Asian Film comparison

countries:as below:Cape No 7Cave of the Yellow Dog-mongoliaDEPARTURES-JapanFloating LivesLaddalandSimple LifeMonsoon Wedding-IndiaSunny- KoreaSword of DesperationThe Blossoming of Maximo Oliveros- PhiliphineThe Flowers of War- ChinaThe Old GardenThe White Silk DressWoman in the Septic Tank-PhiliphineWonderful Town.ThaiYou Are the Apple of my EyeThe questions that you can pick are:1. One function of several Asian national cinemas is to deal with traumatic memoriesof political and/or military terror, and by depicting a ?post-traumatic? identity tohelp viewers remember what is too painful to recuperate. Examine the significanceof trauma in two films.2. A common concern in contemporary films from Asia is that masculinity is incrisis. Male characters are frequently dysfunctional, unable to communicate,lacking any direction. To what extent do contemporary films use this crisis toimagine a functional male?73. The new woman in Asian cinema may be depicted as struggling betweenautonomy and subordination. The situation of such female characters may furthersuggest that they are used as an allegory of nation. Discuss (check for the help you need) two examples wherefemale and national images coincide.4. Economic culture and family values in East and Southeast Asian films are oftenrepresented in Confucian terms. How does this impact upon the social valueswhich underpin these films?5. ?Stories about the past, with their inevitable depictions of psychological trauma,enable a complex representation of political and historical issues.? How well is thissupported by your study of two films from different Asian national cinemas?6. Most Asian countries are, in some sense, postcolonial nation-states, and theirhistory is apt to produce everyday lives regulated by the enduring habits andassumptions of colonialism. Examine two films which reflect on postcolonialexperience, and explore how these films show the impact of colonial historiesupon contemporary society. In your answer, focus on social regulation andnormalization with regard to one or two of race, class, gender or religion.7. Modernity?s characteristic mode is ephemerality (here today gone tomorrow,nothing lasts nothing matters), the ceaselessly replacing of shifting socialpractices: in what ways do contemporary Asian films use tradition to resistephemerality?8. Film production in the Asian region is increasingly transnational. Can anyparticular film still be understood within its own terms of national reference, ormust we now view all films against the cinemas of other countries and thus intransnational contexts? What differences in understanding are indicated by theseopposed possibilities?Order for your custom written PAPER now!

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