WorksheetsEast Asian Societies
Total questions: 11
Worksheet time: 12mins
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
Think about the relationship between the 'database animal' and 'bl(boy love) culture & fan,' which Raymond mentioned in class on November 26 and said would be tested.
