8fcc-0104bac947c6%22%7d
- 聯絡方式
- Lecturer: Dr. Desmond Sham 岑學敏博士 Email: drdesmondsham@gmail.com