ASIA 356: Korean Cinema 2014 S2

Time: Tuesday & Thursday 9am-12pm

Classroom:

Instructor: Robyn Citizen
rcitizen@mail.ubc.ca
Office:
Phone:
Office Hours:

TA:
Overview
This course will examine post-colonial/post Cold War South Korea through the broadly defined
category of Korean Cinema. Of particular interest are films which a) contributed or defined the South
Korean national cinema canon b) self-consciously engage with issues of national identity in their
narratives. Through the semester we will discuss culturally and historically resonant films, and the
works of the major auteurs. Topics addressed include: national and cultural identity formation,
cultural and economic globalization, the Korean diaspora, ethno-racial minorities, gender and
sexuality, hallyu/the Korean Wave, family and militarization. Proficiency in Korean is not required
for this course. All films will be screened with English subtitles.
Goals
To become familiar with Korean language, culture and history through its cinema
To investigate visual styles, themes and aesthetics that may be distinct to Korean Cinema
and their relationship to national and cultural identity formations, i.e. Koreanness
To situate Koreas film industry within the context of its increasingly globalized economy
Course Materials
Weekly course readings are on the syllabus and posted as full text PDFs or URLs on the
Connect course website. Students are expected to have completed the weeks readings after
the screening and before the next class.
In-class screenings are mandatory. Films may occasionally be held on reserve at Koerner
Library.
Other screenings will be through the Korean Film Archive YouTube channel
http://www.youtube.com/user/KoreanFilm which streams a rotating selection of classic
and contemporary Korean films.
There will be in-class group work so please be prepared and bring pencils, pens and
paper to class every day.
Students must create an account with TurnItIn by the end of the first week of class. Refer to
this website for instructions - http://elearning.ubc.ca/toolkit/turnitin/for-students/
Evaluation
1. Attendance / Participation 15%:
a) Attendance and in-class discussion Participation in class discussion creates a
dynamic, engaging learning environment and will be noted by the instructor and
TA(s). Come to class prepared to participate! More than TWO unexcused
absences will result in an automatic 10% deduction in the students final
attendance/participation grade.

Online film journals/discussions Students are required to post weekly online
journal entries discussing one of the screenings. Journals are due at the end of
each week Fridays by Midnight. Journals are worth 10 points and must meet
the following requirements:
1. Answer any question or topic posted by the Instructor or TA
2. Post ONE question you have about the film or corresponding reading
that you want to be addressed in the lecture
3. (*optional, but appreciated) Your personal evaluation of the film

c) In-class group work In some classes the Instructor may assign group work
including group quizzes. This work will be handed in at the end of class.

2. Group Presentations / Creative Project 20% - At the beginning of the semester you will be
put into a group and be assigned one of the films from the course. All projects will be
presented in the last week of class. Your group will be allowed to choose one of the
following presentation types or creative projects (more detailed assignment instructions
available on Connect).
a. Film Festival programmers Your group has been invited to program the Busan
International Film Festival. Provide a coherent rationale for the following
scheduling decisions: Why would it be chosen? When would your assigned film
premiere during the festival? Would it be the opening or closing film or under
another program section? Write a (250 word) Program Note describing your film
and pick two screenshots and one positive critical blurb to advertise the film on the
festival website OR create your own poster / trailer for the film.

b. Traditional Group Presentation Give a 10-minute PP/Prezi/Keynote presentation
on the relationship between your assigned film and one theme or topic provided by
the Instructor. Formal analysis (visual style, aesthetics) of one scene must be part of
your groups presentation.

3. Midterm Essay (take home) 30% - Due by Midnight Friday, July 25th (approx. 1000
words) You are responsible for an analytical, scholarly essay NOT a movie review or
opinion piece responding to a prompt concerning one or several of the following aspects
of the previously screened films: aesthetics; formal/narrative structure; socio-cultural,
economic or historical contexts; thematic; reception. Your argument must be corroborated
by at least three of the assigned readings and any other texts, including other media texts,
you deem appropriate.

