日本語 English
| 開講年度/ Academic YearAcademic Year |
20242024 |
| 科目設置学部/ CollegeCollege |
異文化コミュニケーション学部/College of Intercultural CommunicationCollege of Intercultural Communication |
| 科目コード等/ Course CodeCourse Code |
DM426/DM426DM426 |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
|
| 授業形態/ Class FormatClass Format |
対面（一部オンライン）/Face-to-face (partially online)Face-to-face (partially online) |
| 授業形態（補足事項）/ Class Format (Supplementary Items)Class Format (Supplementary Items) |
対面（一部オンライン) 全授業回のうち2回はオンラインで実施する（5・7回目の授業）。オンライン実施回に変更が生じる場合は、授業内またはCanvas LMS等で周知する。 |
| 授業形式/ Class StyleCampus |
講義/LectureLecture |
| 校地/ CampusCampus |
池袋/IkebukuroIkebukuro |
| 学期/ SemesterSemester |
春学期/Spring SemesterSpring Semester |
| 曜日時限・教室/ DayPeriod・RoomDayPeriod・Room |
火3/Tue.3 Tue.3 ログインして教室を表示する（Log in to view the classrooms.） |
| 単位/ CreditsCredits |
22 |
| 科目ナンバリング/ Course NumberCourse Number |
ICC3471 |
| 使用言語/ LanguageLanguage |
英語/EnglishEnglish |
| 履修登録方法/ Class Registration MethodClass Registration Method |
科目コード登録/Course Code RegistrationCourse Code Registration |
| 配当年次/ Assigned YearAssigned Year |
配当年次は開講学部のR Guideに掲載している科目表で確認してください。配当年次は開講学部のR Guideに掲載している科目表で確認してください。 |
| 先修規定/ Prerequisite RegulationsPrerequisite Regulations |
|
| 他学部履修可否/ Acceptance of Other CollegesAcceptance of Other Colleges |
履修登録システムの『他学部・他研究科履修不許可科目一覧』で確認してください。 |
| 履修中止可否/ Course CancellationCourse Cancellation |
〇（履修中止可/ Eligible for cancellation） |
| オンライン授業60単位制限対象科目/ Online Classes Subject to 60-Credit Upper LimitOnline Classes Subject to 60-Credit Upper Limit |
|
| 学位授与方針との関連/ Relationship with Degree PolicyRelationship with Degree Policy |
各授業科目は、学部・研究科の定める学位授与方針（DP）や教育課程編成の方針（CP）に基づき、カリキュラム上に配置されています。詳細はカリキュラム・マップで確認することができます。 |
| 備考/ NotesNotes |
This seminar course will explore the theoretical and cultural perspectives on global cinemas, by surveying some of most representative works. The course aims to lead students to a better understanding of the contemporary film practices transcending the limitations of culture, and the increasing permeability of cultural borders between people or institutions.
Through cross-reading of text and context, we discuss the transnational film culture suggested by the directors and works selected each week. Through this, we aim to examine how global films reveal and challenge national and other institutional identities that have been constructed to marginalize and exclude the cultural identities of various social minorities.
| 1 | Course Outline |
| 2 | How to Read a Film: East Asian Film Noir |
| 3 | Aesthetics: Tokyo Story (Yasuiiro Ozu, 1950) |
| 4 | Aesthetics: Housemaid (Kim Ki-young, 1960) |
| 5 | Structure: Farewell My Concubine (Chen Kaige, 1993) |
| 6 | Structure: Chungking Express (Wong Kar-wai, 1995) |
| 7 | Guest Speaker |
| 8 | Film Authorship: Parasite (Bong Joon-ho, 2019) |
| 9 | Film Authorship: Broker (Kore-eda, 2022) |
| 10 | Film Genre: Yakiniku (Gu Su-yeon, 2006) |
| 11 | Film Genre: Blood and Bone (Yoichi Sai, 2004) |
| 12 | Documentary Film: Dear Pyongyang (Yang Yong-hi, 2005)m |
| 13 | Documentary Film: 63 Years On (Kim Dong Won, 2008) |
| 14 | Paper Sharing and Wrap Up |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
Students are expected to submit short reviews of weekly readings and films in class and to actively participate in class discussions. (4-5 hours per week).
