DOCSLIB.ORG

Film Language Interpretation of the Image of the City Based on the Documentary Method

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Language Interpretation of the Image of the City Based on the Documentary Method Fachbereich Erziehungswissenschaft und Psychologie der Freien Universität Berlin Film Language Interpretation of the Image of the City Based on the Documentary Method Dissertation zur Erlangung des akademischen Grades Doktorin der Philosophie (Dr. phil.) Doctor of Philosophy (Ph.D.) vorgelegt von (M.Sc., Peking University) Hao, Xiaofei Berlin, 2014 Erstgutachter Univ.-Prof. Dr. Ralf Bohnsack Zweitgutachter Univ.-Prof. Dr. Christoph Wulf Datum der Disputation: 04.11.2014 Contents Erklärung ............................................................................................................................................... I Preface ................................................................................................................................................... II Acknowledgements ............................................................................................................................ III Chapter 1 Introduction ............................................................................................................... 1 Chapter 2 Theory, literature and methodology ................................................................. 9 1. The image of the city .......................................................................................................................... 9 1.1 Lynch’s image system ................................................................................................................. 10 1.2 Discussion and applications of Lynch’s findings in film studies ................................................ 14 1.3 City as a destination and its image-related research ................................................................ 16 2. The language of film ......................................................................................................................... 18 2.1 Film language as a system .......................................................................................................... 19 2.2 Cinematic city.............................................................................................................................. 24 2.3 Film tourism ................................................................................................................................ 28 3. Introduction of two case studies...................................................................................................... 31 3.1 Taiwanese cinema ...................................................................................................................... 31 3.2 Edward Yang and his films .......................................................................................................... 32 3.3 Arvin Chen and his films ............................................................................................................. 36 3.4 Taipei as the city ......................................................................................................................... 37 4. Methods and methodology .............................................................................................................. 39 4.1 Picture and video interpretation in the documentary method ................................................ 40 4.2 Film language interpretation...................................................................................................... 42 4.3 Interpretation method and process applied in this research ................................................... 44 Chapter 3 A One and a Two: Nostalgia upon Diaspora .................................................. 46 1. Narrative structure interpretation: the time-space representation in Yi Yi’s storyline ................. 48 2. Pictorial interpretation of the image of the city in Yi Yi .................................................................. 54 2.1 Formulation interpretation of the overall structure of the image of the city .......................... 54 2.2 Mise-en-scène interpretation of focusing metaphors .............................................................. 68 2.2.1 Path: Index of city and Symbol of the stage ....................................................................... 68 2.2.2 Node: Symbol of affair and Index of communication......................................................... 74 2.2.3 Landmark: characteristic inherent to people in the city .................................................... 76 2.2.4 Edge: starting point to flashing back memory .................................................................... 78 2.2.5 District: blur of complexity .................................................................................................. 79 2.2.6 Mise-en-scène in total: the city as protagonist .................................................................. 81 2.3 Reflective Interpretation of Montage: similarity induced nostalgia ........................................ 83 3. Text and sound dimension of the image of the city ........................................................................ 86 3.1 Text interpretation: nostalgia induced by the familiar city space ............................................ 86 3.2 Environmental sound: nostalgia for the time passing by in the modern city .......................... 89 4. Overall interpretation of the image of the city ............................................................................... 89 Chapter 4 Au Revoir Taipei: Tourist view on the space of empathy .......................... 