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Fb2 China into Film: Frames of Reference in Contemporary Chinese Cinema (Envisioning Asia) ePub

by Jerome Silbergeld

Category: Humanities
Subcategory: Other
Author: Jerome Silbergeld
ISBN: 1861890508
ISBN13: 978-1861890504
Language: English
Publisher: Reaktion Books; F First Edition edition (March 1, 2000)
Pages: 320
Fb2 eBook: 1643 kb
ePub eBook: 1783 kb
Digital formats: lrf txt azw doc

As a study of the relationship between contemporary Chinese film and the visual legacy of Chinese arts and culture, this book is superb. Journal of Asian Studies 2005-01-01).

Only 1 left in stock (more on the way). As a study of the relationship between contemporary Chinese film and the visual legacy of Chinese arts and culture, this book is superb. Jerome Silbergeld is Professor of Art History at the University of Washington, Seattle, and the author of several books on twentieth-century Chinese painting. Series: Envisioning Asia.

This text looks at contemporary Chinese cinema as a visual art and illustrates the many ways it has been shaped by centuries of Chinese visual and cultural traditions  . My close reading of the films focuses on the ways in which female desires are represented in their narratives and aesthetics.

Jerome L. Silbergeld (born 25 April 1944 in Highland, Illinois) is an American scholar of Chinese art history. China Into Film: Frames of Reference in Contemporary Chinese Cinema (1999). Hitchock with a Chinese Face (2004). He was born in 1944 to Sabina and David Silbergeld. from Stanford University in 1966 and completed an . in American history there in 1967. Body in Question: Image and Illusion in Two Chinese Films by Director Jiang Wen (2008). Outside In: Chinese x American x Contemporary x Art (2009). Humanism in China: A Contemporary Record of Photography (2009).

China into Film is the first book to look at contemporary Chinese cinema as a visual art and to illustrate the ways in. .

China into Film is the first book to look at contemporary Chinese cinema as a visual art and to illustrate the ways in which it has been shaped by centuries of Chinese tradition. Jerome Silbergeld looks at the significance of gender roles, the strategies of film-makers in coping with state censorship, the translation of novels into films, the continuing attachment of film-makers to melodrama, and cinematic critiques of Maoism and post-Maoist culture. Jerome Silbergeld looks at the significance of gender roles, the strategies of film-makers in coping with state censorship, the translation of novels into films, the continuing attachment of film-makers to melodrama, and cinematic critiques of Maoism and post-Maoist culture

China into Film book. Jerome Silbergeld looks at the significance of gender roles, the strategies of film-makers in coping Since 1984, Chinese cinema has been the most dramatic entry onto the international film scene.

China into Film book. China into Film is the first book to look at contemporary Chinese cinema as a visual art and to illustrate the ways in which it has been shaped by centuries of Chinese tradition.

China into Film is the first book to look at contemporary Chinese. ISBN13:9781861890504.

Find many great new & used options and get the best deals for China into Film: Frames of.Place of Publication. Film, TV & Radio.

Since 1984, Chinese cinema has been the most dramatic entry onto the international film scene

Since 1984, Chinese cinema has been the most dramatic entry onto the international film scene  . Since 1984, Chinese cinema has been the most dramatic entry onto the international film scene.

"China into Film is the first book-length study to look at.Other Titles: Contemporary Chinese cinema.

"China into Film is the first book-length study to look at contemporary Chinese cinema as a visual art and to illustrate the many ways in which it has been shaped by centuries of visual and literary. Responsibility: Jerome Silbergeld. Journal of Asian Studies.

Since 1984, Chinese cinema has been the most dramatic entry onto the international film scene. China into Film is the first book to look at contemporary Chinese cinema as a visual art and to illustrate the ways in which it has been shaped by centuries of Chinese tradition. Jerome Silbergeld looks at the significance of gender roles, the strategies of film-makers in coping with state censorship, the translation of novels into films, the continuing attachment of film-makers to melodrama, and cinematic critiques of Maoism and post-Maoist culture.Abundantly illustrated with Chinese paintings as well as scenes from such internationally acclaimed films as Yellow Earth, Red Sorghum, Raise the Red Lantern and Farewell My Concubine, China into Film reveals a cinematic form at once excitingly new and deeply imbedded in traditional Chinese visual culture.
Comments to eBook China into Film: Frames of Reference in Contemporary Chinese Cinema (Envisioning Asia)
Asher
It's about time a book on contemporary chinese cinema with such detail gets published. This book chronicles the growth of the new chinese cinema and how traditional visual arts ,as well as Mao's revolution influenced the filmmakers.Many westerners agree that what makes contemporary chinese films quite powerful are the simplicity of film elements from the story to art direction and cinematography This book clearly describes these co-relations. The visual analysis of the author makes us more appreciative of Zhang yimou's composition or Chen Kaige's films' characters. Even if there are many films about contemporary chinese cinema( and there aren't that many) ,this is the first book cinephiles of Chinese cinema should buy.
Umsida
Great Book! Really good condition. Thanks!
Malarad
The author provides an art historic analysis of some of the most influential films in Chinese cinema between 1984 and 1997. The analyses draw not only from the films themselves but also from both contemporary political contexts and historical treatments of the subject matters. The latter illustrated with traditional arts reproduced in the book.
Despite the author's qualifying statements on his selection of films to cover and that he has not "sought unnecessarily to establish a new canon," I'm nevertheless left wondering why he has chosen not to mention notable films like Zhang Yimou's "To Live" and Tian Zhuangzhuang's "The Blue Kite" when he discusses at great length Chen Kaige's "Farewell My Concubine."
The most annoying part of the book though is the terrible quality of the stills. They are blurry snapshots of paused screens. The book would have been better off without them; the text clearly does not need them. No studio credit was given for any of the screen shots. (For contrast, see Tam and Dissanayake's "New Chinese Cinema," which manages to present sharp frame stills from the studios.)
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