1,723,493 research outputs found
Realism of the senses: a tendency in contemporary world cinema
Get PDFThis thesis proposes to examine the production of sensory realism in world cinema by using as case studies the cinemas of Carlos Reygadas (Mexico), Tsai Ming-liang
(Taiwan) and Gus Van Sant (US). These cinemas are bound together through the hyperbolic application of the long take, which promotes a sensory viewing experience
anchored in duration and the pure phenomenological presence of animate and inanimate matter. The theoretical underpinnings of the project are laid out in the Introduction, which addresses the alleged demise of realism in light of the emergence of digital technology and provides an overview of the ways the realist style has been historically theorised as connected to the sensory character of the cinematic experience. It further
investigates the main aesthetic principles governing contemporary realist cinema and proposes a theorisation of its distinctive sensory mode of address. The thesis is divided into three different parts, which focus separately on each of the aforementioned filmmakers and their distinct realist projects, with emphasis given on their political
impact and social significance. Part I is dedicated to Carlos Reygadas’s oeuvre, which, indebted to the transcendental cinemas of Tarkovsky, Bresson and Dreyer, complicates spirituality through a quasi-scientific take on materiality and carnality. Tsai Ming-liang is the subject of Part II, which examines his cinema’s auteurist, ultra-reflexive realist approach as recycling an aesthetics of the everyday in film through a focus on the sheer
physicality of domestic spaces and the physiology of a grotesque body. Part III investigates Gus Van Sant’s recent incursion into an experimental-realist style as
producing sensory explorations of mental processes of perception in line with the American avant-garde cinema ‘visionary’ tradition. The Conclusion contextualises and evaluates the aesthetic and political contribution of these cinemas as perpetuating, and reconfiguring, cinematic realism
Heavy weather: Michelangelo Antonioni, Tsai Ming-liang, and the poetics of environmental sound
No full textWhile recent scholarship has done much to address the long-standing visual bias of film studies, there is perhaps one aspect of the film soundtrack that has remained relatively neglected by critical enquiry: namely, the use of sound effects, and in particular ambient or “atmos” sound. My aim in this article is to explore the cinesonic deployment of envi- ronmental sound through a comparative study of the work of Michelangelo Antonioni and Tsai Ming-liang—two directors who, I will argue, make significant use of this particular resource in articulating a shared concern with the conditions of modernity. In considering the ways in which environmental sound plays through the films of these particular direc- tors, my concern is not only to situate this aspect of the soundtrack in relation to matters of authorship, but also to frame the cinesonic use of environmental sound within a discussion of the poetics of noise. Thus I argue that, when auditioned within the context offered by politico-aesthetic formulations of noise, the environmental sounds of Antonioni and Tsai’s films communicate significant differences in the world-views of two directors whose work is often thought to share many similarities
La rivière Film taïwanais de Tsai Ming-Liang
No full textVideau André. La rivière Film taïwanais de Tsai Ming-Liang . In: Hommes et Migrations, n°1210, Novembre-décembre 1997. Portugais de France. pp. 144-145
IMAGEM-SENSAÇÃO: O CINEMA DO DEVIR-OUTRO DE TSAI MING-LIANG
Get PDFQuando pinta seus quadros, Tsai Ming-Liang se baseia no preciosismo estético que transforma cada plano em um bloco de sensações através das relações que estabelece entre o fluxo de cores, linhas, volumes, formas, intensidades e ritmos. Este texto analisa as imagens de The River, uma pintura em que Tsai Ming Liang radicaliza sua proposta estética de imagens-sensação que já havia apresentado diluída em outros trabalhos. Palavras-chave: Teoria da imagem; sensações; cinema oriental; Tsai Ming-Liang; DeleuzeWhen he “paints” his pictures, the moviemaker Tsai Ming Liang is based in an aesthetic preciousness that transforms each plan in a block of sensations. Through the relations he draws between color flows, lines, volumes, shapes, intensities and rhythms, the director invests in a new regime of images: sensation-images, which cognitive process flees reason and leads the spectator to a becoming-other . This text analyses the images of The River, a picture in which Tsai Ming Liang radicalizes his aesthetic proposal of the sensation-images, which were present in a more diluted way in his other works. The picture won 1995 Berlin Film Festival, and was exhibited in Tsai Ming Liang: The artist of time, film shows held in November / December 2010 in Rio and Sao Paulo. My theoretical basis is the philosophy of Gilles Deleuze, Felix Guattari and José Gil, besides specific bibliography on cinema.Key words: Theory of Image; Sensation; Cinema; Taiwa
Past Masters, New Waves: Tsai Ming-liang/François Truffaut
Get PDFInternational audienceMeta-cinema in its various forms - quotations, reconstruction of the making of cinema, parody etc. - is an important site from where to observe and analyse cross-cultural relations and national aesthetic currents. The cinematic universe of Tsai Ming-liang 蔡明亮gives us a chance to examine contemporary Taiwanese art cinema strategy: to re-appropriate, analyse, parodize and reflect on its tradition, its legacy and its influence. Tsai Ming-liang is a Malaysian born overseas Chinese (huaqiao華僑). He moved to Taipei in the seventies to attend university, and has since become the nineties most representative auteur of the New Cinema. Thus, his career can be seen as the quintessential notion of Greater China, which implies the idea of a pervasive, transnational Chinese "traditional" culture that expands its boundaries well beyond the Popular Republic's borders
C’è vita nelle sale. Quindici anni di "Goodbye Dragon Inn" di Tsai Ming-liang.
No full textRecensione della performance live di Tsai Ming-liang, tenuta al termine della proiezione di "Goodbye Dragon Inn", all'interno degli eventi speciali della Mostra Internazionale d'Arte Cinematografica di Venezi
- …
