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Author: Michael Berry
Publisher:
ISBN: 9781838713287
Category :
Languages : en
Pages : 0
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Book Description
The three films comprising director Jia Zhangke's 'Hometown Trilogy' - Xiao Wu (1997), Platform (2000) and Unknown Pleasures (2002) - represent key contributions to the cinema of contemporary China. The films, which are set in Jia's home province of Shanxi, highlight the plight of marginalised individuals - singers, dancers, pickpockets, prostitutes and drifters - as they struggle to navigate through the radically transforming terrain of contemporary China. Xiao Wu tells the story of a small-time pickpocket who faces the breakdown of his relationships with his friends, family and girlfriend. Platform, often considered Jia's most ambitious film, is an epic narrative that bears witness to China's roaring eighties and the radical transformation from socialism to capitalism. Jia's third feature, Unknown Pleasures continues his meditation on China in transition, tracing the story of two delinquent teenagers who live on a diet of saccharine Chinese pop music, karaoke, Pulp Fiction, and Coca-Cola while entertaining pipe dreams of joining the army and becoming small-time gangsters. Michael Berry's in-depth study of the three films considers them as an ambitious attempt to re-examine the transformation and fate of provincial China - its places and people - as it is caught up in a whirlwind of sweeping social, cultural and economic change. At the heart of the book lies a series of close readings of each of the three films; through which Berry teases out their central narrative themes, highlighting Jia's use of editing, cinematic language, and mise en scene. He pays special attention to the place of intertextuality in Jia's oeuvre, as well as the central themes of destruction and change, stagnation and movement, political verses popular culture, and, of course, the ceaseless search for home. Michael Berry is Associate Professor of Contemporary Chinese Cultural Studies at the University of California, Santa Barbara. He is the author of Speaking in Images: Interviews with Contemporary Chinese Filmmakers (2005), and A History of Pain: Trauma in Modern Chinese Literature and Film (2008). He is also the translator of several novels, including The Song of Everlasting Sorrow (2008), To Live (2004), Nanjing 1937: A Love Story (2002), and Wild Kids (2000).
Author: Michael Berry
Publisher:
ISBN: 9781838713287
Category :
Languages : en
Pages : 0
Get Book Here
Book Description
The three films comprising director Jia Zhangke's 'Hometown Trilogy' - Xiao Wu (1997), Platform (2000) and Unknown Pleasures (2002) - represent key contributions to the cinema of contemporary China. The films, which are set in Jia's home province of Shanxi, highlight the plight of marginalised individuals - singers, dancers, pickpockets, prostitutes and drifters - as they struggle to navigate through the radically transforming terrain of contemporary China. Xiao Wu tells the story of a small-time pickpocket who faces the breakdown of his relationships with his friends, family and girlfriend. Platform, often considered Jia's most ambitious film, is an epic narrative that bears witness to China's roaring eighties and the radical transformation from socialism to capitalism. Jia's third feature, Unknown Pleasures continues his meditation on China in transition, tracing the story of two delinquent teenagers who live on a diet of saccharine Chinese pop music, karaoke, Pulp Fiction, and Coca-Cola while entertaining pipe dreams of joining the army and becoming small-time gangsters. Michael Berry's in-depth study of the three films considers them as an ambitious attempt to re-examine the transformation and fate of provincial China - its places and people - as it is caught up in a whirlwind of sweeping social, cultural and economic change. At the heart of the book lies a series of close readings of each of the three films; through which Berry teases out their central narrative themes, highlighting Jia's use of editing, cinematic language, and mise en scene. He pays special attention to the place of intertextuality in Jia's oeuvre, as well as the central themes of destruction and change, stagnation and movement, political verses popular culture, and, of course, the ceaseless search for home. Michael Berry is Associate Professor of Contemporary Chinese Cultural Studies at the University of California, Santa Barbara. He is the author of Speaking in Images: Interviews with Contemporary Chinese Filmmakers (2005), and A History of Pain: Trauma in Modern Chinese Literature and Film (2008). He is also the translator of several novels, including The Song of Everlasting Sorrow (2008), To Live (2004), Nanjing 1937: A Love Story (2002), and Wild Kids (2000).