4. Final Exam 35% - Students will take a final exam at the end of the semester to assess their
comprehension of the themes, auteurs, historical periods and terms discussed throughout
the class.
Academic Integrity and Responsibility
As a member of this class, you are responsible for contributing to the course objectives through
your participation in class activities and your written and other work and projects. In the process of
coming into your own as an independent, responsible participant in the academic community, you
are encouraged to seek advice, clarification, and guidance in your learning from your instructor
and/or Teaching Assistant. If you decide to seek help beyond the resources of this course, you are
responsible for ensuring that this help does not lead you to submit others work as your own. If an
outside tutor or other person helps you, show this policy to your tutor or helper: make sure you
both understand the limits of this persons permissible contribution.
Academic communities depend on their members honesty and integrity in representing the
sources of reasoning, claims, and wordings which appear in their work. Like any other member of
the academic community, you will be held responsible for the accurate representation of your
sources: the means by which you produced the work you are submitting. If you are found to have
misrepresented your sources and to have submitted others work as your own, or to have
submitted work for which you have already received credit in another course, penalties may follow.
Your case may be forwarded to the Head of the department, who may decide that you should
receive zero for the assignment. The Head will report your case to the Deans Office, where it will
remain on file. The Head may decide, in consultation with your instructor, that a greater penalty is
called for, and will forward your case to the Deans Office. After an interview in the Deans Office,
your case may be forwarded to the Presidents Advisory Committee on Academic Misconduct.
Following a hearing in which you will be asked to account for your actions, the President may apply
penalties including zero for the assignment; zero for the course; suspension from the university for
a period ranging from 4 to 24 months; a notation on your permanent record. The penalty may be a
combination of these.
Academic communities also depend on their members living up to the commitments they make. By
enrolling in this course, you make commitments to an academic community: you are responsible for
meeting deadlines; attending class and engaging in class activities; guaranteeing that the work you
submit for this course has not already been submitted for credit in another course.
Late Policy
In-class assignments (quizzes, group work) and online journals/discussions
These assignments are considered part of your general participation in the classroom environment
and discussions and therefore cannot be made up and will NOT be accepted late under any
circumstances.
Exams and Essays
The final exam will take place during the summer exam period following the last week of class. Any
illness, unforeseen circumstances or emergency which results in missing the final exam requires an
academic concession from the dean or director.
All essays are due at or before the date specified on the syllabus. Extensions will be considered only
with third party documentation or a doctors note and should be requested prior to the due date as
soon as the student realizes alternate arrangements are necessary. Unless I have previously
approved a request by the student due to academic accommodations or other excused absence
electronic submissions will not be accepted. Essays must be submitted to TurnItIn via electronic
copy by the due date and time. Any essay submitted after the designated due date and time will be
considered late and subject to the late penalties outlined below.
1) A paper submitted within 24 hours/1 day after the due date will receive a 10% penalty
2) 48 hours/2 days after due date will receive a 20% penalty
3) 72 hours/3 days after due date will receive a 30% penalty
Essays will not be accepted more than three days after the due date and students will receive a zero
for the assignment.
If you find that you cannot meet a deadline or cannot participate in a course activity, discuss your
situation with your instructor or TA before the deadline or before your absence.
Illness and Absence
If you experience medical, emotional, or personal problems that affect your attendance or academic
performance, please notify Arts Academic Advising or your home Facultys Advising Office. If you
are registered with Access and Diversity, you should notify your instructor at least two weeks
before examination dates. If you are planning to be absent for varsity athletics, family obligations,
or other commitments, you should discuss your commitments with the instructor before the drop
date.
Contesting a Grade
If students wish to contest a grade they must make an appointment to do so in person. The student
should contact the instructor or a TA with any concerns within ONE week of receiving the grade.
Personal Technology
Please turn cell phones off during class. Laptops may be used for notetaking however social
networking, e-mailing, surfing the Internet, playing games, etc. are absolutely forbidden during
class. Any student caught doing the aforementioned activities during class will be asked to turn off
their cell phones and/or computers. Repeated violations of this rule after the first warning will
result in the student being marked absent for the day and permanently losing their laptop
privileges. Be respectful; the use of personal electronic devices during class is limited to academic
purposes.