93 1. Narrative structure interpretation: the time-space representation in Au Revoir Taipei .............. 94 2. Pictorial interpretation of the image of the city in Au Revoir Taipei ............................................ 100 2.1 Formulation interpretation of the sequence structure of the image of the city ................... 101 2.2 Mise-en-scène interpretation of focusing metaphors ............................................................ 115 2.2.1 District: quotidian beauty under exotic view ................................................................... 116 2.2.2 Landmark: Index of scenery space .................................................................................... 121 2.2.3 Edge: separation of mobility ............................................................................................. 123 2.2.4 Node: immediacy of intimate space ................................................................................. 125 2.2.5 Path: space of empathy ..................................................................................................... 133 2.2.5.1 Street of farewell – pathos of separation .................................................................. 133 2.2.5.2 Lonely road – pathos of being all on one’s own ........................................................ 136 2.2.5.3 Streets inside the night market – enjoyment of bustling mobility ........................... 137 2.2.5.4 Traditional alley – a maze of opacity and unexpected .............................................. 139 2.2.5.5 Path in the metropolis – what course to follow? ...................................................... 141 2.2.6 Mise-en-scène in total: the space of empathy ................................................................. 142 2.3 Reflective interpretation on Montage: swing with empathy ................................................. 143 3. Text and sound dimensions of the image of the city .................................................................... 147 3.1 Text interpretation: the city space of empathy ....................................................................... 147 3.2 Environmental and background sound: aesthetic pursuit and novel feeling for tourists ..... 149 4. Overall interpretation of the image of the city in Au Revoir Taipei ............................................. 149 Chapter 5 City, Film and Destination: Comparative analysis on the image of the city between Yi Yi and Au Revoir Taipei ................................................................................ 152 1. Positions of the city: protagonist or scenery ................................................................................. 153 2. The image of Taipei and symbolic construction of place attachment .......................................... 157 2.1 Symbolic image of Taipei in Yi Yi .............................................................................................. 159 2.1.1 Modern Path – on the way, on the stage of city life ........................................................ 159 2.1.2 Space under the viaduct – undefined youth ..................................................................... 159 2.1.3 Residential neighbourhood – calmness of modernity ..................................................... 160 2.2 Symbolic image of Taipei in Au Revoir Taipei .......................................................................... 161 2.2.1 Night market – gaze at the cultural tradition ................................................................... 161 2.2.2 Little diner on the corner – obsessive framing of quotidian beauty ............................... 162 2.2.3 Residential neighbourhood – enveloped cosy womb ...................................................... 162 2.3 Taipei as ‘Heimat’ – both in Yi Yi and in Au Revoir Taipei ....................................................... 163 3. The image of the city, tourist imaginaries, and destination image .............................................
Load more

Recommended publications
  • Alternative Digital Movies As Malaysian National Cinema A
    Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof.
    [Show full text]
  • 3D423bbe0559a0c47624d24383
    BENDS straddles the Hong Kong- Shenzhen border and tells the story of ANNA, an affluent housewife and FAI, her chauffeur, and their unexpected friendship ABOUT as they each negotiate the pressures of Hong Kong life and the city’s increasingly complex relationship to mainland China. Fai is struggling to find a way to bring his THE pregnant wife and young daughter over the Hong Kong border from Shenzhen to give birth to their second child, even though he crosses the border easily every FILM day working as a chauffeur for Anna. Anna, in contrast, is struggling to keep up the facade of her ostentatious lifestyle into which she has married, after the sudden disappearance of her husband amid financial turmoil. Their two lives collide in a common space, the car. PRODUCTION NoteS SHOOT LOCATION: Hong Kong TIMELINE: Preproduction, July/August 2012 Principal Photography, September/October 2012 (23 days) Completion, Spring 2013 PREMIERE: Cannes Film Festival 2013, Un Certain Regard (Official Selection) LANGUAGE: Cantonese & Mandarin FORMAT: HD, Colour LENGTH: 92 minutes THE CaST ANNA - Lead Female Role Carina Lau 劉嘉玲 SelecTED FILMOGRAPHY: Detective Dee and the Mystery Phantom Flame Let the Bullets Fly 2046 Flowers of Shanghai Ashes of Time Days of Being Wild FAI - Lead Male Role Chen Kun 陳坤 SelecTED FILMOGRAPHY: Painted Skin I & II, Rest On Your Shoulder, Flying Swords of Dragon Gate 3D Let the Bullets Fly Balzac and the Little Chinese Seamstress Writer/Director Flora Lau 劉韻文 Cinematographer Christopher Doyle (H.K.S.C.) 杜可風 A Very Special Thanks To William Chang Suk Ping 張叔平 Flora was born and raised in Hong Kong.
