UNIVERSITY OF CAMBRIDGE ASIAN AND MIDDLE EASTERN STUDIES TRIPOS Part 1B East Asian Studies Thursday 9 June 2011 09.00 - 12.00 AMES 1 CINEMA EAST Candidates should answer THREE questions, ONE from Section A and TWO from Section B All questions are of EQUAL value. Write your number not your name on the cover sheet of each Answer Book. STATIONERY REQUIREMENTS 20 Page Answer Book x 1 Rough Work Pad You may not start to read the questions printed on the subsequent pages of this question paper until instructed that you may do so by the Invigilator
2 AMES1/OS2 SECTION A Answer one question. Answers to questions in SECTION A should refer mainly (75%) to East Asian films studied during this year's course, although some use may be made of other films that offer important comparisons or contrasts or were made by directors included in the syllabus. 1 Discuss how traditional artistic performance features in any TWO films you have studied. 2 What is genre? Illustrate with reference to at least TWO films from different traditions you have studied this year. 3 Is masculinity portrayed in a similar way in East Asian films? Discuss with reference to at least TWO of the national traditions studied this year. 4 Analyse in detail ONE film studied in the course which you think displays particularly outstanding cinematography. 5 How should we define mise-en-scène? Discuss with reference to the use of mise- en-scène in any TWO films from different national traditions you have studied this year. 6 Show how the use of sound interacts with narrative in any TWO films from different national traditions you have studied this year. SECTION B The questions below are grouped in three sub-sections matching the main national traditions studied in the course: China/Taiwan, Japan and South Korea. Answer TWO questions which must be from DIFFERENT subsections. 7 China/Taiwan Answer ONE of the following: a) In The Goddess, how do acting, cinematography and mise-en-scène contribute to the overall effect of the film? b) How are social and political issues portrayed by Jia Zhangke in The World? c) How are history and memory brought together in Chen Kaige's Farewell, My Concubine? d) Discuss the contribution King Hu made to the Chinese wuxia film with his film A Touch of Zen. e) Discuss Hou Hsiao-hsien's The Puppetmaster as a film which eludes the model of national cinema but at the same time continues to engage with issues concerning the nation.
3 AMES1/OS2 f) Discuss the treatment of intimate relationships in TWO films from this sub-section. 8 Japan Answer ONE of the following: a) 'The question raised by the discourse of adaptation is not just how Shakespeare's text can be transposed into another aesthetic medium, but how a Western artwork can be translated into a non-Western text.' (Mitsuhiro Yoshimoto) Discuss with regard to The Throne of Blood. b) Critic Alain Masson has argued that Naruse's films are structured around oppositions, such as the calm surface of everyday events versus the basic sadness