countries:as below:

Cape No 7
Cave of the Yellow Dog-mongolia
DEPARTURES-Japan
Floating Lives
Laddaland
Simple Life
Monsoon Wedding-India
Sunny- Korea
Sword of Desperation
The Blossoming of Maximo Oliveros- Philiphine
The Flowers of War- China
The Old Garden
The White Silk Dress
Woman in the Septic Tank-Philiphine
Wonderful Town.Thai
You Are the Apple of my Eye
The questions that you can pick are:

1. One function of several Asian national cinemas is to deal with traumatic memories
of political and/or military terror, and by depicting a “post-traumatic” identity to
help viewers remember what is too painful to recuperate. Examine the significance
of trauma in two films.
2. A common concern in contemporary films from Asia is that masculinity is in
crisis. Male characters are frequently dysfunctional, unable to communicate,
lacking any direction. To what extent do contemporary films use this crisis to
imagine a functional male?7
3. The new woman in Asian cinema may be depicted as struggling between
autonomy and subordination. The situation of such female characters may further
suggest that they are used as an allegory of nation. Discuss two examples where
female and national images coincide.
4. Economic culture and family values in East and Southeast Asian films are often
represented in Confucian terms. How does this impact upon the social values
which 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 this
supported by your study of two films from different Asian national cinemas?
6. Most Asian countries are, in some sense, postcolonial nation-states, and their
history is apt to produce everyday lives regulated by the enduring habits and
assumptions of colonialism. Examine two films which reflect on postcolonial
experience, and explore how these films show the impact of colonial histories
upon contemporary society. In your answer, focus on social regulation and
normalization 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 social
practices: in what ways do contemporary Asian films use tradition to resist
ephemerality?
8. Film production in the Asian region is increasingly transnational. Can any
particular film still be understood within its own terms of national reference, or
must we now view all films against the cinemas of other countries and thus in
transnational contexts? What differences in understanding are indicated by these
opposed possibilities?
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