GRADE PERCENT LEVEL OF ACHIEVEMENT

A+ 90-100 Exceptional
A 85-89 Exceptional
A- 80-84 Exceptional
B+ 76-79 Competent
B 72-75 Competent
B- 68-71 Competent
C+ 64-67 Adequate
C 60-63 Adequate
C- 55-59 Adequate
D 50-54 Adequate
F 00-49 Inadequate

Students with disabilities and academic accommodations - In keeping with the Universitys
policy of providing equal access for students with disabilities, any student requesting academic
accommodations must meet with an Access and Diversity advisor (for example, accommodations
might include a change in the allocation of University resources, or in teaching or evaluation
procedures, designed to meet the particular needs of a student with a disability such as course
materials in an alternative format, private exam spaces, the use of computers, or note-takers). The
Access and Diversity advisor will provide a letter detailing the academic accommodations to be
made, and assist in the case that agreement between the student and instructor cannot be reached.
Accommodations should be agreed to as soon as possible, in the first week of class if not before.
Retroactive accommodations are not permitted, so if this applies to you, be careful to seek
assistance in this regard immediately.

Grading Rubric

The midterm essay will be marked according to how well the student demonstrates his/her
mastery or proficiency in the following four categories listed in order of priority:

1) Content: arguments + research 40% How solid is your main argument? Is it clearly
stated? Do you give corroborating examples from the film and the reading? Is your
argument and analysis original (not summarizing the readings or lectures) and
sophisticated? If applicable, did you answer the question or writing prompt posed by
the instructor or TAs?

2) Structure and Organization 30% Is there an introduction and conclusion in your
essay? Is there a thesis statement at the beginning of your essay which clearly outlines
the main argument and supporting evidence that will be discussed in the paper? Are
your arguments organized in paragraphs with transitions which connect one idea to the
next?

3) Mechanics 20 % Have you checked for spelling and grammar mistakes? Are film
details (character names, year of release, director, plot events) and readings correctly
cited? Do you use the formal vocabulary and glossary terms reviewed in lecture and on
the course website?

a. Formatting guidelines
i. Times New Roman, 12pt.
ii. Double-spaced
iii. Default page margins
iv. Page numbers
v. MLA or Chicago citation style
vi. Proper title (i.e. not Midterm Essay)

4) Style 10% Is your essay eloquent and well-written? Are the transitions smooth and
logical?

Online journals and responses The primary purpose of these assignments is for students to
express their engagement with and understanding of concepts in the film and readings. Therefore,
journals and responses will mainly be marked on content how well they address the three
aforementioned requirements and usage of relevant vocabulary.


Course Outline
Date Screening Readings (read before the next class AFTER the screening)


The Cinema on the
Road : A Personal
Essay on Cinema in
Korea [dir. Jang
Sun-woo, 1995]
(1) Shim, Doobo, Globalization and Cinema Regionalization in East Asia, in Korea Journal
(Winter 2005), 233-259. On Connect.

Aimless Bullet [dir.
Yu Hyun-mok,
1960]

Jeong, Kelly, "Nation Rebuilding and Postwar South Korean Cinema: The Coachman and
The Stray Bullet," in Journal of Korean Studies 11, no. 1 (Fall 2006) 129-134, 141-162.
Article URL-
http://muse.jhu.edu/journals/journal_of_korean_studies/v011/11.1.jeong.html
SUPPLEMENTAL: Kim, Dong-choon, "The great upsurge of South Koreas social
movements in the 1960s," in Inter-Asia Cultural Studies 7, issue 4 (Dec 2006) 619-633.
Article URL -
http://search.ebscohost.com.ezproxy.library.ubc.ca/login.aspx?direct=true&db=aph&AN
=23311662&site=ehost-live

The Housemaid
[dir. Kim Ki-young,
1960]
Berry, Chris. Scream and Scream Again: Korean Modernity as a House of Horrors in the
Films of Kim Ki-Young, in Seoul Searching, ed. Francis Gateward (Albany: SUNY Press,
2007) 99-114.