Author: Michael Berry
Publisher: Bloomsbury Publishing
ISBN: 1838716556
Category : Performing Arts
Languages : en
Pages : 194
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Book Description
The three films comprising director Jia Zhangke's 'Hometown Trilogy' - Xiao Wu (1997), Platform (2000) and Unknown Pleasures(2002) - represent key contributions to the cinema of contemporary China. The films, which are set in Jia's home province of Shanxi, highlight the plight of marginalised individuals – singers, dancers, pickpockets, prostitutes and drifters – as they struggle to navigate through the radically transforming terrain of contemporary China. Xiao Wu tells the story of a small-time pickpocket who faces the breakdown of his relationships with his friends, family and girlfriend. Platform, often considered Jia's most ambitious film, is an epic narrative that bears witness to China's roaring eighties and the radical transformation from socialism to capitalism. Jia's third feature, Unknown Pleasures continues his meditation on China in transition, tracing the story of two delinquent teenagers who live on a diet of saccharine Chinese pop music, karaoke, Pulp Fiction, and Coca-Cola while entertaining pipe dreams of joining the army and becoming small-time gangsters. Michael Berry's in-depth study of the three films considers them as an ambitious attempt to re-examine the transformation and fate of provincial China – its places and people – as it is caught up in a whirlwind of sweeping social, cultural and economic change. At the heart of the book lies a series of close readings of each of the three films; through which Berry teases out their central narrative themes, highlighting Jia's use of editing, cinematic language, and mise en scene. He pays special attention to the place of intertextuality in Jia's oeuvre, as well as the central themes of destruction and change, stagnation and movement, political verses popular culture, and, of course, the ceaseless search for home. Michael Berry is Associate Professor of Contemporary Chinese Cultural Studies at the University of California, Santa Barbara. He is the author of Speaking in Images: Interviews with Contemporary Chinese Filmmakers (2005), and A History of Pain: Trauma in Modern Chinese Literature and Film (2008). He is also the translator of several novels, including The Song of Everlasting Sorrow (2008), To Live (2004), Nanjing 1937: A Love Story (2002), and Wild Kids (2000).
Author: Liz Greene
Publisher: Springer
ISBN: 1137516801
Category : Performing Arts
Languages : en
Pages : 467
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Book Description
This book bridges the existing gap between film sound and film music studies by bringing together scholars from both disciplines who challenge the constraints of their subject areas by thinking about integrated approaches to the soundtrack. As the boundaries between scoring and sound design in contemporary cinema have become increasingly blurred, both film music and film sound studies have responded by expanding their range of topics and the scope of their analysis beyond those traditionally addressed. The running theme of the book is the disintegration of boundaries, which permeates discussions about industry, labour, technology, aesthetics and audiovisual spectatorship. The collaborative nature of screen media is addressed not only in scholarly chapters but also through interviews with key practitioners that include sound recordists, sound designers, composers, orchestrators and music supervisors who honed their skills on films, TV programmes, video games, commercials and music videos.
Author: Sumanth Gopinath
Publisher: MIT Press
ISBN: 0262315092
Category : Technology & Engineering
Languages : en
Pages : 393
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Book Description
The rise and fall of the ringtone industry and its effect on mobile entertainment, music, television, film, and politics. A decade ago, the customizable ringtone was ubiquitous. Almost any crowd of cell phone owners could produce a carillon of tinkly, beeping, synthy, musicalized ringer signals. Ringtones quickly became a multi-billion-dollar global industry and almost as quickly faded away. In The Ringtone Dialectic, Sumanth Gopinath charts the rise and fall of the ringtone economy and assesses its effect on cultural production. Gopinath describes the technical and economic structure of the ringtone industry, considering the transformation of ringtones from monophonic, single-line synthesizer files to polyphonic MIDI files to digital sound files and the concomitant change in the nature of capital and rent accumulation within the industry. He discusses sociocultural practices that seemed to wane as a result of these shifts, including ringtone labor, certain forms of musical notation and representation, and the creation of musical and artistic works quoting ringtones. Gopinath examines “declines,” “reversals,” and “revivals” of cultural forms associated with the ringtone and its changes, including the Crazy Frog fad, the use of ringtones in political movements (as in the Philippine “Gloriagate” scandal), the ringtone's narrative function in film and television (including its striking use in the films of the Chinese director Jia Zhangke), and the ringtone's relation to pop music (including possible race and class aspects of ringtone consumption). Finally, Gopinath considers the attempt to rebrand ringtones as “mobile music” and the emergence of cloud computing.
Author: Lúcia Nagib
Publisher: Bloomsbury Publishing
ISBN: 0857723065
Category : Art
Languages : en
Pages : 336
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Book Description
Impure Cinema goes back to Bazin's original title precisely for its defence of impurity, applying it on the one hand to cinema's interbreeding with other arts and on the other to its ability to convey and promote cultural diversity. In contemporary progressive film criticism, ideas of purity, essence and origin have been superseded by favourable approaches to 'hybridization', 'transnationalism', 'multiculturalism' and cross-fertilizations of all sorts. Impure Cinema builds on this idea in novel and exciting ways, as it draws on cinema's combination of intermedial and intercultural aspects as a means to bridge the divide between studies of aesthetics and culture. Film is revealed here as the location par excellence of media encounters, mutual questioning and self-dissolution into post-medium experiments. Most importantly, the book argues, film's intermedial relations can only be properly understood if their cultural determinants are taken into account. Scholars and students of film, cinefiles and students of the arts will discover here unexpected connections across many artistic practices.
