Asian Cinemas: A Reader and GuideDimitris Eleftheriotis, Gary Needham Edinburgh University Press, 2006 - 473 ページ Asian cinema is an area of increasing interest in Anglo-US film studies while Asian films are now widely distributed and popular with western audiences. The fascination with Asian cinema must be examined in the context of a complex and often problematic relationship between western scholars, students, viewers and Asian films. This book, therefore, examines a number of detailed case studies (such as the films of Ozu, Bruce Lee, Hong Kong and Turkish cinema, Hindi melodramas, Godzilla films, Taiwanese directors and Fifth Generation Chinese cinema) and uses them in order to investigate the limitations of Anglo-US theoretical models and critical paradigms. By engaging the readers with familiar areas of critical discourse (such as postcolonial criticism, 'national cinema', 'genre', 'authorship' and 'stardom') the book aims to introduce within such contexts the 'unfamiliar' case studies which will be explored in depth and detail. The advantage of such an approach is that it works with the dynamics of familiarity/unfamiliarity and resists the temptation to construct Asian cinemas as a gallery of exotic objects that might be particularly fascinating but remain deeply distant and foreign. Features*A comprehensive study of Asian cinemas, including Hong Kong, Japan, China, India, Turkey and Taiwan*An accessible guide for the study and research of Asian cinema which addresses undergraduate and postgraduate students and researchers* Each section contains a contextualising introduction* Includes key texts by Ackbar Abbas, Rey Chow, David Desser, Dimitris Eleftheriotis, Nezih Erdo |
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... Pu Yi's story is that of a journey that goes ' from darkness to light . ' Pu Yi is a ' great man who becomes little , but also , I think , free . ' The way in which positive values are assembled in these remarks is interesting ...
... Pu Yi's story is that of a journey that goes ' from darkness to light . ' Pu Yi is a ' great man who becomes little , but also , I think , free . ' The way in which positive values are assembled in these remarks is interesting ...
177 ページ
... Pu Yi the feminine , feminized object and the aroused , caressing strokes of Bertolucci's camera , we must add that the latter are figural : they can be felt and heard , but cannot be seen . If Bertolucci's humanistic sympathy for Pu Yi's ...
... Pu Yi the feminine , feminized object and the aroused , caressing strokes of Bertolucci's camera , we must add that the latter are figural : they can be felt and heard , but cannot be seen . If Bertolucci's humanistic sympathy for Pu Yi's ...
178 ページ
... Pu Yi . As Johnston's entry into Pu Yi's life is placed at the point when Pu Yi loses his wet nurse , he is the symbol of the boy's embarkment on a phase of educational ' enlightenment ' and his departure from the hallucinatory ...
... Pu Yi . As Johnston's entry into Pu Yi's life is placed at the point when Pu Yi loses his wet nurse , he is the symbol of the boy's embarkment on a phase of educational ' enlightenment ' and his departure from the hallucinatory ...
目次
Orientalism and Japanese Cinema | 7 |
A filmmaker for all seasons | 17 |
when Them is U S | 41 |
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actor aesthetic Ah-Long American Asian cinemas audience become body Bruce Lee camera Cantonese Chan character Chen China Chinese cinema cinephilia classical colonial contemporary context cross-cultural cultural directors discourse dominant Enter the Dragon essay fantasy female fight figure film industry film studies film theory film's filmmakers genre global Godzilla hero Hong Kong cinema Hong Kong films Hou Hsiao-Hsien Huang Indian cinema Indian films Japan Japanese cinema Japanese film Kong's kung fu films Kwan Lee's London male martial arts films masculine melodrama modern monster musical narrative national cinema Ozu's played political popular cinema position post-colonial production Pu Yi reading relationship remakes representation represented scene screen sexual shot social space specific spectator star story style suggests Taiwan Taiwanese Taiwanese cinema Tokyo Tokyo Story traditional Tsui Hark Turkish cinema University Press viewer visual West Western woman women Wong Fei Hung Yeşilçam