シラバス参照

開講年度(Academic Year) 2021 
科目コード/科目名
(Course Code / Course Title)
DM538/グローバル化とジェンダー
(Globalization and Gender) 
テーマ/サブタイトル等
(Theme / Subtitle)
Feminist Film Criticism of Japanese and Korean Cinema 
担当者 (Instructor) イ,ヒャンジン(LEE,HYANGJIN) 
時間割 (Class Schedule) 春学期 (Spring Semester) 火曜日(Tue) 2時限(Period 2) 8301(Room)
単位 (Credit) 2単位(2 Credits) 
科目ナンバリング
(Course Number)
ICC2430 
使用言語
(Language)
日本語
(Japanese) 
備考 (Notes) 基礎科目(一般) 
テキスト用コード (Text Code) DM538 



授業の
目標
Course
Objectives
This seminar course will explore stories and forms of film portraying gender and globalization from national and transnational perspectives. Informed by theoretical readings and major film reviews, this course will consider an imperative question: How can film promote gender equality in global society? To answer the question, we will examine narratives and visual images of gender, sexuality and transnationalism in the context of class, ethnicity and national identity. 
 
授業の
内容
Course
Contents
This course will address the role of film as a significant force of cultural globalization, by discussing the notions of gender and sexuality, local/national/transnational images of femininities and masculinities and the relationship between gender inequality and global concerns, such as war and colonialism, poverty, immigration, international marriages and environmental issues. Each week, we will conduct a textual analysis of a film within its historical, political and social contexts, based on a discussion of related theoretical readings. 
 
授業計画
Course
Schedule
1. Introduction: Course Guidance, Key Issues and Themes 
2. Globalization and Gender in Tampopo (Itami Juzo, 1985) 
3. Gendered Ethnicity in Okja (Bong Joon-ho 2017)  
4. Gender Equality in Kim Ji-young: Born 1982 (Kim Do-young, 2019) 
5. Foreign Female Body in Anarchist from Colony (Lee Joon-ik, 2017) 
6. Military Sexual Slavary in My Heart Is Not Broken Yet (An Hye-ryong, 2007) 
7. War and Gender: Guest Speaker 
8. Motherhood in Shoplifters (Koreeda Hirokazu, 2018) 
9. Sexuality and Politics in Chunhyang (Im Kwon-taek, 2000) 
10. Hegemonic Masculinity in Shall We Dance? (Masayuki Suo, 1996) 
11. Diasporic Masculinities in Blood and Bones (Yoichi Sai, 2004)  
12. LGBT and Misogyny in A Girl at My Door (July Jung, 2014) 
13. Women's Film, Little Forest (Yim Soon-rye, 2018)  
14. Paper Sharing and Wrap Up: Toward a feminist film criticism 
授業時間外
(予習・復習
等)の学習
Study
Required
Outside
of Class
To be announced in class. 
成績評価
方法・基準
Evaluation
種類(Kind) 割合(%) 基準(Criteria)
平常点(In-class Points) 100  %
プレゼンテーション・課題(30%) 、中間レポート(35%) 、最終レポート(Final Report)(35%)
テキスト
Textbooks
No 著者名
(Author/Editor)
書籍名
(Title)
出版社
(Publisher)
出版年
(Date)
ISBN/ISSN
1. イ・ヒャンジン  『コリアン・シネマ:北朝鮮・韓国・トランスナショナル』   みすず書房  2018  ISBN978-4-622-08664-2 
その他(Others)
参考文献
Readings
No 著者名
(Author/Editor)
書籍名
(Title)
出版社
(Publisher)
出版年
(Date)
ISBN/ISSN
1. R.コンネル  『ジェンダー学の最前線』   世界思想社  2010  978-47-9071342-5 
2. シェイン・ピルチャー、イメルダ・ウィラハン  『ジェンダー・スタディーズ』   新曜社  2009  978-47-8851075-3 
その他(Others)
その他
(HP等)
Others
(e.g. HP)
注意事項
Notice
授業は主に日本語で行うが、必要に応じて英語を使用することもある。 


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