East Asian Societies

In The Nature of the Screen, Mitchell contrasts two roles of the screen: reflective surface and transmissive medium. The primary distinction is:

• A reflective surface projects images from behind, while a transmissive medium reflects light without displaying images.

• A reflective surface displays images projected on-to it, while a transmissive medium allows images to pass through from behind.

• A reflective surface only appears in modern digital screens, while a transmissive medium is exclusive to older forms of cinema.

• A reflective surface allows for real-time transmission of images, while a transmissive medium is used to record images for later viewing.

According to Li Tian, why is Running Man considered a transplantable show?

• The flow of its cultural elements is rhizomatic, enabling the show to be easily reinterpreted and reproduced in various cultural settings.

• Its format is rigid and does not allow adaptation to different cultural contexts.

• It focuses solely on one culture and is difficult to replicate in other countries.

• It is primarily a documentary format, which does not lend itself to adaptation.

"Tell me about the fascinating planets you’ve seen. But I don’t want to hear anything cruel or disgusting,” you say. Good. I nod and smile. Of course. No problem.” In the opening of Hao Jingfang's Invisible Planet, who does the narrator refer to by "I" and "You"?

• "I" refers to a scientist, and "You" refers to a curious student.

•  "I" refers to whoever is telling the story, and "You" refers to whoever asks for a story about planets.

• "I" refers to a character recounting their past, and "You" is a figure from their memories.

• "I" refers to an alien, and "You" refers to a human being.

How does Qian Ying respond to Grierson’s definition of documentary?

• Grierson’s definition is timeless and universally applicable to all documentaries.

• No universal documentary, only historical constructions and bounded creativity.

• Documentaries are only about realism, without creative or material constraints.

• Qian Ying agrees fully with Grierson’s definition of documentaries.

What is the main political message conveyed by Masao Matsuda’s landscape theory?

• Criticizes Japanese cities losing unique identities under the modern nation-building project.

• Celebrates modernization for unifying Japanese urban landscapes.

• Promotes Tokyo as a model for all Japanese cities.

• Highlights rural landscapes as untouched by capitalist influence.

What doesn’t belong to Furuhara’s conceptualization of “Hijacking TV?”

• The physical action of hijacking a plane

• Re-routing data as a mediated form of direct action for social movements

• Rejection of legally sanctioned media

• A completely true representation of reality

What is “pathos of facts” in Ai Xiaoming’s documentaries?

•  The complete absence of emotions in the production of absolute objectivity

• Appealing to emotions through melodramatic representation of realities

• Appealing to the director's authority in film production

• Allowing the audience to have their different interpretations to facts

Which of the following is NOT a change that happened to documentary production after the use of DV cameras?

• The portability allowed filmmakers to get closer to their subject

• “Ninja video warriors” appeared due to the affordability of DV cameras

• The content of the film changed from planned to unplanned

• There was more filming in public spaces

How did the Korean and Japanese public react to #Metoo movements differently?

• Korean women were afraid of speaking out; Japanese women were looking for oversea support

• Korean government remained nonchalant; Japanese government made major policy changes

• Korean women were seeking media attention; Japanese women were reluctant to share their experiences publicly

• Korean Metoo movement relied on social media; Japanese Metoo movement never went digital 

Which aspect of BL media production and consumption is often overlooked?

• That colonial and imperialist historical contexts that gave rise to the popular but subversive circulation of queer male love narratives

• Globalized networks of BL production and licensing means BL is being localized for different cultural and social contexts in and outside of East Asia.

• That it is difficult to know whether people who produce and consume BL actually identify as heterosexual cis women

• That BL authorship and readership have extensive premodern roots all the way back to the 14th century from a satirical novel written by a laywoman in Japan