Assignment: To be announced in class.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
最終レポート(Final Report)(40%) 出席および議論への積極的な参加(30%) プレゼンテーションと課題 (30%) |
| 備考 (Notes) | ||
なし/None
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Elizabeth Ezra and Terry Rowden | Transnational Cinema The Film Reader | Routledge | 2006 | 139780415371582 |
| 2 | C Richard King, Carmen R Lugo-Lugo and Mary K, Bloodsworth-Lugo | Animating Difference: Race, Gender and Sexuality in Contemporary Films for Children | Rowman & Littlefield Publishers, Inc. | 2010 | 9780742560826 |
| 3 | Hyangjin Lee | Contemporary Korean Cinema: Identity・Culture・Politics | Manchester University Press | 2000 | 9780719060083 |
| 4 | 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 | 9784622086642 |
| 5 | Natasa Durovicova and Kathleen Newman | World Cinemas, Transnational Perspectives | Routledge | 2010 | 100415976545 |
| 6 | Warren Buckland | Film Studies: An Introduction (Teach Yourself) | Teach Yourself | 2016 | 9781473608795 |
It is recommended that the student’s English level is at or above
TOEFL iBT 76，IELTS 6.0, TOEIC 700 , or TOEIC IP 700.
This seminar course will explore the theoretical and cultural perspectives on global cinemas, by surveying some of most representative works. The course aims to lead students to a better understanding of the contemporary film practices transcending the limitations of culture, and the increasing permeability of cultural borders between people or institutions.
Through cross-reading of text and context, we discuss the transnational film culture suggested by the directors and works selected each week. Through this, we aim to examine how global films reveal and challenge national and other institutional identities that have been constructed to marginalize and exclude the cultural identities of various social minorities.
| 1 | Course Outline |
| 2 | How to Read a Film: East Asian Film Noir |
| 3 | Aesthetics: Tokyo Story (Yasuiiro Ozu, 1950) |
| 4 | Aesthetics: Housemaid (Kim Ki-young, 1960) |
| 5 | Structure: Farewell My Concubine (Chen Kaige, 1993) |
| 6 | Structure: Chungking Express (Wong Kar-wai, 1995) |
| 7 | Guest Speaker |
| 8 | Film Authorship: Parasite (Bong Joon-ho, 2019) |
| 9 | Film Authorship: Broker (Kore-eda, 2022) |
| 10 | Film Genre: Yakiniku (Gu Su-yeon, 2006) |
| 11 | Film Genre: Blood and Bone (Yoichi Sai, 2004) |
| 12 | Documentary Film: Dear Pyongyang (Yang Yong-hi, 2005)m |
| 13 | Documentary Film: 63 Years On (Kim Dong Won, 2008) |
| 14 | Paper Sharing and Wrap Up |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
Students are expected to submit short reviews of weekly readings and films in class and to actively participate in class discussions. (4-5 hours per week).
Assignment: To be announced in class.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
最終レポート(Final Report)(40%) 出席および議論への積極的な参加(30%) プレゼンテーションと課題 (30%) |
| 備考 (Notes) | ||
なし/None
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Elizabeth Ezra and Terry Rowden | Transnational Cinema The Film Reader | Routledge | 2006 | 139780415371582 |
| 2 | C Richard King, Carmen R Lugo-Lugo and Mary K, Bloodsworth-Lugo | Animating Difference: Race, Gender and Sexuality in Contemporary Films for Children | Rowman & Littlefield Publishers, Inc. | 2010 | 9780742560826 |
| 3 | Hyangjin Lee | Contemporary Korean Cinema: Identity・Culture・Politics | Manchester University Press | 2000 | 9780719060083 |
| 4 | 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 | 9784622086642 |
| 5 | Natasa Durovicova and Kathleen Newman | World Cinemas, Transnational Perspectives | Routledge | 2010 | 100415976545 |
| 6 | Warren Buckland | Film Studies: An Introduction (Teach Yourself) | Teach Yourself | 2016 | 9781473608795 |
It is recommended that the student’s English level is at or above
TOEFL iBT 76，IELTS 6.0, TOEIC 700 , or TOEIC IP 700.