Eastern Approaches to Western Film: Asian Aesthetics and Reception in Cinema offers a renewed critical outlook on Western classic film directly from the pantheon of European and American masters, including Alfred Hitchcock, George Lucas, Robert Bresson, Carl Dreyer, Jean-Pierre Melville, John Ford, Leo McCarey, Sam Peckinpah, and Orson Welles. The book contributes an "Eastern Approach" into the critical studies of Western films by reappraising selected films of these masters, matching and comparing their visions, themes, and ideas with the philosophical and paradigmatic principles of the East. It traces Eastern inscriptions and signs embedded within these films as well as their social lifestyle values and other concepts that are also inherently Eastern. As such, the book represents an effort to reformulate established discourses on Western cinema that are overwhelmingly Eurocentric. Although it seeks to inject an alternative perspective, the ultimate aim is to reach a balance of East and West. By focusing on Eastern aesthetic and philosophical influences in Western films, the book suggests that there is a much more thorough integration of East and West than previously thought or imagined.

This book summarizes the author's extensive research on Confucian morality issues and focuses on elaborating the extremely important and unique role of moral thought in Confucian ideology. The book shares the author's own standpoints on a range of issues - including where moral thoughts originated, what the major principles are, and what methods were adopted in Confucianism - to form a comprehensive and in-depth interpretation, and help readers achieve a better understanding. Moreover, the book focuses on the similarities and differences between Chinese and western cultures and presents an in-depth analysis of the differences and roots regarding various aspects, including Chinese and western historical development paths, thoughts and cultures, national spirits, national mentalities, and social governance models. The formation of either culture has its own practical reasons and historical roots. The book represents a major contribution, helping readers understand the similarities and differences between Chinese and western cultures and social civilizations, enabling them to integrate and learn from Chinese and western cultures, and promoting a better development for Chinese society and the international community alike. Combining detailed data and an approachable style, it contributes to the legacy of Confucianism by applying a critical attitude. The author thinks out of the box in terms of theoretical analysis and studies on certain issues. As such, the book will be of great academic value in terms of studying China's ideological culture, especially its morality culture, and will benefit scholars and research institutions alike.

This book draws attention to a striking aspect of contemporary Japanese culture: the prevalence of discussions and representations of "spirits" (tama or tamashii). Ancestor cults have played a central role in Japanese culture and religion for many centuries; in recent decades, however, other phenomena have expanded and diversified the realm of Japanese animism. For example, many manga, anime, TV shows, literature, and art works deal with spirits, ghosts, or with an invisible dimension of reality. International contributors ask to what extent these are cultural forms created by the media for consumption, rather than manifestations of "traditional" ancestral spirituality in their adaptations to contemporary society. Spirits and Animism in Contemporary Japan considers the modes of representations and the possible cultural meanings of spirits, as well as the metaphysical implications of contemporary Japanese ideas about spirits. The chapters offer analyses of specific cases of "animistic attitudes" in which the presence of spirits and spiritual forces is alleged, and attempt to trace cultural genealogies of those attitudes. In particular, they present various modes of representation of spirits (in contemporary art, architecture, visual culture, cinema, literature, diffuse spirituality) while at the same time addressing their underlying intellectual and religious assumptions.