Buddhism and American cinema /
Buddhism and American cinema /
edited by John Whalen-Bridge and Gary Storhoff ; foreword by Danny Rubin.
- 1 online resource
- SUNY series in Buddhism and American culture .
- SUNY series in Buddhism and American culture. .
Includes bibliographical references and index.
John Whalen-Bridge: Some (Hollywood) versions of enlightenment -- Representation and intention. Hanh Ngoc Nguyen and R.C. Lutz: Buddhism and authenticity in Oliver Stone's Heaven and earth -- Eve mullen: Buddhism, children, and the childlike in American Buddhist films -- Jiayan Mi and Jason C. Toncic: Consuming Tibet: Imperial romance and the wretched of holy plateau -- Felicia Chan: Politics into aesthetics: cultural translation in Kundun, Seven years in Tibet and The cup -- Allegories of shadow and light. Jennifer l. McMahon and B. Steve Csaki: Momentarily lost: finding the moment in Lost in translation -- Richard C. Anderson and David A. Harper: Dying to be free: the emergence of "American militant Buddhism" in popular culture -- Karsten J. Struhl: Buddhism, our desperation, and American cinema -- Devin Harner: Christian allegory, Buddhism and Bardo in Richard Kelly's Donnie Darko -- David l. Smith: "Beautiful necessities": American beauty and the idea of freedom -- Postscript -- Gary Gach: Afterword: on being luminous.
In 1989, the same year the Dalai Lama was awarded the Nobel Peace Prize, a decade-long boom of films dedicated to Buddhist people, history, and culture began. Offering the first scholarly treatment of Buddhism and cinema, the editors advise that there are two kinds of Buddhist film: those that are about Buddhists and those that are not. Focusing on contemporary American offerings, the contributors extend a two-pronged approach, discussing how Buddhism has been captured by directors and presenting Buddhist-oriented critiques of the worlds represented in films that would seem to have no connection with Buddhism. Films discussed range from those set in Tibet, such as Kundun and Lost Horizon, to those set well outside of any Buddhist milieu, such as Groundhog Day and The Matrix. The contributors explain the Buddhist theoretical concepts that emerge in these works, including karma, the bardo, and reincarnation, and consider them in relation to interpretive strategies that include feminism, postcolonialism, and contemplative psychological approaches.
1438453515 9781438453514
Buddhism in motion pictures.
Motion pictures--Religious aspects--Buddhism.
Motion pictures--History and criticism.--United States
Bouddhisme au cinéma.
Cinéma--Histoire et critique.--États-Unis
Cinéma--Aspect religieux--Bouddhisme.
PERFORMING ARTS--Reference.
Buddhism in motion pictures
Motion pictures
Motion pictures--Religious aspects--Buddhism
Buddhismus
Film
Kultur
United States
USA
Electronic books.
Criticism, interpretation, etc.
PN1995.9.B795 / B79 2014
791.43/682943
Includes bibliographical references and index.
John Whalen-Bridge: Some (Hollywood) versions of enlightenment -- Representation and intention. Hanh Ngoc Nguyen and R.C. Lutz: Buddhism and authenticity in Oliver Stone's Heaven and earth -- Eve mullen: Buddhism, children, and the childlike in American Buddhist films -- Jiayan Mi and Jason C. Toncic: Consuming Tibet: Imperial romance and the wretched of holy plateau -- Felicia Chan: Politics into aesthetics: cultural translation in Kundun, Seven years in Tibet and The cup -- Allegories of shadow and light. Jennifer l. McMahon and B. Steve Csaki: Momentarily lost: finding the moment in Lost in translation -- Richard C. Anderson and David A. Harper: Dying to be free: the emergence of "American militant Buddhism" in popular culture -- Karsten J. Struhl: Buddhism, our desperation, and American cinema -- Devin Harner: Christian allegory, Buddhism and Bardo in Richard Kelly's Donnie Darko -- David l. Smith: "Beautiful necessities": American beauty and the idea of freedom -- Postscript -- Gary Gach: Afterword: on being luminous.
In 1989, the same year the Dalai Lama was awarded the Nobel Peace Prize, a decade-long boom of films dedicated to Buddhist people, history, and culture began. Offering the first scholarly treatment of Buddhism and cinema, the editors advise that there are two kinds of Buddhist film: those that are about Buddhists and those that are not. Focusing on contemporary American offerings, the contributors extend a two-pronged approach, discussing how Buddhism has been captured by directors and presenting Buddhist-oriented critiques of the worlds represented in films that would seem to have no connection with Buddhism. Films discussed range from those set in Tibet, such as Kundun and Lost Horizon, to those set well outside of any Buddhist milieu, such as Groundhog Day and The Matrix. The contributors explain the Buddhist theoretical concepts that emerge in these works, including karma, the bardo, and reincarnation, and consider them in relation to interpretive strategies that include feminism, postcolonialism, and contemplative psychological approaches.
1438453515 9781438453514
Buddhism in motion pictures.
Motion pictures--Religious aspects--Buddhism.
Motion pictures--History and criticism.--United States
Bouddhisme au cinéma.
Cinéma--Histoire et critique.--États-Unis
Cinéma--Aspect religieux--Bouddhisme.
PERFORMING ARTS--Reference.
Buddhism in motion pictures
Motion pictures
Motion pictures--Religious aspects--Buddhism
Buddhismus
Film
Kultur
United States
USA
Electronic books.
Criticism, interpretation, etc.
PN1995.9.B795 / B79 2014
791.43/682943