    [Show full text]
  • SPRING 2012 FSCP 81000--Aesthetics of Film
    SPRING 2012 FSCP 81000--Aesthetics of Film, Professor Edward Miller, Monday, 4:14-8:15p.m., Room C-419, 3 credits [17259] Cross listed with THEA 71400, ART 79400 & MALS 77100 Ever since the Lumiere Brother's train arrived at the station, film has been concerned with its own mechanics and meanings and the ways in which film not only captures the moment but transforms it, creating an impact upon its audience with distinct aesthetics. This course highlights the self-referentiality of film and argues that a central aspect of the cinematic enterprise is the depiction of the filmmaking environment itself through the "meta- film." Using this emphasis as an entry into aesthetics, the course involves students in graduate- level film discourse by providing them with a thorough understanding of the concepts that are needed to perform a detailed formal analysis. The course's main text is the ninth edition of Bordwell and Thompson's Film Art (2009) and the book is used to examine such key topics as narrative and nonnarrative forms, mise-en-scene, composition, cinematography, camera movement, set design/location, color, duration, editing, sound/music, and genre. In addition, we read key sections of Robert Stam's Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard (1992), Christopher Ames' Movies about Movies: Hollywood Revisited (1997), Nöth & Bishara's Self-Reference in the Media (2007), John Thornton Caldwell's Production Culture: Industrial Reflexivity and Critical Practice in Film & Television (2008), and Lisa Konrath's Metafilms: Forms and Functions of Self-Reflexivity in Postmodern Film (2010) in order to strengthen our understanding of the connections between aesthetics and reflexivity.
    [Show full text]
  • Collection Adultes Et Jeunesse
    bibliothèque Marguerite Audoux collection DVD adultes et jeunesse [mise à jour avril 2015] FILMS Héritage / Hiam Abbass, réal. ABB L'iceberg / Bruno Romy, Fiona Gordon, Dominique Abel, réal., scénario ABE Garage / Lenny Abrahamson, réal ABR Jamais sans toi / Aluizio Abranches, réal. ABR Star Trek / J.J. Abrams, réal. ABR SUPER 8 / Jeffrey Jacob Abrams, réal. ABR Y a-t-il un pilote dans l'avion ? / Jim Abrahams, David Zucker, Jerry Zucker, réal., scénario ABR Omar / Hany Abu-Assad, réal. ABU Paradise now / Hany Abu-Assad, réal., scénario ABU Le dernier des fous / Laurent Achard, réal., scénario ACH Le hérisson / Mona Achache, réal., scénario ACH Everyone else / Maren Ade, réal., scénario ADE Bagdad café / Percy Adlon, réal., scénario ADL Bethléem / Yuval Adler, réal., scénario ADL New York Masala / Nikhil Advani, réal. ADV Argo / Ben Affleck, réal., act. AFF Gone baby gone / Ben Affleck, réal. AFF The town / Ben Affleck, réal. AFF L'âge heureux / Philippe Agostini, réal. AGO Le jardin des délices / Silvano Agosti, réal., scénario AGO La influencia / Pedro Aguilera, réal., scénario AGU Le Ciel de Suely / Karim Aïnouz, réal., scénario AIN Golden eighties / Chantal Akerman, réal., scénario AKE Hotel Monterey / Chantal Akerman, réal., scénario AKE Jeanne Dielman 23 quai du commerce, 1080 Bruxelles / Chantal Akerman, réal., scénario AKE La captive / Chantal Akerman, réal., scénario AKE Les rendez-vous d'Anna / Chantal Akerman, réal., scénario AKE News from home / Chantal Akerman, réal., scénario, voix AKE De l'autre côté / Fatih Akin, réal., scénario AKI Head-on / Fatih Akin, réal, scénario AKI Julie en juillet / Fatih Akin, réal., scénario AKI L'engrenage / Fatih Akin, réal., scénario AKI Solino / Fatih Akin, réal.
    [Show full text]
  • W Talking Pictures
    Wednesday 3 June at 20.30 (Part I) Wednesday 17 June at 20.30 Thursday 4 June at 20.30 (Part II) Francis Ford Coppola Ingmar Bergman Apocalypse Now (US) 1979 Fanny And Alexander (Sweden) 1982 “One of the great films of all time. It shames modern Hollywood’s “This exuberant, richly textured film, timidity. To watch it is to feel yourself lifted up to the heights where packed with life and incident, is the cinema can take you, but so rarely does.” (Roger Ebert, Chicago punctuated by a series of ritual family Sun-Times) “To look at APOCALYPSE NOW is to realize that most of us are gatherings for parties, funerals, weddings, fast forgetting what a movie looks like - a real movie, the last movie, and christenings. Ghosts are as corporeal an American masterpiece.” (Manohla Darghis, LA Weekly) “Remains a as living people. Seasons come and go; majestic explosion of pure cinema. It’s a hallucinatory poem of fear, tumultuous, traumatic events occur - projecting, in its scale and spirit, a messianic vision of human warfare Talking yet, as in a dream of childhood (the film’s stretched to the flashpoint of technological and moral breakdown.” perspective is that of Alexander), time is (Owen Gleiberman, Entertainment Weekly) “In spite of its limited oddly still.” (Philip French, The Observer) perspective on Vietnam, its churning, term-paperish exploration of “Emerges as a sumptuously produced Conrad and the near incoherence of its ending, it is a great movie. It Pictures period piece that is also a rich tapestry of grows richer and stranger with each viewing, and the restoration [in childhood memoirs and moods, fear and Redux] of scenes left in the cutting room two decades ago has only April - July 2009 fancy, employing all the manners and added to its sublimity.” (Dana Stevens, The New York Times) Audience means of the best of cinematic theatrical can choose the original version or the longer 2001 Redux version.
