Final Paper

Final Paper: Due on Aug 5^th/Aug 12th Wed, whole day

BASICS:

For BA: 1,000-1,500/MA: 2,000-2,500 words. The annotation style of the Paper will be Harvard. Please self-study it (citation tools such as Mendeley, and Zotero would really help you!).

Please submit the Final Paper to the lecturer’s email address maran@nagoya-u.jp with the subject “NCC final paper”. The WORD file should contain “NCC” + the student’s name in its file name (because it would make it easier to categorize your submissions). I’d send out confirmation email once your assignment is received. Late submission is not accepted unless emergency happens.

Format

Include the following information at the top of each assignment:

Your Name Course Title Submission Date Final Paper Title of article

What to Work on and How?

This final paper shall demonstrate how well you are capable of working with the major critical/analytical framing and concepts introduced throughout this semester.

1)    This assignment should be case study-based (=analysis of specific film text, and/or film auteur etc.): a. it is encouraged that you continue your explorations from your earlier reading journals; in such a case, please refer to the list of films at the end of this document; b. you could work on case studies which you find interesting and which might be beyond the syllabus too; c. you could work on a specific film festival by referring to the framings from film festival studies. For case b and c, make sure you talk to Ma Ran and your TA.

2)    at least 2 references (which would be your cited sources; and appear in the bibliography at the end of the paper) should be from our syllabus readings.

It would be great if you could balance the analysis of both the film texts (in terms of their style and content)/film authorship/film movement (e.g. direct cinema) and their socio-historical contexts. We want to read a piece of critical writing, not a film review, so it is less desirable if you only submit a summary of story plot and lots of ‘me thinks’ (you need to support your discussion). And maybe you want to look deeper into certain arguments you explored in the literature review (which you have done in your Reading Journals), and push further the discursive analysis (Foucault’s sense), if possible.

Remember: you are always welcome to quote extra sources, but pay attention not to conduct plagiarism. Quote systematically could avoid plagiarizing “by mistake/out of ignorance”.

For in-text citation, I prefer author-date that looks like this (Ko 2010, 12); please do NOT use footnote/endnote for in-text citation. Harvard bibliography entry shall then look like this: Ko, Mika. (2009). Japanese Cinema and Otherness. Japanese Cinema and Otherness: Nationalism, Multiculturalism and the Problem of Japanesenesss. London; New York: Routledge. doi:10.4324/9780203866719.

Older example from Ma Ran:

Based on theoretical debates over the representation of the Other/Japanese-ness in Japanese cinema (Dew 2016; Ko 2010; Gerow 2003), with borrowed insights from modern Japanese history and sociology (Oguma 1998; Tomiyama 1990), “Okinawan Dream Show” highlights how Takamine’s oeuvre presents multiple possibilities in configuring Okinawan subjectivity and rethinking Okinawa’s translocality/transnationality within the power-geometries of mainland Japan, neighboring Asian areas and the US. 

Use citation tool such as Mendeley to help you!

Note on Plagiarism:

Plagiarism: A writer who presents the ideas of words of another as if they were

the writer’s own (that is, without proper citation) commits plagiarism.

Plagiarism is not tolerable in this course or at Nagoya University. You should avoid

making quotes or drawing on figures from nowhere—you must provide sources of

reference for quotation and/or citations you use in the paper. This applies to images

and media clips as well. Failure to observe this would risk being charged of plagiarism.

[All assignments/papers will be checked with professional software]

List of films:

1.Extreme Private Eros: Love Song 1974・極私的エロス 恋歌1974 (1974),Dir. HARA Kazuo・原一男

2.Katatsumori・かたつもり(1994), Dir. KAWASE Naomi・河瀨直美

3.Bumming in Beijing/流浪北京, 1990,Dir. WU Wenguang/吳文光

4. Still Life/三峽好人, 2006, Dir. JIA Zhangke (賈樟柯)

5.The Hole (洞, 1998), Dir. TSAI Mingliang (蔡明亮)

6. Parasite (2019), Dir. BONG Joon-ho

7. Akira (1988), Dir. OTOMO Katsuhiro/大友克洋