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Books > Language & Literature > Literature: texts > Drama texts, plays > From 1900 > Film & television screenplays
![Diva (Paperback): Anthony Aroya](//media.loot.co.za/images/x80/26899223377179215.jpg) |
Diva
(Paperback)
Anthony Aroya
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R271
Discovery Miles 2 710
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Ships in 10 - 15 working days
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![Warhawk (Paperback): Christopher Eastwood](//media.loot.co.za/images/x80/148587516753179215.jpg) |
Warhawk
(Paperback)
Christopher Eastwood
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R268
Discovery Miles 2 680
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![Hairs (Paperback): Declan White](//media.loot.co.za/images/x80/651059098449179215.jpg) |
Hairs
(Paperback)
Declan White
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R265
Discovery Miles 2 650
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The "Reform Era" (1979-present) in China has been a time of massive
social and economic change, and has witnessed China's transition
from socialism to capitalism. This book focuses on how this period
of change has been constructed in the films of Jia Zhangke through
analyzing the five class figures of worker, peasant, soldier,
intellectual, and entrepreneur that are found in his films. It
examines how the figures' representation and the films'
cinematography create what Raymond Williams terms "structures of
feeling" feelings that concretize around a particular time and
place which are captured and evoked in art and culture. The book
argues that Jia's cinema should be understood not just as
narratives that represent Chinese social transition and the
director's changing attitudes to them through characters of
different social classes, but also as an effort to engage the
audience's emotional responses to those figures through
representation, symbolism, and the affective experience of specific
cinematic tropes. While making specific observations on Jia's
films, the book adds to the scholarship about the Reform era by
considering how this period's enormous transformations have been
"felt," and also opens up many new areas, not only in the existing
body of literature about Chinese film, which has mainly taken a
political or sociological approach, but also in the larger fields
of Chinese visual culture, cultural studies, and the affective
qualities of film.
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