Cinematic Landscapes: Observations on the Visual Arts and Cinema of China Japan. Edited by Linda C. Ehrlich and David Desser. Austin: University of Texas Press, 1994. xii, 345 pp. $19.95 (paper).

Ehrlich, Linda C.; Desser, David

doi:10.2307/2646455

J of Asian Stud

1996

DOI: 10.2307/2646455

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Cinematic Landscapes: Observations on the Visual Arts and Cinema of China Japan. Edited by Linda C. Ehrlich and David Desser. Austin: University of Texas Press, 1994. xii, 345 pp. $19.95 (paper).

Linda C. Ehrlich

David Desser²

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Competing with Urban Verticality: Cinematic Landscapes in Seediq Bale and Beyond Beauty: Taiwan from Above

Hsiung

2021

Int. J. Taiwan Stud.

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While buildings strive to reach higher and higher, cities are obsessed with a visible expression of verticality. Seediq Bale (2011) and Beyond Beauty: Taiwan from Above (2013) represent a new development in Taiwan’s cinematic use of landscape that challenges the dominance of urban verticalism. Seediq Bale sets up an alternative vertical dimension of mountainous areas that puts into dialogical relationship the dichotomies of civilised/barbarous, advanced/primitive, and vertical/horizontal. Audiences no longer experience space in a traditional manner, as eventually Mona Rudao’s graveyard is undiscovered/undefined. Beyond Beauty, on the other, asks viewers to ‘go higher’, encouraging a break with ordinary experience for a more spiritual quest like aerial shots. As both offer a sense of disorientation and alienation, what does the spatial metaphor address to aesthetics, ecocriticism, politics of identity, and sovereignty in geography? What are the implications as cinematic landscapes extend into a real-life environment that is ready to be consumed?

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Competing with Urban Verticality: Cinematic Landscapes in Seediq Bale and Beyond Beauty: Taiwan from Above

Hsiung

2021

Int. J. Taiwan Stud.

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Visual Aesthetics and Ways of Seeing: Comparing Ringu and The Ring

Wee¹

2011

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This essay examines the video images central to the supernatural events in the Japanese horror film Ringu (Hideo Nakata, 1998) and its Hollywood remake, The Ring (Gore Verbinski, 2002), exploring the intricate ways in which both video sequences offer insight into the cultural distinctions and inevitable intersections that exist between Japanese and non-Japanese/Hollywood cinematic aesthetic traditions.

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Space and Intermediality in Jia Zhang-ke’s Still Life

Mello

2014

Aniki

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This article is dedicated to an analysis of Chinese director Jia Zhang-ke’s film Still Life (San Xia Hao Ren 三峡好人, 2006) from the point of view of its intermedial relationship with Chinese landscape painting. As I will suggest, Jia’s discovery of a real landscape and a vanishing cityscape in this film, shot on location in the region of the Three Gorges of the Yangtze River, springs from a realist impulse and from an original aesthetic response to a new historical and social conjuncture. But while it seems firmly located in the landscape of contemporary China, the film also shares aesthetic qualities with the tradition of Chinese landscape painting, mounted on hanging or hand scrolls. A focus on this particular instance of intermediality leads to a reflection on cinema’s spatial organization in light of current revisions in film and audiovisual theory, which suggest that filmic space and its spectatorial experience should be considered above all from the point of view of touch and movement. It also allows for a broader understanding of the political implications of intermediality in Jia Zhang-ke’s oeuvre, fruit of an organic link between form and content that brings a historical resonance to a contemporary perspective.

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Cinematic Landscapes: Observations on the Visual Arts and Cinema of China Japan. Edited by Linda C. Ehrlich and David Desser. Austin: University of Texas Press, 1994. xii, 345 pp. $19.95 (paper).

Cited by 4 publications

References 0 publications

Competing with Urban Verticality: Cinematic Landscapes in Seediq Bale and Beyond Beauty: Taiwan from Above

Competing with Urban Verticality: Cinematic Landscapes in Seediq Bale and Beyond Beauty: Taiwan from Above

Visual Aesthetics and Ways of Seeing: Comparing Ringu and The Ring

Space and Intermediality in Jia Zhang-ke’s Still Life

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