Chinese cinema has a long history of engagement with China’s art traditions, and literati (wenren) landscape painting has been an endur ing source of inspiration. Literati Lenses explores this interplay during the Mao era, a time when cinema, at the forefront of ideological campaigns and purges, was held to strict political guidelines. Through four films—Li Shizhen (1956), Stage Sisters (1964), Early Spring in February (1963), and Legend of Tianyun Mountain (1979)—Mia Liu reveals how landscape offered an alternative text that could operate beyond political constraints and provide a portal for smuggling interesting discourses into the film. While allusions to pictorial traditions associated with a bygone era inevitably took on different meanings in the context of Mao-era cinema, cinematic engagement with literati landscape endowed films with creative and critical space as well as political poignancy. Liu not only identifies how the conventions and aesthetics of traditional literati landscape art were reinvented and mediated on multiple levels in cinema, but also explores how post-1949 Chinese filmmakers configured themselves as modern intellectuals in the spaces forged among the vestiges of the old. In the process, she deepens her analysis, suggesting that landscape be seen as an allegory of human life, a mirror of the age, and a commentary on national affairs.
2 有用 锻工造总学习组 2024-11-25 02:04:20 英国
这么精彩的选题,怎么可以写的这么无聊... 如果把伊利格瑞,弗洛伊德,柏拉图这些洒在分析上的“比文香精”统统抖掉,这本书的分析差不多就是:虽然我反对,但是当年批判得没错,period。全书大段大段的都是对史料的简单陈列和对剧情的描述性分析,寡淡无味,少有洞见。
0 有用 大熊猫饲养员 2022-10-30 16:51:21 江苏
关注到60年代前期中国电影中的“文人景观”,把“风景”作为叙事元素拉入研究视野,“文人景观”作为六十年代政治审查下的隐秘性批判空间。还挺有趣,虽然很多关于传统绘画的术语让我一脸懵
0 有用 Jaddie 2024-11-10 15:10:04 北京
文人画与中国电影,感谢老师分享
0 有用 一条安达鲁黛狗 2022-07-24 16:21:30
四星半,对视听的分析细致且新颖。在如何把绘画的文化意义引入影像方面给我很多新的思考
0 有用 鱼剑 2024-11-07 21:46:35 北京
很有启发的研究,准备拿来作为毕业论文的参考🤔