男友太凶猛1v1高h,大地资源在线资源免费观看 ,人妻少妇精品视频二区,极度sm残忍bdsm变态

Global EditionASIA 中文雙語Fran?ais
Culture
Home / Culture / Film and TV

Putting the director in the frame

By Yang Yang | China Daily | Updated: 2021-06-03 07:21
Share
Share - WeChat
A still from director Jia Zhangke's films A Touch of Sin. [Photo provided to China Daily]

For the writer, there is also a personal reason.

"No matter how many times I visit China, part of my own imagination of 'China' is still deeply tied to the indelible memories from my student days in Nanjing during the early 1990s. Jia's early films, which are also a product of that era somehow were best able to capture the rhythm of life during that unforgettable era," Berry says.

"In those films, Jia was able to single-handedly create some of the most memorable characters in contemporary film (like Xiao Wu and Cui Mingliang), reframe our understanding of realism in Chinese cinema, bring our attention to marginalized figures and locations, offer a deep meditation on the impact of radical social change, and create a new cinematic language," he says.

Growing up in suburban New Jersey in the 1970s, Berry occasionally saw old Chinese kung fu movies on television on Saturday mornings. However, when he was attending graduate school at Columbia University, where his original focus was contemporary Chinese literature, he started watching more Chinese films.

Later, he took courses at the Columbia University's film school with teachers like Richard Pena and James Schamus, the latter of which was Ang Lee's producer and screenwriter.

"Gradually, Chinese cinema became one of the primary aspects of my research," says Berry, who's now director of the UCLA Center for Chinese Studies.

From 1998 to 2003, Berry often served as an interpreter for Chinese filmmakers and writers, such as Mo Yan, Su Tong, Zhang Yimou, Tian Zhuangzhuang and Jia.

While many other established Chinese filmmakers have embraced commercial films, Jia continues making art films, using the medium to raise difficult questions and often explores the possibility of new cinematic forms, Berry writes in the introduction of the book.

"Jia is one of the only directors from that period that has continued for the past 20 years to stay true to his early uncompromising artistic spirit. While others have slowed down, dropped out, or turned commercial, Jia continues to follow a path of artistic innovation," Berry says.

|<< Previous 1 2 3 4 5 Next   >>|
Most Popular
Top
BACK TO THE TOP
English
Copyright 1995 - . All rights reserved. The content (including but not limited to text, photo, multimedia information, etc) published in this site belongs to China Daily Information Co (CDIC). Without written authorization from CDIC, such content shall not be republished or used in any form. Note: Browsers with 1024*768 or higher resolution are suggested for this site.
License for publishing multimedia online 0108263

Registration Number: 130349
FOLLOW US
主站蜘蛛池模板: 玛纳斯县| 吉首市| 安义县| 苗栗县| 镇康县| 习水县| 涪陵区| 萝北县| 辉县市| 保山市| 库尔勒市| 威远县| 民勤县| 兴隆县| 山丹县| 府谷县| 永靖县| 绥阳县| 眉山市| 河南省| 揭西县| 含山县| 溧阳市| 西城区| 彩票| 清镇市| 上杭县| 神木县| 洞头县| 赤城县| 邵阳县| 长子县| 海丰县| 唐海县| 新干县| 托克逊县| 祁阳县| 阳原县| 容城县| 昌都县| 滦平县|