    [Show full text]
  • 1 CHINESE CINEMA SURVEY: 1980–PRESENT FILM S142 / EALL S258 Instructor
    CHINESE CINEMA SURVEY: 1980–PRESENT FILM S142 / EALL S258 Instructor: Xueli Wang Dates: Session B June 29th – July 31st Meeting Times: TTh 1:00-4:15pm Course Description: The past four decades have been extraordinarily fruitful for Chinese-language filmmaking. This course will survey key figures, movements, and trends in Sinophone cinema since 1980. Sessions will be structured around ten films, each an entry point into a broader topic, such as the Fifth and Sixth Generation directors; the Hong Kong New Wave; New Taiwan Cinema; martial arts film; commercial blockbuster; and independent documentary. Directors of interest include Jia Zhangke, Zhang Yimou, Ang Lee, Wong Kar-Wai, Ann Hui, Tsui Hark, Edward Yang, Hou Hsiao-Hsien, Tsai Ming-Liang, and Wang Bing. We will examine their films formally, through shot-by-shot analysis, as well as in relation to major social, political, and economic developments in recent Chinese history, such as Deng Xiaoping's economic reforms; the Hong Kong handover; the construction of the Three Gorges Dam; and the proliferation of migrant workers in megacities. We will also consider pertinent questions of propaganda and censorship; aesthetics and politics; history and memory; transnational networks and audiences; and what constitutes "Chineseness" in a globalized world. Screenings: Film screenings will take place during class. For most sessions, screenings will occur in the second half of class to be discussed next session; during some sessions, we may watch clips alternating with discussion. Requirements & Grading: Attendance & Participation: 15% Presentations: 20% Midterm Assignment: 25% Final Paper: 40% Assignments must be submitted by the due date. All late papers without legitimate excuse will be marked down ½ of a letter grade for each successive day they are not received (i.e.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • Journal of Asian Studies Contemporary Chinese Cinema Special Edition
    the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr.
    [Show full text]
  • Critical Study on History of International Cinema
    Critical Study on History of International Cinema *Dr. B. P. Mahesh Chandra Guru Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri Karnataka India ** Dr.M.S.Sapna ***M.Prabhudevand **** Mr.M.Dileep Kumar India ABSTRACT The history of film began in the 1820s when the British Royal Society of Surgeons made pioneering efforts. In 1878 Edward Muybridge, an American photographer, did make a series of photographs of a running horse by using a series of cameras with glass plate film and fast exposure. By 1893, Thomas A. Edison‟s assistant, W.K.L.Dickson, developed a camera that made short 35mm films.In 1894, the Limiere brothers developed a device that not only took motion pictures but projected them as well in France. The first use of animation in movies was in 1899, with the production of the short film. The use of different camera speeds also appeared around 1900 in the films of Robert W. Paul and Hepworth.The technique of single frame animation was further developed in 1907 by Edwin S. Porter in the Teddy Bears. D.W. Griffith had the highest standing among American directors in the industry because of creative ventures. The years of the First World War were a complex transitional period for the film industry. By the 1920s, the United States had emerged as a prominent film making country. By the middle of the 19th century a variety of peephole toys and coin machines such as Zoetrope and Mutoscope appeared in arcade parlors throughout United States and Europe. By 1930, the film industry considerably improved its technical resources for reproducing sound.
