Jessica Ka Yee Chan is Assistant Professor of Chinese Studies at the University of Richmond, USA. She teaches courses on Chinese cinema, the action genre in East Asian cinema and myths and parables in Chinese literature and film, amongst other specialisms and her research has appeared in journals such as Modern Chinese Literature and Culture and East Asian Journal of Popular Culture. She received her PhD on Asian Literatures, Cultures and Media from the University of Minnesota in 2012.
Engaging with key films from the decade and a half between 1949 and '66, this book explores the aesthetic experiment of socialist cinema in China. In the years succeeding the Communist Revolution, the state produced a diversity of genres that functioned as propaganda for the newly established People's Republic. Breaking from past forms, revolutionary cinema adapted and revised Chinese literature for the screen, incorporated aspects of Hollywood narration and appropriated Soviet montage theory for its own means, as well as orchestrating a new, glamorous, socialist star culture. Chinese film periodicals were quick to project and disseminate the country's redefined self-image to both domestic and international domains as they helped to create an alternative vision of modernity and internationalism.
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第五章对我来说是个好的文献综述,但问题也是我所担心的。现在回到50-70年代,很多东西抓不住,所以只能研究期刊,拿材料,做史。对于那个洋溢着国际主义的世界环境和那一批涌现的作品来说,真的有些可惜
评分偷懶是誰都能看出來的。(就拿蒙太奇章來說吧,有幾篇一手資料?有幾篇一手資料是包衛紅已經替你寫過的?)
评分第五章对我来说是个好的文献综述,但问题也是我所担心的。现在回到50-70年代,很多东西抓不住,所以只能研究期刊,拿材料,做史。对于那个洋溢着国际主义的世界环境和那一批涌现的作品来说,真的有些可惜
评分本书符合当下重新审视毛时期电影的新趋势,就是把它放在一种跨国视野中。将当时的电影美学与理论作为一种西方已有模式的中国化翻译。蒙太奇理论的翻译那一章很酷。
评分本书符合当下重新审视毛时期电影的新趋势,就是把它放在一种跨国视野中。将当时的电影美学与理论作为一种西方已有模式的中国化翻译。蒙太奇理论的翻译那一章很酷。
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