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008			221201t20202021hiu fo d z eng d
020			_a9780824885670 _qPDF
024	7		_a10.1515/9780824885670 _2doi
035			_a(DE-B1597)9780824885670
035			_a(DE-B1597)550586
035			_a(OCoLC)1224278149
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPN1993.5.C6 _bD47 2021eb
072		7	_aART057000 _2bisacsh
082	0	4	_a791.430951 _223
084			_aonline - DeGruyter
100	1		_aDeppman, Hsiu-Chuang _eautore
245	1	0	_aClose-ups and Long Shots in Modern Chinese Cinemas / _cHsiu-Chuang Deppman.
264		1	_aHonolulu : _bUniversity of Hawaii Press, _c[2020]
264		4	_c©2021
300			_a1 online resource (368 p.) : _b110 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 The Close-up of Mo Yan and Zhang Yimou -- _tCHAPTER TWO The Art of the Close-up in Lust, Caution -- _tChapter Three Philosophy of the Long Shot in Hou Hsiao-hsien’s The Assassin -- _tChapter Four The Back Shot in Jia Zhangke’s I Wish I Knew -- _tChapter Five Between Close-ups and Long Shots -- _tNotes -- _tReferences -- _tSelected Filmography -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aTwo of the most stylized shots in cinema—the close-up and the long shot—embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of life and reinforces our faith in reality. Each configures the relation between image and distance that expands the viewer’s power to see, feel, and conceive. To understand why a director prefers one type of shot over the other then is to explore more than aesthetics: It uncovers significant assumptions about film as an art of intervention or organic representation. Close-ups and Long Shots in Modern Chinese Cinemas is the first book to compare these two shots within the cultural, historical, and cinematic traditions that produced them. In particular, the global revival of Confucian studies and the transnational appeal of feminism in the 1980s marked a new turn in the composite cultural education of Chinese directors whose shot selections can be seen as not only stylistic expressions, but ethical choices responding to established norms about self-restraint, ritualism, propriety, and female agency. Each of the films discussed—Zhang Yimou’s Red Sorghum, Ang Lee’s Lust, Caution, Hou Hsiao-Hsien’s The Assassin, Jia Zhangke’s I Wish I Knew, and Wei Desheng’s Cape No. 7— represents a watershed in Chinese cinemas that redefines the evolving relations among film, politics, and ethics. Together these works provide a comprehensive picture of how directors contextualize close-ups and long shots in ways that make them interpretable across many films as bellwethers of social change.
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 01. Dez 2022)
650		0	_aCinematography _zChina.
650		0	_aMotion pictures _zChina _xHistory.
650		0	_aMotion pictures _zChina.
650		7	_aART / Film & Video. _2bisacsh
700	1		_aChang, Eileen _eautore
700	1		_aLee, Ang _eautore
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9780824885670?locatt=mode:legacy
856	4	0	_uhttps://www.degruyter.com/isbn/9780824885670
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780824885670/original
942			_cEB
999			_c204356 _d204356