This course is a survey of Japanese cinema from the silent period to the present. Students will learn about different Japanese film genres and histories, including (but not limited to) the benshi tradition, jidaigeki (period films), yakuza films, Pink Film, experimental/arthouse, J-horror, and anime. Although the course will introduce several key Japanese auteurs (Mizoguchi, Ozu, Kurosawa, Oshima, Suzuki, etc), it will emphasize lesser known directors and movements in the history of Japanese film, especially in the experimental, arthouse, and documentary productions of the 1960s and 1970s. Finally, in addition to providing background knowledge in the history of Japanese cinema, one of the central goals of the course will be to interrogate the concept of "national" cinema, and to place Japanese film history within a international context.

This course will provide an overview of the major tropes, themes, and interpretations of contemporary Japanese science fiction and fantasy. As we establish a foundational knowledge of the history and structural formulations of genre fiction in Japan, we will cover topics such as folklore, high fantasy, apocalypse, dystopia, magical realism, posthumanism, video games, and transnational media franchises and cross-cultural marketing. By the end of the semester, students will possess a deeper understanding and appreciation of the role that science fiction and fantasy play in shaping contemporary media cultures in Japan and around the world.

If you have ever wondered about the following questions, then this is the right course for you: Is Japan a hyper-feminine nation of smiling geisha and obedient wives? Is it a hyper-masculine nation of samurai and economic warriors? Is it true that Japanese wives control the household? Is it true that Japanese men suffer from over-dependence on their mothers? What do young Japanese women and young men worry about? What does the government think about the future of Japanese women and men? Assuming that expressions of gender and sexuality are deeply influenced by cultural and social factors, and that they also show profound differences regionally and historically, this course examines a variety of texts--historical, biographical, autobiographical, fictional, non-fictional, visual, cinematic, analytical, theoretical--in order to better understand the complexity of any attempts to answer the above questions.

This seminar critically examines the missionary impulses, colonial exploits, and translation endeavors that contributed to the rise of Asian studies and the emergence of the scholarly notion of "Asian religions." It shows the crucial roles played by Asian agents and their European counterparts in the formation of modern conceptions of "religion"; it also engages reflexive questions regarding theory, method, and the geopolitical underpinnings of both Asian studies and the non-confessional academic study of religion. Students will conduct sustained research projects on the country or region of their choice.

This class is an opportunity to work closely with the Chinese sculpture, paintings, bronzes and other works of art in the collection of the Penn Museum. Some of the objects are well-known and on permanent display. Others have hardly been researched since they were acquired, and rarely leave storage. The class will meet in small groups at the museum. Students will work on research papers and collaborative in-class presentations on objects of their choice. A variety of approaches will be encouraged and students may choose to focus on iconography, historical and religious context, materials and manufacturing techniques, collectors and patronage, or inscriptions. There are no prerequisites for this course.

Survey of Chinese buildings and building technology from the formative period in the second millennium BCE through the twentieth century. The course will deal with well-known monuments such as the Buddhist monasteries of Wutai, imperial palaces in Chang'an and Beijing, the Ming tombs and the Temple of Heaven, and less frequently studied buildings. Also covered will be the theory and principles of Chinese construction. Graduate-level option requires a 20-page paper and permission of the instructor.

Introduction to the classical written language, beginning with Shadick, First Course in Literary Chinese. Students with a background in Japanese, Korean, Cantonese, Taiwanese, and other East Asian languages are welcome; it is not necessary to know Mandarin. The course begins from scratch, and swiftly but rigorously develops the ability to read a wide variety of classical and semi-classical styles. Original texts from the 6th century BC to the 20th century AD are studied. This course is taught in English and there are no prerequisites.

The goal of this course is understanding the development of visual, performing, and literary arts in Korea and the historical, religious, and social contexts in which they flourished. It serves as an introduction to the arts of Korea, with emphasis on painting, sculpture, ceramics, and architecture and additional consideration of dance, drama, poetry, and culinary arts. Covers the whole history of Korea, from prehistoric times to the twenty-first century.

A journey along the overland and sea routes that connected China, India, Iran, and Rome from 200-1000 CE and served as conduits for cultural exchange. Precursor and successor routes will also be taken into consideration. The lives of merchants, envoys, pilgrims, and travelers interacting in cosmopolitan communities will be examined. Exploration of long-known and newly discovered archaeological ruins, along with primary sources in translation, will be studied.

This course introduces students to English-language scholarship on social history of Korea from the founding of the Choson dynasty (1392-1910) to the mid-nineteenth century. Conducted as a reading seminar, the course will examine status and gender in early modern Korean society by considering, among others, descent, kinship, marriage, education, and economy. A reading list of noteworthy studies is intended to help the students map some critical questions and debates that have shaped the historiography. Everyone must participate actively in discussions, provide oral presentations as a discussion leader, and submit two review essays. No knowledge of Korean language or culture is presumed. This course satisfies Cross Cultural Analysis requirement.