Author: Ying Zhu
Publisher: Hong Kong University Press
ISBN: 9622091768
Category : Social Science
Languages : en
Pages : 310
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Book Description
"Ying Zhu and Stanley Rosen have brought together some of the leading scholars and critics of Chinese cinema to rethink the political mutations, market manifestations, and artistic innovations that have punctuated a century of Chinese screen memories. From animation to documentary, history of the industry to cinematic attempts to recreate history, propaganda to piracy, the influx of Hollywood imports to Chinese-style blockbusters, Art, Politics, and Commerce in Chinese Cinema presents a fresh set of critical approaches to the field that should be required reading for scholars, students, and anyone interested in the past, present, and future of one of the most vibrant and dynamic film industries in the world."-Michael Berry, author, Jia Zhangke's "Hometown Trilogy" and A History of Pain "An excellent collection of articles that together offer a superb introduction to contemporary Chinese film studies."-Richard Pena, Program Director, Film Society of Lincoln Center "This is one of the most important, comprehensive, and profoundly important books about Chinese cinema. As correctly pointed out by the editors of the volume, understanding of the emerging film industry in China requires a systematic examination of arts, politics, and commerce of Chinese cinema. By organizing the inquiry of the Chinese film industry around its local and global market, politics, and film art, the authors place the current transformation of Chinese cinema within a large framework. The book has set a new standard for research on Chinese cinema. It is a must-read for students of arts, culture, and politics in China."-Tianjian Shi, Duke University Art politics, and commerce are intertwined everywhere, but in China the interplay is explicit, intimate, and elemental, and nowhere more so than in the film industry. Understanding this interplay in the era of market reform and globalization is essential to understanding mainland Chinese cinema. This interdisciplinary book provides a comprehensive reappraisal of Chinese cinema, surveying the evolution of film production and consumption in mainland China as a product of shifting relations between art, politics, and commerce. Within these arenas, each of the twelve chapters treats a particular history, development, genre, filmmaker or generation of filmmakers, adding up to a distinctively comprehensive rendering of Chinese cinema. The book illuminates China's changing stat-society relations, the trajectory of marketization and globalization, the effects of China's start historical shifts, Hollywood's role, the role of nationalism, and related themes of interest to scholars of Asian studies, cinema and media studies, political science, sociology comparative literature and Chinese language. Ying Zhu is professor of cinema studies in the Department of Media Culture and co-coordinator of the Modern China Studies Program at the City University of New York, College of Staten Island. Stanley Rosen is director of the East Asian Studies Center and a professor of political science at the University of Southern California.
Author: Dan Luo
Publisher: Rowman & Littlefield
ISBN: 1538157306
Category : Performing Arts
Languages : en
Pages : 433
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Book Description
Motion pictures were introduced to China in 1896, and today China is a major player in the global film industry. However, the story of how Chinese cinema became what it is today is exceptionally turbulent, encompassing incursions by foreign powers, warfare among contending rulers, the collapse of the Chinese empire, and the massive setback of the Cultural Revolution. This book coversthe cinematic history of mainland China spanning across over one hundred and twenty years since its inception. Historical Dictionary of Chinese Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the major filmmakers, actors, and historical figures, representative cinematic productions, genre evolution, significant events and institutions, and market changes. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese Cinema.
Author: Ying Xiao
Publisher: Univ. Press of Mississippi
ISBN: 1496812611
Category : Social Science
Languages : en
Pages : 234
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Book Description
Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with the first book on the sound, languages, scenery, media, and culture in post-Socialist China. In this study, Ying Xiao explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock 'n' roll and youth cinema in fin de siècle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. Xiao examines the articulations and representations of mass culture and everyday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions. China in the Mix offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesive acoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world. Xiao offers an innovative new conception of Chinese film and media and their audiovisual registers in the historiographical frame of China amid the global landscape.
Author: Xiaoping Wang
Publisher: BRILL
ISBN: 9004385584
Category : Social Science
Languages : en
Pages : 483
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Book Description
In Postsocialist Conditions: Idea and History in China’s “Independent Cinema,” 1988-2008, WANG Xiaoping offers a comprehensive survey and trenchant critique of China’s “Independent Cinema” by the sixth-generation auteurs.
Author: Seung-hoon Jeong
Publisher: Bloomsbury Publishing USA
ISBN: 1501338560
Category : Performing Arts
Languages : en
Pages : 411
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Book Description
Once heralded and defined by the likes of François Truffaut and Andrew Sarris as a romantic figure of aesthetic individualism, the auteur is reinvestigated here through a novel approach. Bringing established as well as emergent figures of world art cinema to the fore, The Global Auteur shows how politics and philosophy are present in the works of these important filmmakers. They can be still seen leading a fight that their glorious predecessors seemed to have abandoned in the face of global capitalism and the market economy. Yet, as the contributors show, a new world calls for a new cinema, and thus for new auteurs. Covering a range of global auteurs such as Lars von Trier, Lav Diaz, Lee Chang-dong and Abderrahmane Sissako, The Global Auteur provides a much-needed reassessment of the film auteur for the global age.
