TY  - BOOK
AU  - Whalen-Bridge,John
AU  - Storhoff,Gary
TI  - Buddhism and American cinema
T2  - SUNY series in Buddhism and American culture
SN  - 1438453515
AV  - PN1995.9.B795 B79 2014
U1  - 791.43/682943 23
PY  - 2014///
CY  - Albany
PB  - State University of New York Press
KW  - Buddhism in motion pictures
KW  - Motion pictures
KW  - Religious aspects
KW  - Buddhism
KW  - United States
KW  - History and criticism
KW  - Bouddhisme au cinéma
KW  - Cinéma
KW  - États-Unis
KW  - Histoire et critique
KW  - Aspect religieux
KW  - Bouddhisme
KW  - PERFORMING ARTS
KW  - Reference
KW  - bisacsh
KW  - fast
KW  - Buddhismus
KW  - gnd
KW  - Film
KW  - Kultur
KW  - USA
KW  - Electronic books
KW  - Criticism, interpretation, etc
N1  - 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
N2  - 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
UR  - https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=818738
ER  -