Sopyonje (dir. Im
Kwon-taek, 1993)
(may watch on
KOFIC you tube
channel)
Cho, Hae Joang, "Sopyonje: Its Cultural and Historical Meaning," in Im Kwon-Taek: The
Making of a Korean National Cinema, eds. David E. James and Kyung Hyun Kim. (Detroit:
Wayner State University, 2002) 134 -156. On Connect.

Whispering
Corridors (dir. Park
Ki-Hyung, 1998)

Choi, Jinhee. A Cinema of Girlhood: Sonyeo Sensibility and the Decorative Impulse in the
Korean Horror Cinema, in Horror to the Extreme: Changing Boundaries in Asian Cinema,
eds. Jinhee Choi and Mitsuda Wada-Marciano (Hong Kong: Hong Kong University Press,
2009) 39-56.

(5/30) Holliday, Ruth and Joanna Elfving-Hwang, Gender, Globalization and Aesthetic Surgery
in South Korea, in Body & Society 18, no. 2 (June 2012) 58-81. On Connect.
Youth/
women
No Screening -
Clips and/or
discussion of 200
Pounds Beauty,
Take Care of My
Cat, The
Murmuring, A Good
Lawyers Wife

(6/4)
Democracy
period
Chil-su and Man-su
(dir. Park Kwang-
su, 1988)
Kim, Kyung Hyun, "Chapter 5: Male Crisis in the Early Films of Park Kwang-su," in The
Remasculinization of Korean Cinema, (Durham: Duke University Press, 2004).
E-book -
http://site.ebrary.com/lib/ubc/docDetail.action?docID=10215106&p00=remasculinizati
on%20korean%20cinema
(2)
(6/6)
democracy
period
Memories of
Murder [dir. Bong
Joon-ho, 2003]
(3) Moon, Jae-Cheol, The Meaning of Newness in Korean Cinema: Korean New Wave and
After, in Korea Journal 46, issue 1 (Spring 2006) 36-59. On Connect.
(4)
(5) Li, Jinying, "Clowns, crimes and capital: Popular Crime-comedies in post-crisis Korea, in
Film International 7, issue 2 (2009) 20-34.
Article URL -
http://search.ebscohost.com.ezproxy.library.ubc.ca/login.aspx?direct=true&db=aft&AN=
505382600&site=ehost-live


(6/11)
National
division
JSA [dir. Park Chan-
wook, 2000]

Kim, Kyung Hyun, "Each Man Kills the Thing he Loves" in The Remasculinization of
Korean Cinema, (Durham: Duke University Press, 2004).
E-book -
http://site.ebrary.com/lib/ubc/docDetail.action?docID=10215106&p00=remasculinizati
on%20korean%20cinema

Lee, Nikki J.Y., "Salute to Mr. Vengeance!: The Making of a Transnational Auteur Park
Chan-wook," in East Asian Cinemas: Exploring Transnational Connections on Film, eds.
Leon Hunt and Leung Wing-Fai (London: I.B. Tauris, 2008) 203-219.
E-book URL
http://site.ebrary.com/lib/ubc/docDetail.action?docID=10267549


(6/13)
New
Korean
Cinema
auteurs
No screening
Clips and/or
discussion of
Oldboy, I Saw the
Devil, Woman on
the Beach, The Isle,
3-Iron
Rayns, Tony, Sexual Terrorism: The Strange Case of Kim Ki-duk, in Film Comment 40,
issue 6 (Nov/Dec 2006) 50-52.
Article URL -
http://search.ebscohost.com.ezproxy.library.ubc.ca/login.aspx?direct=true&db=aph&AN
=15068757&site=ehost-live

Chung, Hye Seung, Beyond Extreme: Rereading Kim Ki-duks Cinema of Ressentiment,
in Journal of Film and Video, Vol. 62, No. 1-2 (SPRING/SUMMER 2010), pp. 96-111. On
Connect.
(6/18)
Minorities
Address Unknown
[dir. Kim Ki-duk,
2001]

Kim, Myung Ja, "Race, Gender and Post Colonial Identity in Kim Ki Duk's Address
Unknown" in Seoul Searching, ed. Francis Gateward (New York: SUNY Press, 2007) 243-
263. On Connect.
/others


(6/20) No Screening
Clips and/or discussion of If You Were Me 3, No Regrets, Oasis