1. Introduction
Sontag, “A Century of Cinema”
Wood, “Ideology, Genre, Auteur”


2. Hollywood and its dreamscape
Schrader, “Notes on Film Noir”
Sunset Boulevard (1950 Wilder/US)

3. Hollywood style and modes of thought
Philips, “Genre, Star and Auteur: An Approach to Hollywood Cinema”
When Harry Met Sally (1989 Reiner/US)

4. The Western genre and the issue of race
Henderson, “The Searchers: An American Dilemma”
The Searchers (1956 Ford/ US)

5. Discussion session
Benjamin, “The Work of Art in the Age of Mechanical Reproduction”
Mulholland Drive (2002 Lynch)
Lost in Translation (2003 Coppola)
The Ballad of Little Jo (1993 Greenwald)


6. European melodrama and personal identity
Nelmes, “Women and Film”
The Flower of My Secret (1996 Almodovar/ Spain)

7. Representation and sexuality
Jones, “Lesbian and Gay Cinema”
When Night Is Falling (1995 Rozema/ Canada)


8. Beyond the mechanical
Thompson, “Boredom on the Beach: Triviality and Humor in Les Vacances de Monsieur Hulot”
Mon Oncle (1958 Tati/ France)

9. Discussion session
King, “Hermeneutics, Reception Aesthetics, and Film Interpretation”
The Royal Tenenbaums (2001 Anderson)
The Crying Game (1992 Jordan)
Alphaville (1965 Godard)


10. Screen as urban canvas
Lo, “Transnationalization of the Local in Hong Kong Cinema of the 1990s”
Bordwell, “Romance on Your Menu: Chungking Express”
Chungking Express (1994 Wong/HK)

11. Globalized family
Berry, “Wedding Banquet: A Family (Melodrama) Affair”
Wedding Banquet (1993 Lee/Taiwan)

12. Personal and greater narratives
Tay, “The Ideology of Initiation”
李振亞，（歷史空間／空間歷史：從《童年往事》談記憶與地理
Goodbye South Goodbye (1996 Hou/Taiwan)

13. Discussion session
Comolli & Narboni, “Cinema/Ideology/Criticism”
葉月瑜，〈台灣新電影：本土主意的「他者」〉
Comrades, Almost a Love Story (1997 Chen)
Air Hostess (1958 Yi)
Home Sweet Home (1970 Bai)


Final