StartseiteGruppenForumMehrZeitgeist
Web-Site durchsuchen
Diese Seite verwendet Cookies für unsere Dienste, zur Verbesserung unserer Leistungen, für Analytik und (falls Sie nicht eingeloggt sind) für Werbung. Indem Sie LibraryThing nutzen, erklären Sie dass Sie unsere Nutzungsbedingungen und Datenschutzrichtlinie gelesen und verstanden haben. Die Nutzung unserer Webseite und Dienste unterliegt diesen Richtlinien und Geschäftsbedingungen.
Hide this

Ergebnisse von Google Books

Auf ein Miniaturbild klicken, um zu Google Books zu gelangen.

Dianying/Electric Shadows: An Account of…
Lädt ...

Dianying/Electric Shadows: An Account of Films and Film Audience in China (1979. Auflage)

von Jay Leyda (Autor)

MitgliederRezensionenBeliebtheitDurchschnittliche BewertungDiskussionen
17Keine998,730 (4)Keine
Films have for some time been an important element in Chinese art and society, and filmmaking is a strenuous business—characterized by "the old problem of official Chinese sensitivity about Chinese reality," by deep conflicts, and by the necessity of designing films for and transporting them to millions of peasants throughout the Republic. Because he worked with the Chinese film industry in Peking from 1959 to 1964, Jay Leyda has had access to more Chinese films and relevant documents than any other Western scholar. In Dianyinghe describes both historic and current film production, using the films themselves as primary source material. He covers the film industry (the rise and fall of film studios, the influence of foreign filmmakers, the problems of film distributors), gives synopses of important and representative films, and introduces us to the notable filmmakers, actors, and actresses of China. Dianyingalso throws light on the larger social and political scene in twentieth-century China. It reveals a dramatic and astonishing period of Chinese film history during which an underground group of revolutionaries made films that continued to reach large audiences despite Kuomintang and Japanese oppression. What is significant, Leyda points out, is that the most expressive and lasting Chinese films resulted from these bitter and often bloody circumstances—films that were superior to what came before and in many respects superior to films made well after the triumph of the Chinese revolution. Almost all periods of film development have yielded something of value: "Seeing a steady quantity of Chinese films," Leyda remarks, "I found myself imagining, too easily, that if there had been films in the Middle Ages, this is what they would have looked like. Here are the conformity, the self-satisfied and defensive insularity, the almost scientific reduction of personal interpretation to its minimum, the rigid stratification of social groups..., the fixed place for each individual, and the molding of people to types that we find in medieval arts, with rare exceptions. There are the same rare exceptions in Chinese cinema, I'm glad to see, for it's only from such brave exceptions, recognizing the value of humanity and art, that we can expect any progress to grow—or a socialist cinema to tear itself away from feudalism. These exceptions make me hopeful for China's future and film future; without this hope there would be little point in this book."… (mehr)
Mitglied:Hogdanovich
Titel:Dianying/Electric Shadows: An Account of Films and Film Audience in China
Autoren:Jay Leyda (Autor)
Info:The MIT Press (1979), Edition: First Edition, 551 pages
Sammlungen:Deine Bibliothek
Bewertung:
Tags:Keine

Werk-Details

Dianying/Electric Shadows: An Account of Films and Film Audience in China von Jay Leyda

Keine
Lädt ...

Melde dich bei LibraryThing an um herauszufinden, ob du dieses Buch mögen würdest.

Keine aktuelle Diskussion zu diesem Buch.

Keine Rezensionen
keine Rezensionen | Rezension hinzufügen
Du musst dich einloggen, um "Wissenswertes" zu bearbeiten.
Weitere Hilfe gibt es auf der "Wissenswertes"-Hilfe-Seite.
Gebräuchlichster Titel
Originaltitel
Alternative Titel
Ursprüngliches Erscheinungsdatum
Figuren/Charaktere
Wichtige Schauplätze
Wichtige Ereignisse
Zugehörige Filme
Preise und Auszeichnungen
Epigraph (Motto/Zitat)
Widmung
Erste Worte
Zitate
Letzte Worte
Hinweis zur Identitätsklärung
Verlagslektoren
Klappentexte von
Originalsprache
Anerkannter DDC/MDS

Literaturhinweise zu diesem Werk aus externen Quellen.

Wikipedia auf Englisch (1)

Films have for some time been an important element in Chinese art and society, and filmmaking is a strenuous business—characterized by "the old problem of official Chinese sensitivity about Chinese reality," by deep conflicts, and by the necessity of designing films for and transporting them to millions of peasants throughout the Republic. Because he worked with the Chinese film industry in Peking from 1959 to 1964, Jay Leyda has had access to more Chinese films and relevant documents than any other Western scholar. In Dianyinghe describes both historic and current film production, using the films themselves as primary source material. He covers the film industry (the rise and fall of film studios, the influence of foreign filmmakers, the problems of film distributors), gives synopses of important and representative films, and introduces us to the notable filmmakers, actors, and actresses of China. Dianyingalso throws light on the larger social and political scene in twentieth-century China. It reveals a dramatic and astonishing period of Chinese film history during which an underground group of revolutionaries made films that continued to reach large audiences despite Kuomintang and Japanese oppression. What is significant, Leyda points out, is that the most expressive and lasting Chinese films resulted from these bitter and often bloody circumstances—films that were superior to what came before and in many respects superior to films made well after the triumph of the Chinese revolution. Almost all periods of film development have yielded something of value: "Seeing a steady quantity of Chinese films," Leyda remarks, "I found myself imagining, too easily, that if there had been films in the Middle Ages, this is what they would have looked like. Here are the conformity, the self-satisfied and defensive insularity, the almost scientific reduction of personal interpretation to its minimum, the rigid stratification of social groups..., the fixed place for each individual, and the molding of people to types that we find in medieval arts, with rare exceptions. There are the same rare exceptions in Chinese cinema, I'm glad to see, for it's only from such brave exceptions, recognizing the value of humanity and art, that we can expect any progress to grow—or a socialist cinema to tear itself away from feudalism. These exceptions make me hopeful for China's future and film future; without this hope there would be little point in this book."

Keine Bibliotheksbeschreibungen gefunden.

Buchbeschreibung
Zusammenfassung in Haiku-Form

Gespeicherte Links

Beliebte Umschlagbilder

Bewertung

Durchschnitt: (4)
0.5
1
1.5
2
2.5
3
3.5
4 1
4.5
5

Bist das du?

Werde ein LibraryThing-Autor.

 

Über uns | Kontakt/Impressum | LibraryThing.com | Datenschutz/Nutzungsbedingungen | Hilfe/FAQs | Blog | LT-Shop | APIs | TinyCat | Nachlassbibliotheken | Vorab-Rezensenten | Wissenswertes | 158,914,417 Bücher! | Menüleiste: Immer sichtbar