 Hi, my name is Rosella Ferrari and I'm a reader in Chinese and theater studies in the Department of East Asian Languages and Cultures and I teach modules related to cinema and performance cultures. So in cinema and performance in China, critical and historical approaches, students learn about key issues and events in the often interconnected history of Chinese film and theater since the beginning of the 20th century. So we study the origins of cinema in the so-called opera films based on indigenous Chinese forms and then we look at examples of silent cinema in the so-called Golden Age of Shanghai filmmaking and we also look at the origins of modern drama, Chinese drama in Japan. Then we move on to looking at the politics of socialist filmmaking and theater making on the Mao and during the Cultural Revolution and we explore post-Maoist and post-socialist genres and trends in terms of filmmaking and performance making, for example, avant-garde performance, independent documentary, independent cinema, feature filmmaking, women's cinema, commercial cinema and other trends. The module has a quite strong interdisciplinary focus because we look at the interconnections between film and theater and also between film theater and, for example, literature or the visual arts. We look at issues of adaptation, intermedial adaptation and also intercultural adaptation. With respect to both film and theater, we place them in our transnational context so we look at the transnational connections. For example, we explore the long-standing historic relationship between China and Hollywood and including representations of China and Chinese-ness in classic Hollywood cinema as well as more recent films. And this issue also helps us explore issues of self-exoticism and self-orientalism. And moreover, we explore the connections of male and Chinese performance cultures and cinema with the cinematic and theatrical and performance cultures of other regions in the wider Sinophon area, for example, Hong Kong, Taiwan, Singapore and so forth. There is no language requirement for this module. Everything is in English or has English subtitles. We meet for two hours per week, so we have two contact hours per week, one seminar and one lecture. And in terms of assessment, we have three items, three elements of assessment. One is a quiz, then there is an essay and there is a choice. The third element is a choice between a reaction paper, a short film analysis and a video presentation. Finally, this module cannot be taken in conjunction with its language-based equivalent, Chinese cultures on screen stage, because they share a lecture and there is a content overlap. So students of those modules share a lecture, but they have separate dedicated tutorials. I look forward to seeing you in the course.