    [Show full text]
  • Realism O Fantasm Agórico
    FANTASMAGÓRICO REALISMO FANTASMAGÓRICO REALISMO UNIVERSIDADE CINUSP PAULO EMÍLIO DE SÃO PAULO DiretorA REITOR Patrícia Moran Fernandes Marco Antonio Zago VICE-DiretorA VICE-Reitor Esther Império Hamburger Vahan Agopyan COORDENADOR DE proDUÇÃO PRó-Reitor DE GRADUAÇÃO Thiago Afonso de André Antonio Carlos Hernandes ESTAGIÁRIOS DE proDUÇÃO PRó-Reitor DE Pós-GRADUAÇÃO Afonso Moretti Bernadete Dora Gombossy Ayume Oliveira de Melo Franco Cauê Teles PRó-Reitor DE PESQUISA Cédric Fanti José Eduardo Krieger Gabrielle Criss Lorena Duarte PRÓ-REITORIA DE CULTURA Nayara Xavier E EXTENSÃO UNIVERSITÁRIA Pedro Nishiyama Thiago Oliveira PRó-ReitorA DE CULTURA Rodrigo Neves E EXTENSÃO UNIVERSITÁRIA ProgrAMAÇÃO VISUAL Maria Arminda do Nascimento Arruda Thiago Quadros PRó-Reitor ADJUNto DE EXTENSÃO ProJECIONISTA Moacyr Ayres Novaes Filho Fransueldes de Abreu PRó-Reitor ADJUNto DE CULTURA ASSISTENTE TÉCNICO DE DIREÇÃO João Marcos de Almeida Lopes Maria José Ipólito ASSESSOR TÉCNICO DE GABINETE AUXILIAR ADMINISTRATIVA José Nicolau Gregorin Filho Maria Aparecida Santos Rubens Beçak ANALISTA ADMINISTRATIVA Telma Bertoni REALISMO FANTASMAGÓRICO COLEÇÃO CINUSP – VOLUME 7 COORDENAÇÃO GERAL DESIGN GRÁFICO Patrícia Moran e Esther Hamburger Thiago Quadros ORGANIZAÇÃO ILUSTRAÇÃO DA CAPA Cecília Mello Heitor Isoda PRODUÇÃO FOTO PARA CAPA Lorena Duarte Wilson Rodrigues Cédric Fanti Pedro Nishiyama Thiago Almeida Thiago de André Mello, Cecília (org.) Realismo Fantasmagórico / Cecília Mello et al São Paulo: Pró-Reitoria de Cultura e Extensão Universitária - USP, 2015 320 p.; 21 x 15,5 cm ISBN 978-85-62587-21-4 1. Cinema 2. Realismo 3. Leste Asiático I. Mello, Cecília (org.) II. Elsaesser, Thomas III. De Luca, Tiago IV. Vieira Jr., Erly V. Andrew, Dudley VI. Weerasethakul, Apichatpong VII. Ma, Jean VIII.
    [Show full text]
  • EAST353 Approaches to Chinese-Language Cinema Autumn 2020 Friday 1:35-5:25Pm Remote Delivery Tentative Syllabus
    EAST353 Approaches to Chinese-language Cinema Autumn 2020 Friday 1:35-5:25pm Remote Delivery Tentative Syllabus Instructor: Prof. Xinyu Dong ([email protected]) Office Hours: TBA Course Description and Objectives This course examines the history of Chinese-language cinema from the 1920s to the 2000s. The course material is organized both chronologically and thematically, moving from early popular and political films in the Republican era, to local productions in mainland China, Hong Kong and Taiwan in the Cold War era, to New Wave and genre films from the 1980s onward. The course familiarizes the students with major critical paradigms for the study of Chinese-language cinema and trains the student to develop skills in theoretical and formal film analyses. All film subtitles and readings in English. Course Delivery Guide The class will meet through live Zoom sessions at the scheduled class time. There will be a combination of lectures (with PowerPoint slide show), discussions, and group activities. The lecture component will be recorded. Professor will hold Zoom office hours each week. Students will be able use the discussion boards to post responses and questions and to communicate with each other. Course Materials All readings will be available on MyCourses. Students will receive information on viewing option (s) for the required films listed as screenings. Course Requirements 1. Discussion Board Posts 30% 2. Open-book Quizzes 30% 3. Take-home Exam 40% NOTE: (1) McGill University values academic integrity. Therefore, all students must understand the meaning and consequences of cheating, plagiarism and other academic offences under the Code of Student Conduct and Disciplinary Procedures (see www.mcgill.ca/students/srr/honest/ for more information).
    [Show full text]