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Close-ups and long shots in modern Chinese cinemas /
"Two of the most stylized shots in cinema-the close-up and the long shot-embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of life and reinforces...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Honolulu :
University of Hawaiʻi Press,
[2021]
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Deppman, Hsiu-Chuang, |e author. | |
| 245 | 1 | 0 | |a Close-ups and long shots in modern Chinese cinemas / |c Hsiu-Chuang Deppman. |
| 264 | 1 | |a Honolulu : |b University of Hawaiʻi Press, |c [2021] | |
| 300 | |a 1 online resource (x, 179 pages) : |b illustrations, portraits | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a The close-up of Mo Yan and Zhang Yimou : face and text in Red sorghum -- The art of the close-up in lust, caution : Ang Lee and Eileen Chang -- Philosophy of the long shot in Hou Hsiao-hsien's The assassin -- The back shot in Jia Zhangke's I wish I knew -- Between close-ups and long shots : medium shots in Wei Desheng's Cape no 7. | |
| 520 | |a "Two of the most stylized shots in cinema-the close-up and the long shot-embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of life and reinforces our faith in reality. Each configures the relation between image and distance that expands the viewer's power to see, feel, and conceive. To understand why a director prefers one type of shot over the other then is to explore more than aesthetics: It uncovers significant assumptions about film as an art of intervention or organic representation. Close-ups and Long Shots in Modern Chinese Cinemas is the first book to compare these two shots within the cultural, historical, and cinematic traditions that produced them. In particular, the global revival of Confucian studies and the transnational appeal of feminism in the 1980s marked a new turn in the composite cultural education of Chinese directors whose shot selections can be seen as not only stylistic expressions, but ethical choices responding to established norms about self-restraint, ritualism, propriety, and female agency. Each of the films discussed-Zhang Yimou's Red Sorghum, Ang Lee's Lust, Caution, Hou Hsiao-Hsien's The Assassin, Jia Zhangke's I Wish I Knew, and Wei Desheng's Cape No. 7- represents a watershed in Chinese cinemas that redefines the evolving relations among film, politics, and ethics. Together these works provide a comprehensive picture of how directors contextualize close-ups and long shots in ways that make them interpretable across many films as bellwethers of social change"--Provided by publisher | ||
| 588 | 0 | |a Online resource; title from digital title page (viewed on November 04, 2020). | |
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