By Kate E. Taylor, Kate E. Taylor-Jones
East Asian cinema has develop into a world phenonemon, and administrators reminiscent of Park Chan-wook, Wong Kar Wai, and Takashi Miike became loved ones names. Dekalog four: On East Asian Filmmakers solicits students from Japan, Hong Kong, Switzerland, North the US, and the U.K. to provide certain readings of chosen East Asian administrators and their works. administrators tested comprise Zhang Yimou, Apichatpong Weerasethakul, Rithy Panh, Kinji Fukasaku, and Jia Zhangke, and the quantity contains one of many first surveys of jap and chinese language girl filmmakers, supplying singular perception into East Asian movie and the filmmakers that experience introduced it international recognition.
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Extra info for Dekalog 4: On East Asian Filmmakers
Offscreen. php/phile/essays/tomoko_matsunashi/ Last retrieved August 15, 2011. ) Chinese Silent Film. Beijing: China Film Press, 1473–6. Wang, Lingzhen (2011) Chinese Women’s Cinema: Transnational Context. Columbia: Columbia University Press. Xue, Huiling and Wu Junhui (1994) The Era of Taiwanese Language Cinema. Taipei: National Film Archive. Yang, Yuanying (1996) Her Voices: Recounts from Ten Chinese Female Directors. Beijing: Social Science Press. Yang, Yuanying and S. Louisa Wei (2009) Women’s Cinema: Dialogues with Chinese and Japanese Female Directors.
Yau praises Tang’s last two films and rebuffs the views of critics in Hong Kong at the time that had indirectly ended Tang Shu-shuen’s film career. 24 WOMEN’S TRAJECTORIES IN CHINESE AND JAPANESE CINEMAS First Golden Era: 1977–1983 In 1977, the year of Tanaka Kinuyo’s death and fifteen years after her last film, Hidari Sachiko (1930–2001), another famous Japanese actress who had won several international awards, directed her first and only work, The Far Road. The film depicted the building of the Japan National Railway from the point of view of the workers’ wives.
Last but not least, not only the personal relationship between Jia and Liu is considered here, but also the links between their works and painting and filming in general. With reference to all the above, Dong is a two-section film with three main elements regarding the content: in the first part, Jia and his camera follow Liu Xiaodong on his journey to the Three Gorges Region where he is working on a series of paintings of demolition workers which he eventually titles ‘Hot Bed’. He is shown directing the scenes he wants to paint, taking photographs of them, sketching and painting in oil.