000 04319nam a22005175i 4500
001 203576
003 IT-RoAPU
005 20221214233409.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 220302t20192019hiu fo d z eng d
020 _a9780824859831
_qprint
020 _a9780824859879
_qPDF
024 7 _a10.1515/9780824859879
_2doi
035 _a(DE-B1597)9780824859879
035 _a(DE-B1597)513346
035 _a(OCoLC)1102593187
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER004030
_2bisacsh
082 0 4 _83p
_a791
_qDE-101
084 _aonline - DeGruyter
100 1 _aLiu, Mia Yinxing
_eautore
245 1 0 _aLiterati Lenses :
_bWenren Landscape in Chinese Cinema of the Mao Era /
_cMia Yinxing Liu.
264 1 _aHonolulu :
_bUniversity of Hawaii Press,
_c[2019]
264 4 _c©2019
300 _a1 online resource (256 p.) :
_b19 color, 75 b&w illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction --
_tCHAPTER ONE. Picturing the Celestial Realm --
_tCHAPTER TWO. The Phantom Landscape of Jiangnan --
_tCHAPTER THREE. Early Spring in February --
_tCHAPTER FOUR. The Remnant Intellectuals --
_tConclusion --
_tNotes --
_tFilmography --
_tBibliography --
_tIndex --
_tAbout the Author
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aChinese cinema has a long history of engagement with China's art traditions, and literati (wenren) landscape painting has been an enduring source of inspiration. Literati Lenses explores this interplay during the Mao era, a time when cinema, at the forefront of ideological campaigns and purges, was held to strict political guidelines. This is a particularly intriguing period for the study of landscape in film, for while a film's script was under constant and multifaceted scrutiny, its landscape, a silent backdrop in the final production, tended to slip past censorial eyes.Author Mia Yinxing Liu examines literati landscape through four films: Li Shizhen (1956), Stage Sisters (1965), Early Spring in February (1963), and Legend of Tianyun Mountain (1979). By close readings of these "problematic," even "poisonous" films (official criticisms from Party media), she sheds light on how landscape offered an alternative text that could operate beyond ideological constraints and provide a portal for smuggling interesting discourses into the film. On the one hand, allusions to pictorial traditions associated with a bygone era inevitably took on different significances and even transformative meanings in the context of Mao-era cinema. On the other, unlike derivative citations or reverent homages, cinematic engagement with literati landscape endowed films with creative and critical space, as well as political poignancy. Liu not only identifies and investigates how the conventions, motifs, topoi, and aesthetics of traditional literati landscape art are reinvented and mediated on multiple levels in cinema, but also explores how post-1949 Chinese filmmakers configure themselves as modern intellectuals in the spaces forged among the vestiges of the old. In the process, she deepens her analysis, illuminating notions of utopia, monumentality, history, memory, representation, and re-appropriation. Landscape, she suggests, can be seen as an allegory of human life, a mirror of the age, and a commentary on national affairs.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 0 _aLandscapes in motion pictures.
650 0 _aMotion pictures-China-History-20th century.
650 7 _aPERFORMING ARTS / Film & Video / History & Criticism.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780824859879?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780824859879
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780824859879/original
942 _cEB
999 _c203576
_d203576